the lyceum philharmonic - content.byui.edu · with the piano guys, recorded for sony masterworks...
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BYU-IDAHODEPARTMENTOFMUSICPRESENTS
SYMPHONYORCHESTRAWITHTHE
LYCEUMPHILHARMONICATAMERICANHERITAGESCHOOL
AntonínDvořák1841–1904
FeaturingStudentConcertoFestivalWinnersJackTyndale-BiscoeandClarissaTracy
MARCH17,2018,7:30PMBARRUSCONCERTHALL
2
Indianmusic,andusingthesethemesassubjects,developedthemwithalltheresourcesofmodernrhythms,harmony,counterpoint,andorchestralcolor.”Inspiteofitstitle,theNewWorldSymphonyisbestapproachedasalateromanticcompositionintheEuropeanorchestraltradition.Thefirstmovementopenswithaslow,broodingintroduction.Aheroicthemeinthehornintroducesthefastersection.Themesthatfollowincludeadance-tuneinthefluteandoboe,curiouslyreminiscentof“TurkeyintheStraw,”andanotherthemethatevokesthespiritual“SwingLow,SweetChariot.”ThesecondmovementopenswithadarkbrasschoralebeforetheemergenceofoneofthemostfamousEnglishhornsoloseverwritten,combiningtenderness,nostalgia,andasenseofhopefulness.Itsspirituallikemelodyisknowntogenerationsasthesong“Goin’Home.”Infact,textforthissongfollowedthesymphonybythreedecadeswhenin1922,WilliamArmsFishercraftedwordstofitDvorak’stune.Themusictransitionstoalightpastoralsection,andtheEnglishhornclosesthemovementwithitsplaintivemelodyDvorakadmittedusingNativeAmericaninfluencesintheformofHenryWadsworthLongfellow’spoemTheSongofHiawathainthethirdmovement.ThepoemwasitselfaromanticizedviewoftheAmericanIndian,andDvorakrelateditdirectlytothesectiondescribingthedanceofPau-Puk-Keewis:HesomerrilyandmadlyDancedatHiawatha'swedding,DancedtheBeggar'sDancetopleasethemInthedramaticfinale,whichopenswithanenergeticmarchthemeinthebrass,melodiesfromallthreepreviousmovementsarerecalled.Thefinalebecomesasynthesisorlargesummationofthewholesymphony.Highlypublicized,thepremierewasthemostsensationalsuccessofDvorak’scareer.Eachmovementwasapplauded,andthecomposerhadtoacknowledgeespeciallystrongcheersaftertheLargo.SoonthesymphonywasbeingperformedthroughouttheUnitedStatesandalloverEurope.
Dr.Tueller
1
NOTESDvorakSymphonyNo.9PatronJeanetteThurberenvisionedanAmericanmusicschoolpatternedaftertheParisConservatory,whereshestudiedasayouth.Withtheconsiderablefinancialresourcesofherwealthyhusband,sheestablishedtheNationalConservatoryofMusicin1891,whichofferededucationtotalentedstudentsofallbackgrounds.In1892,ThurbernegotiatedtheservicesofprominentCzechcomposerAntoninDvoraktobecomedirectoroftheconservatory.ThisrepresentedaremarkablecoupforthefledglingschoolgivenDvorak’sinternationalreputation.OnSeptember26,1892,DvorakandpartofhisfamilyarrivedinNewYork.Althoughhomesick,histhreeyearsinAmericaprovedveryfruitful,yieldingsomeofhisbest-knownworksincludingtheAmericanStringQuartet,andtheNewWorldSymphony.InhisAmericantravelsheencounteredAfrican-Americanmusic,includingspiritualsandragtime,andNativeAmericanmusic,whichinfluencedhis9thsymphony.Dvorak’sethnicmusicinfluenceshowever,werenotlikelatergenerationsofcomposerssuchasBelaBartokorRalphVaughanWilliamswhousedactualethnicmusic.Dvorak,likehisromanticeracontemporarieschosetorepresentorevokeethnicmusicwithhisownoriginalideas.Heexplained:“Ihavesimplywrittenoriginalthemesembodyingthepeculiaritiesof
PROGRAMDownbytheRivertoPray...............Traditionalarr.ByNathanialDrewHymntotheInnocent........................................................RobGardner
LyceumPhilharmonic,KaysonBrown,director
PianoConcertoinAminor,Op.16...................................EdwardGrieg
I. Allegromoltomoderato 1847–1907
JackTyndale-Biscoe,pianoFantasie..............................................................................GeorgesHüe
1858–1948ClarissaTracy,flute
BYUIdahoSymphonyOrchestra,RobertTueller,director
Short,standingintermission
SymphonyNo.9inEminor,FromtheNewWorld,Op.95.........................................AntonínDvořák
I.Adagio–Allegromolto 1841–1904II.LargoIII.Scherzo:MoltovivaceIV.Allegroconfuoco
CombinedOrchestras
TheLyceumPhilharmonicatAmericanHeritageSchool,ledbyKaysonBrown,hasreachedthetopoftheBillboardCharts,wasfeaturedonPBSwithThePianoGuys,recordedforSONYMasterworkswithLexiWalker,andhasbeenviewedover100milliontimesonYouTube!Theseaccomplishedyoungmusicianscomefrommorethan30schoolsacrossthestateofUtahtoparticipateintheafter-schoolLyceumOrchestrasProgramatAmericanHeritageSchoolinAmericanFork,Utah.Theyarepartofacomprehensiveprogramconsistingoffiveaudition-onlyorchestrasthatinspireandmentorstudentsages5to18.Theyseekto:Inspire–nurturealoveofelevatedmusic,increasedfaith,andpatriotismthroughpurposefuleventsandmedia.Instruct–developself-discipline,skills,andcharacterthroughtransformationalteachingandprofessional-levelexperienceandinteraction.AndImpact(ResultofInspiringandInstructing)–awakenindividuals,familiesandcommunitiestothepowermusichastochangeheartsandmindswhilefulfillingthedivinepotential.
1
NOTESDvorakSymphonyNo.9PatronJeanetteThurberenvisionedanAmericanmusicschoolpatternedaftertheParisConservatory,whereshestudiedasayouth.Withtheconsiderablefinancialresourcesofherwealthyhusband,sheestablishedtheNationalConservatoryofMusicin1891,whichofferededucationtotalentedstudentsofallbackgrounds.In1892,ThurbernegotiatedtheservicesofprominentCzechcomposerAntoninDvoraktobecomedirectoroftheconservatory.ThisrepresentedaremarkablecoupforthefledglingschoolgivenDvorak’sinternationalreputation.OnSeptember26,1892,DvorakandpartofhisfamilyarrivedinNewYork.Althoughhomesick,histhreeyearsinAmericaprovedveryfruitful,yieldingsomeofhisbest-knownworksincludingtheAmericanStringQuartet,andtheNewWorldSymphony.InhisAmericantravelsheencounteredAfrican-Americanmusic,includingspiritualsandragtime,andNativeAmericanmusic,whichinfluencedhis9thsymphony.Dvorak’sethnicmusicinfluenceshowever,werenotlikelatergenerationsofcomposerssuchasBelaBartokorRalphVaughanWilliamswhousedactualethnicmusic.Dvorak,likehisromanticeracontemporarieschosetorepresentorevokeethnicmusicwithhisownoriginalideas.Heexplained:“Ihavesimplywrittenoriginalthemesembodyingthepeculiaritiesof
PROGRAMDownbytheRivertoPray...............Traditionalarr.ByNathanialDrewHymntotheInnocent........................................................RobGardner
LyceumPhilharmonic,KaysonBrown,director
PianoConcertoinAminor,Op.16...................................EdwardGrieg
I. Allegromoltomoderato 1847–1907
JackTyndale-Biscoe,pianoFantasie..............................................................................GeorgesHüe
1858–1948ClarissaTracy,flute
BYUIdahoSymphonyOrchestra,RobertTueller,director
Short,standingintermission
SymphonyNo.9inEminor,FromtheNewWorld,Op.95.........................................AntonínDvořák
I.Adagio–Allegromolto 1841–1904II.LargoIII.Scherzo:MoltovivaceIV.Allegroconfuoco
CombinedOrchestras
TheLyceumPhilharmonicatAmericanHeritageSchool,ledbyKaysonBrown,hasreachedthetopoftheBillboardCharts,wasfeaturedonPBSwithThePianoGuys,recordedforSONYMasterworkswithLexiWalker,andhasbeenviewedover100milliontimesonYouTube!Theseaccomplishedyoungmusicianscomefrommorethan30schoolsacrossthestateofUtahtoparticipateintheafter-schoolLyceumOrchestrasProgramatAmericanHeritageSchoolinAmericanFork,Utah.Theyarepartofacomprehensiveprogramconsistingoffiveaudition-onlyorchestrasthatinspireandmentorstudentsages5to18.Theyseekto:Inspire–nurturealoveofelevatedmusic,increasedfaith,andpatriotismthroughpurposefuleventsandmedia.Instruct–developself-discipline,skills,andcharacterthroughtransformationalteachingandprofessional-levelexperienceandinteraction.AndImpact(ResultofInspiringandInstructing)–awakenindividuals,familiesandcommunitiestothepowermusichastochangeheartsandmindswhilefulfillingthedivinepotential.
BYU-IDAHODEPARTMENTOFMUSICPRESENTS
SYMPHONYORCHESTRAWITHTHE
LYCEUMPHILHARMONICATAMERICANHERITAGESCHOOL
AntonínDvořák1841–1904
FeaturingStudentConcertoFestivalWinnersJackTyndale-BiscoeandClarissaTracy
MARCH17,2018,7:30PMBARRUSCONCERTHALL
2
Indianmusic,andusingthesethemesassubjects,developedthemwithalltheresourcesofmodernrhythms,harmony,counterpoint,andorchestralcolor.”Inspiteofitstitle,theNewWorldSymphonyisbestapproachedasalateromanticcompositionintheEuropeanorchestraltradition.Thefirstmovementopenswithaslow,broodingintroduction.Aheroicthemeinthehornintroducesthefastersection.Themesthatfollowincludeadance-tuneinthefluteandoboe,curiouslyreminiscentof“TurkeyintheStraw,”andanotherthemethatevokesthespiritual“SwingLow,SweetChariot.”ThesecondmovementopenswithadarkbrasschoralebeforetheemergenceofoneofthemostfamousEnglishhornsoloseverwritten,combiningtenderness,nostalgia,andasenseofhopefulness.Itsspirituallikemelodyisknowntogenerationsasthesong“Goin’Home.”Infact,textforthissongfollowedthesymphonybythreedecadeswhenin1922,WilliamArmsFishercraftedwordstofitDvorak’stune.Themusictransitionstoalightpastoralsection,andtheEnglishhornclosesthemovementwithitsplaintivemelodyDvorakadmittedusingNativeAmericaninfluencesintheformofHenryWadsworthLongfellow’spoemTheSongofHiawathainthethirdmovement.ThepoemwasitselfaromanticizedviewoftheAmericanIndian,andDvorakrelateditdirectlytothesectiondescribingthedanceofPau-Puk-Keewis:HesomerrilyandmadlyDancedatHiawatha'swedding,DancedtheBeggar'sDancetopleasethemInthedramaticfinale,whichopenswithanenergeticmarchthemeinthebrass,melodiesfromallthreepreviousmovementsarerecalled.Thefinalebecomesasynthesisorlargesummationofthewholesymphony.Highlypublicized,thepremierewasthemostsensationalsuccessofDvorak’scareer.Eachmovementwasapplauded,andthecomposerhadtoacknowledgeespeciallystrongcheersaftertheLargo.SoonthesymphonywasbeingperformedthroughouttheUnitedStatesandalloverEurope.
Dr.Tueller