BENNY GOODMANTHE CLASSICAL LEGACY OF

Chamber Music Society at Yale

david shifrinArtistic Director

september 222009

music ofBartókCopland GouldPoulencShulman

Robert Blocker, Dean

Sonata for Clarinet and Piano (1962)Allegro TristamenteRomanzaAllegro con fuoco

Chad Burrow clarinetAmy I-Lin Cheng piano

Benny’s Gig (1962)Slow and nostalgicBrisk, with driveVery slow and hesistantBrisk

Mingzhe Wang clarinetAlexander Smith bass

SlowlyModerato (Calypso Serenade)Lazily movingJaunty

Justin O’Dell clarinetAlexander Smith bass

Contrasts (1938)VerbunkosPihenöSebes

atria ensembleSunmi Chang violinRomie de Guise-Langlois clarinetHye-Yeon Park piano

Intermission

Francis Poulenc1899-1963

Morton Gould1913-1996

Béla Bartók1881-1945

September 22, 2009 · 8 pm · Morse Recital hall

BENNY GOODMANTHE CLASSICAL LEGACY OF

As a courtesy to the performers and audience members, turn off cell phones and pagers. Please do not

leave the theater during selections. Photography or recording of any kind is not permitted.

Morton Gould Alan Shulman1915-2002

Aaron Copland1900-1990

Recovery Music (1984)Maureen Hurd clarinet

Rendezvous (1946)Paul Won Jin Cho clarinet

jasper string quartetJ Freivogel and Sae Niwa violinSam Quintal violaRachel Henderson cello

Concerto for Clarinet and String Orchestra (1947-8)David Shifrin clarinet

violin 1Ani Kavafian* concertmasterJ FreivogelBenjamin CharmotJi-Yun HanDavid SouthornLiesl SchoenbergerMarc Daniel van Biemen

violin 2Wendy Sharp*Sae NiwaIgor KalninYu-Ting HuangMarjolaine LambertKatie Hyun

violaSam QuintalRaul Garcia

Vesselin TodorovEdwin Kaplan

celloOle Akahoshi*Rachel HendersonSunhee JeonPhilo Lee

bassNate ChaseEric FischerMark David Wallace

pianoJian Liu

harpKeturah Bixby

*faculty

As a courtesy to the performers and audience members, turn off cell phones and pagers. Please do not leave the hall during selections. Photography or recording of any kind is not permitted.

Benny Goodman, the immortal “King of Swing” whose big bands galvanized the swing era in the 1930s, would have turned 100 on May 30 of this year. Just as he was peaking in popularity as a jazz musician, though, he began to experiment with classical music, and he became the first successful jazz-to-classical crossover artist. In the watershed year of 1938, Goodman’s big band made its debut on the stage of Carnegie Hall, and Goodman recorded his first classical album, successfully commissioned his first classical composition, and performed his first classical recital. He would perform with major symphony orchestras in the United States and record much of the standard classical clarinet literature. Upon awarding Goodman Yale’s Sanford Medal in 1985, Frank Tirro, then Dean of the Yale School of Music, said Goodman “created classics of jazz music while bringing the jazz audience to the classics.” Goodman’s drive to play new music led him to commission works from some of the most significant composers of the twentieth century. His half-century in classical music resulted in at least fifteen pieces either commissioned by him or written for him through other arrangements.

Violinist Joseph Szigeti asked Béla Bartók for a work for himself and Goodman, which Goodman would fund. Goodman requested a two-movement piece in the style of the violin Rhapsodies, expecting the work to fit on two sides of a 78-rpm record. By September 1938, Bartók had fulfilled the request of two rhap- sodies (titled Verbunkos or “Recruiting Dance” and Sebes or “Fast Dance”) and had added something extra—another movement which would become the central Pihenö or “Relaxation.”

Goodman, Szigeti and pianist Endre Petri premiered Bartók’s work on January 9, 1939 in Carnegie Hall in a performance that included only the two outer movements. The first per- formance of Contrasts in its complete three- movement form came at Carnegie Hall on April 21, 1940, with Goodman, Szigeti and Bartók performing. Halsey Stevens wrote that the title reflects the dissimilar timbres of the three instruments. Paul Griffiths noted as well the contrast between the styles of the inner move- ment and the outer two. The first movement features the clarinet, especially in a virtuosic cadenza near the end, and the last movement

the classical legacy of benny goodman

by Maureen Hurd

gives an extended cadenza to the violin. The violinist begins the third movement with a second violin tuned in scordatura (G-sharp-D-A-E-flat), providing a rowdy series of tritone double-stops which set up the rollicking energy of the rest of the movement.

Alan Shulman was a composer and cellist in the NBC Symphony and a founding member of the Stuyvesant Quartet. Goodman asked the Stuyvesant Quartet to perform with him a movement of the Mozart Quintet for Clarinet and Strings, on his summer radio program in 1946. Shulman suggested instead that he write a new piece for the broadcast, and Rendezvous for Benny resulted, premiering on July 29, 1946. Goodman never again played the work, and Shulman changed the title to Rendezvous for Clarinet and Strings when it was published in 1947. This work infuses a classical ensemble with jazz elements. A moderato chromatic introduction by the string quartet prepares for the jazzy, “twice as fast” clarinet entrance. A brief return to the moderato of the introduction evokes a noir atmosphere before the faster material returns, joined in counterpoint with the augmented moderato theme.

Goodman told Vivian Perlis, author and Director of Yale’s Oral History of American Music, that he asked Aaron Copland for a clarinet concerto not “because some of his works were jazz-inspired,” but because “there were not too many American composers to pick from—people of such terrific status—as Hindemith and Bartók….Copland had a great reputation also.”

Copland finished the Clarinet Concerto late in the summer of 1948. The first movement is in 3/4 meter and consists of open harmonies, wide intervals, and luxurious, long melodic lines. The

first movement goes directly into an extended clarinet cadenza, full of triadic arpeggiations characteristic of Goodman’s jazz improvisation and in turn moving without pause into the second and last movement. Copland described the second movement as “an unconscious fusion of elements obviously related to North and South American popular music: Charleston rhythms, boogie woogie, and Brazilian folk tunes.”

Goodman and Copland did not consult with each other during the writing of the Concerto; when Copland sent Goodman the score, Goodman asked Copland for changes, including making some high notes lower and substan-tially altering the coda. Copland complied though he said, “I knew Benny could reach that high because I had listened to his recordings.” The Library of Congress holds a page of manu-script of the original coda in piano reduction. At the top of the page in Copland’s hand is the note “1st version –later revised—of Coda of Clarinet Concerto (too difficult for Benny Goodman).” One could argue that Goodman was not unable but was uneasy when it came to reading such music from score instead of creating similar music while improvising. In a 1977 article in The New Yorker, Goodman was quoted as saying, “I’ve never been able to play one of my transcribed jazz solos.” Goodman played the premiere performance of the Concerto on an NBC radio broadcast on November 6, 1950 with the NBC Symphony of the Air conducted by Fritz Reiner.

Morton Gould and Goodman were close friends and colleagues. Gould wrote Derivations for Clarinet and Band in 1955 for Goodman. Gould composed several other short works for his friend. The eight pieces of Benny’s Gig for clarinet and double bass include seven written in 1962 “Celebrating Benny’s 1962 Russian Tour,”

(continued)

and the eighth, written in 1979 for Goodman’s seventieth birthday. These vignettes have indi- vidual characters ranging from melancholy and introspective to tongue-in-cheek and carefree. Changing meters and complex harmonies figure prominently in these pieces.

In May 1984, Gould remembered Goodman’s seventy-fifth birthday with Recovery Music “for one lonely B-flat clarinet.” Goodman had two heart surgeries in November 1983 and January 1984, and for several months following he did not perform. The three movements of Recovery Music are character pieces, with surprising turns of dynamic, syncopation and melody.

Goodman and Leonard Bernstein performed the posthumous premiere of Francis Poulenc’s Sonata for Clarinet and Piano in a Carnegie Hall Composers’ Showcase concert on April 10, 1963. This concert became a memorial concert as Poulenc had died suddenly in January 1963. While the Poulenc Sonata was not a Goodman commission and it was dedicated not to Goodman but to Arthur Honegger, Goodman’s role in this premiere was a characteristic example of his high profile classical performing. The first movement (with the oxymoronic title, “Allegro tristamente”), combines a sprightly opening and finish with an introspective slow middle section. Analogous rhythmic and melodic materials are used in all movements.

The Atria Ensemble (violin/viola, clarinet, and piano) came together in January 2008. Two months after its formation, the Atria Ensemble won the first prize at the Fourth Plowman National Chamber Music Competition, Missouri and had secured several engagements on the East Coast. The term Atria, which in anatomy describes the heart’s chambers, is a metaphor for the group’s philosophy of touching the audience through chamber music – the most intimate and heartfelt form of classical music. The limited repertoire for its instrumentation fuels the members’ desire to explore and encourage the production of new music for its forces. Atria Ensemble has been fortunate to receive the support of such chamber music luminaries as Peter Frankl, Peter Oundjian, David Shifrin, Ani Kavafian, and Michael Friedmann. The ensemble recently participated in the International program of Music@Menlo in California.

artist profiles

The Benny Goodman Papers

On exhibit throughNovember 2, 2009

the gilmore music library

http://www.library.yale.edu/musiclib

Chad Burrow was appointed to the clarinet faculty of the University of Michigan in 2009. Prior to 2009 Burrow held positions as associate professor of clarinet at Oklahoma City University and principal clarinet with the Oklahoma City Philharmonic and New Haven Symphony. He is currently an instructor at the Alpen Kammermusik Festival, clarinetist with the chamber ensemble Camerata Pangaea, principal clarinetist of the Quartz Mountain Music Festival Orchestra and an artist/clinician for Buffet Crampon, USA. In addition, Burrow and his wife, pianist Amy I-Lin Cheng, serve as the artistic directors for Brightmusic, a chamber music ensemble based in Oklahoma City. Burrow and Cheng also perform in venues from Asia, across the United States and Europe as Duo Clarion and Trio Solari. Burrow holds degrees from Northwestern and Yale Universities. His major teachers were Russell Dagon, Shannon Scott and David Shifirn.

Sun-Mi Chang, the laureate of the 2007 Inter- national Markneukirchen Violin Competition in Germany and the 2007 International Sion Valais Violin Competition in Switzerland, has performed widely throughout North America and Europe as a solo, orchestral, and chamber musician. As the winner of the 2006 Woolsey Hall Concerto competition at the Yale School of Music, she has performed the Bartók Violin Concerto No. 2 with the Yale Philharmonia. In July 2008, as part of the cultural prelude to the Olympics, she performed the Beethoven Violin Concerto with the Yale Philharmonia in Asia. An active chamber musician, she has taken part in the Caramoor Rising Stars Series in 2006 and 2007 and Music@Menlo, collaborating with renowned artists such as Donald Weilerstein, Marcy Rosen, Ani Kavafian, and Kim Kashkashian. She recently completed the Artist Diploma and Master of Music degree at Yale under the

tutelage of Peter Oundjian and Ani Kavafian, and joined the Saint Paul Chamber Orchestra.

Pianist Amy I-Lin Cheng has won prizes in many competitions including the 2000 Heida Hermanns International Young Artist Piano Competition. As the winner of the Rising Young Artist Series in Taipei, Ms. Cheng gave her Taipei debut recital in August 1999 in the National Recital Hall and toured Taiwan. In the same year, Ms. Cheng was invited by the Formosa Chamber Music Society to perform a solo recital at Weill Recital Hall at Carnegie Hall. A graduate oftThe Curtis Institute of Music (BM), Yale University School of Music (MM and Artist Diploma), Ms. Cheng studied with Claude Frank. She is currently a Doctor of Musical Arts candidate at the New England Conservatory in Boston, where she studied with Ms. Wha-Kyung Byun.

Paul Won Jin Cho received his bachelor’s degree in music from Korean National University of Arts and his Master’s degree from Seoul National University. He finished his Graduate Certificate in University of Southern California under Yehuda Gilad. Cho has won awards in numerous competitions, including first place in Korea’s Donga Competition. He was the recipient of the 2006 Leni Fe Bland Music Scholarship Award, and recently he won the Woolsey Hall Competition and received the 52nd Koussevitzky Young Artists Awards. He has been invited to solo with Busan Philharmonic Orchestra, Suwon Philharmonic Orchestra, and Torrance Symphony Orchestra. As an orchestra member, he has been selected to Tanglewood Music Center, Youth Orchestra of the Americas, and American Youth Symphony, etc. under many conductors, including Rafael Frühbeck de Burgos, Sergiu Commissiona, Myung-Hun Chung, Placido Domingo, James Levine, and

Carlos Miguel Prieto. Cho is currently studying with David Shifrin at the Yale School of Music pursuing his Artist Diploma.

Praised as “extraordinary” and “a formidable clarinetist” by The New York Times, Romie de Guise-Langlois has appeared as a soloist and chamber musician internationally. She was awarded first place in the 2009 Houston Symphony Ima Hogg Young Artist Competition and recently won first prize in the Woolsey Hall Competition at Yale University. Her recent and upcoming solo engagements include appear- ances at Carnegie Hall, Jones Hall, the Lake Champlain Chamber Music Festival, Banff Center for the Arts, Music@Menlo, and the Chamber Music Society of Lincoln Center. She was recently a participant of Marlboro Music and Tour. A native of Montreal, she received her BM from McGill University. Her MM and AD are from the Yale School of Music, where she studied under David Shifrin. Ms. de Guise-Langlois recently completed her fellowship at The Academy-A Program of Carnegie Hall, The Juilliard School, and The Weill Music Institute.

Maureen Hurd has performed throughout Europe, Asia and North America. Highlights include performances at the Skaneateles Festival, the Norfolk Chamber Music Festival, with the Chamber Music Society of Lincoln Center, and at Merkin Hall. She appeared at the 2007, 2005, and 2001 International Clarinet Association ClarinetFests®, and she has performed in South Korea, France, England, and Mexico. Her debut CD will be released this fall on MSR Classics featuring premiere recordings of works by Evan Hause and William Bolcom and two works composed for Benny Goodman: Morton Gould’s Recovery Music and Alan Shulman’s Rendezvous. She earned graduate degrees including the DMA degree from the Yale

School of Music where she studied materials in the Benny Goodman Papers, resulting in an award-winning project on Goodman’s classical clarinet commissions and career. She teaches clarinet at the Mason Gross School of the Arts, Rutgers University. She is a Conn-Selmer Artist, playing Selmer Paris Clarinets, and she is a Rico Artist playing Rico Reserve Reeds.

The Jasper String Quartet (J Freivogel, Sae Niwa, Sam Quintal, and Rachel Henderson) is the winner of the Grand Prize and the Audience Prize at the 2008 Plowman Chamber Music Competition, the Grand Prize at the 2008 Coleman Competition, First Prize at Chamber Music Yellow Springs 2008, and the Silver Medal at the 2008 and 2009 Fischoff Chamber Music Competitions. They are currently the graduate quartet-in-residence at the Yale School of Music, studying with the Tokyo String Quartet.

The Jaspers are the 2009-10 Ernst C. Stiefel String Quartet-in-Residence at the Caramoor Center for Music and Arts and were the first ensemble to win the Yale School of Music’s Horatio Parker Memorial Prize, an award established in 1945 and selected by the faculty for “best fulfilling Dean Parker’s lofty musical ideals”. Originally formed as a student ensemble at Oberlin Conservatory, the Jaspers began pursuing a professional career when they became Rice University’s graduate quartet-in-residence in 2006. J and Rachel are married and all four members are close friends, living within a block of each other in New Haven, Connecticut. www.jasperquartet.com.

Violinist Ani Kavafian’s career has been marked by great diversity as soloist with major orches- tras, as a chamber musician, and as a recitalist. She is also in great demand as a teacher, having taught at Mannes School of Music, Manhattan,

artist profiles

Queens College, McGill, and Stony Brook Universities and capped by her appointment as Professor in the Practice of Violin at the Yale School of Music in 2006. Ms. Kavafian has appeared as soloist with the New York Philharmonic, the Philadelphia, and Cleveland Orchestras as well as the Los Angeles and St. Paul Chamber Orchestras. Along with her sister, Ida, she has appeared around the country in recital as well as soloists with orchestras.

As an artist of the Chamber Music Society since 1979, Ani Kavafian continues to tour around the United States as well as in Canada and the Far East. Her appearances at Alice Tully Hall have now numbered well over 1,000. Ms. Kavafian is also a member of Trio da Salo with violist Barbara Westphal and cellist Gustav Rivinius. She is a founding member of the Triton Horn Trio with William Purvis and Mihae Lee. Ms. Kavafian has also joined with clarinetist David Shifrin and pianist Andre-Michel Schub and performs as violinist and violist with them around the country. Along with cellist Carter Brey, she is the artistic director of the New Jersey chamber music series Mostly Music.

In 1979 Ms. Kavafian was awarded the Avery Fisher Prize. She has appeared at the White House on three separate occasions and has been featured on many network and PBS television music specials. Recently Ms. Kavafian and Kenneth Cooper released a live recording of Bach’s Six Sonatas for Violin and Fortepiano on the Kleos Classics label. In 2007, Artek released a recording of Mozart Piano and Violin Sonatas with pianist Jorge Federico Osorio.

Justin O'Dell can be heard frequently as soloist and chamber musician and has performed extensively in the United States, Europe, and

South America. Recently, he performed several critically acclaimed engagements in Eastern Europe. In recent tours, Justin was featured in recitals in Bulgaria, Italy, and Brazil. In Brazil he was invited to perform at the 32nd Guarnieri International Music Festival of Goiania and to teach at the Federal University of Goias (Brazil) as a guest lecturer. In October 2007, Justin together with his Trio Sofia won first prize with gold medal at the Mercadante International Clarinet Chamber Music Competition in Italy. Recent concerto appearances include Black Dog by Scott McAllister, conducted by Kevin Sedatole, and a concerto for clarinet and orchestra entitled Transformations by Dinos Constantinedes. A new compact disc released in August contains music of Gordon Jacob and includes Justin’s contributions to the composer’s rarely heard duo and trio with winds. Justin is a Yamaha artist and performs on Yamaha CSG clarinets exclusively.

Pianist Hyeyeon Park has distinguished herself as one of Korea’s major young artists, making her orchestral debut with the Seoul Symphony Orchestra at the age of ten. Since then, she has received numerous prizes at such international competitions as Oberlin, Ettlingen, Maria Canals, Corpus Christi, Prix Amadeo, and Hugo Kauder. She has performed extensively throughout Europe, North America and Asia. Recent performances have brought her to such venues as the Kennedy Center, Wigmore Hall, Merkin Hall, Steinway Hall, Chicago Cultural Center, Philips Collection, and Seoul Arts Center, to name a few. Many concerts were broadcast on WFMT and WETA radio and channel LOOP in the USA as well as the national television stations of Spain and Mexico. As an active chamber musician, she has collaborated with such luminaries as Alan Kay, Paul Katz, Nicholas Mann, Donald

Weilerstein, and Amit Peled. A graduate of the Korean National University of the Arts and the Yale School of Music, Ms. Park is a doctoral candidate at Peabody Conservatory. She can be heard on the Urtext and HM record labels.

Winner of the 2000 Avery Fisher prize, David Shifrin, clarinet, has appeared with the Philadelphia and Minnesota orchestras and the Dallas, Seattle, Houston, Milwaukee, Detroit, and Denver symphonies. He has appeared in recital at Alice Tully Hall, Weill Recital Hall at Carnegie Hall, and the 92nd Street Y in New York City, and at the Library of Congress in Washington, D.C. In addition he has appeared in recital and as soloist with orchestra, through- out Europe and Asia. A three-time Grammy nominee, he has been the artistic director of Chamber Music Northwest since 1980 and a faculty member at Yale since 1987. An artist member of the Chamber Music Society of Lincoln Center since 1989, he served as its artistic director from 1992 to 2004. David Shifrin is also the artistic director of the Yale in New York series.

Hailing from Jamestown, NY, double bassist Alexander Smith has received a B.M. from the State University of New York at Fredonia in Music Education and Performance as well as the Performer’s Certificate.

Mr. Smith has performed Solo, Chamber and Orchestral music across the North East, per- forming with the Orchard Park Symphony Orchestra as principal bass and soloist, the Southern Tier Symphony as bassist and jazz soloist, the Erie Philharmonic and the Hillhouse Opera Company. He is currently performing with the Southern Connecticut Chamber Virtuosi, New Haven Oratorio Choir and Orchestra, Yale Philharmonia and New Music New Haven.

artist profiles

Mr. Smith has maintained a private studio, served as electric and double bass instructor for the Infinity Studio, Jamestown, NY, and has also achieved status as freelance Jazz musician.He is currently living and performing in New Haven, CT, pursuing a M.M. in Double Bass Performance at the Yale School of Music where he studies with Donald Palma.

Clarinetist Mingzhe Wang, a native of China, first studied clarinet at the age of nine. He is currently completing the Doctor of Musical Arts degree at Yale University, where he obtained his Masters degree. Mr. Wang performed the Chinese premiere of Elliott Carter’s Hiyoku and has worked closely with composers such as Ezra Laderman, Martin Bresnick, and Krzystof Penderecki. In addition, he has performed on period clarinets with prominent groups such as The American Classical Orchestra and the Clarion Music Society Orchestra. Mr. Wang's performances have been broadcast on both China’s Central Television and New York’s WQXR. Mr. Wang is currently an assistant professor of clarinet at Austin Peay State University in Clarksville, Tennessee. He is a member of the Clarion Music Society Orchestra in New York City and plays with Nashville Symphony Orchestra. He is also a member of the Gateway Chamber Ensemble, an active performing and recording group he co-founded in 2008 based in Tennessee.

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September 24 don byron quartet

Morse Recital Hall, Thu, 8 pm The Ellington Jazz Series presents renowned clarinetist and saxophonist Don Byron in a jazz tribute to Benny Goodman. With Bryan Carrott, vibraphone; Kenny Davis, bass; and Eric Harland, drums.Tickets $20-30, Students $12

September 25 yale philharmonia

Woolsey Hall, Fri, 8 pmShinik Hahm conducts Verdi’s Overture to La Forza del Destino, Bruch’s Violin Concerto with soloist Jiyun Han, and Bartók’s Concerto for Orchestra. Free Admissionwshu 91.1 fm • media sponsor

September 29 yale jazz ensemble

Morse Recital Hall, Tue, 8 pmAuthentic arrangements from Yale’s Benny Goodman archives. Thomas C. Duffy, director. Tickets $10, Students $5

September 30 claude frank

Morse Recital Hall, 8 pmThe Horowitz Piano Series presents a recital of music by Mozart, Schubert, and Beethoven. Tickets $11-20, Students $6 wshu 91.1 fm • media sponsor

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