JULY 18, 2019 @ 7:00 PM
A Far Cry
Georg Muffat, (1653-1704), Concerto Grosso No. 12 “Propitia Sydera”, (1701) —
Sonata-Grave, Aria-Largo, Gavotta-Alla breve e presto, Grave, Ciacona-Un poco grave, Borea-Allegro —
Caroline Shaw, (1982), Entr’acte, (2011, adapted for String Orchestra by A Far Cry 2014) —
Lembit Beecher, (1980), Conference of the Birds, (2017, Premiered with A Far Cry, 2018) NEW YORK CITY PREMIERE —
INTERMISSION
Pyotr Ilyich Tchaikovsky, (1840-1893), Serenade in C Major, Op. 48, (1880) —
Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
Valse: Moderato — Tempo di valse
Élégie: Larghetto elegiac
Finale (Tema russo): Andante — Allegro con spirito —
**The performance of A Far Cry has been made possible by a generous grant from The Arthur Loeb Foundation.**
WQXR HOST: Paul Cavalconte
ADDITIONAL INFORMATION
PROGRAM NOTES
Georg Muffat (1653-1704) :: Ciacona from Concerto Grosso No. XII, Propitia Sydera (To appease the stars)
The Italian violin virtuoso Arcangelo Corelli was at the center of a musical universe revolving around him, both in interest and influence. His renown stretched across the continent, and over to England, where the Italian music (especially of Corelli) was the rage. You either wanted to meet him, or did—and made sure to let everyone know about it.
Georg Muffat, a French composer of Scottish descent, was introduced to the concerti grossi of Corelli (his exact contemporary) during a sojourn to Rome, and subsequently wrote in the genre as well, completing twelve within his lifetime. An exciting instrumental format in the days prior to symphonies, the concerto grosso displayed the virtuosity of a smaller group of instrumentalists in conversation—at times perhaps argument—with a larger ensemble (the “concertino” and the “ripieno,” respectively). Movements of works were often imitative and inspired by dance. A popular one to riff on was the Ciaconna because of its repetitive base line upon which multiple variants of melodic material could be overlaid. Though traditionally a more fast-paced dance, as it became adapted for instrumental music it also was often slowed down to a more somber, or regal pace, as Muffat does here. Echoes of that earlier, jazzy, Ciaconna can still be found carefully embedded within Muffat’s composition; two contrasting versions of the same form, engaging in brilliant dialogue with each other.
Caroline Shaw (b. 1982) :: Entr’acte
Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.
-Caroline Shaw
Lembit Beecher (b. 1980) :: The Conference of the Birds
“The Conference of the Birds” is a 12th-century Sufi epic poem by the Persian poet Farid ud-Din Attar. It tells a story about the birds of the world who gather together in a time of strife. Led by the hoopoe bird, they decide to set out on a long journey to find their king. Many birds desert or die along the journey, but after passing through valley after valley, the remaining 30 arrive at a lake at the top of a mountain. Looking in the lake at their own reflection, they finally see their king. I first came across it through an adaptation by the brilliant Czech-American illustrator and author Peter Sís. This was one of the most beautiful books I had ever seen: an adult picture book with an unusual graphic sensibility, a concise and beautifully ambiguous text, and full-page illustrations of mysterious landscapes that carried surprising emotional weight. Numerous adaptations of the original poem, including plays, children’s books and pieces of music, emphasized the story’s simple yet colorful narrative and moral didacticism, but what drew me to Sís’s version, aside from the expressive, textural drawings which so suggested music, was the deep sense of loss in the pages. So many birds are left by the wayside during this journey towards truth and enlightenment. Does progress or attempted progress always come at a cost?
I initially thought about trying to turn the story into an opera – but I realized I was less interested in the narrative scope of the story than in the emotions and visceral energy of specific moments. I also knew I wanted to write music as Sís created his drawings, with strong gestures and lots of small figures combining to form large shapes. A string orchestra seemed perfect for creating solo lines that gathered into clouds of sounds. When I began talking to A Far Cry about writing a piece, I realized this would be a perfect project for the group. Having gotten to know the group, I wanted to write music for individual personalities: each member of the ensemble has his/her own part. These parts join each other in different combinations, but just as quickly split up again. The leadership of the music, and the relationship of individuals to the group is always changing. As I wrote I thought about the power of crowds, and the value of individuality versus unity, but I also thought about the players of A Far Cry, and how much I admire the way they function as an ensemble, share leadership, and make music together. “The Conference of the Birds” is about 20 minutes long and is in three movements. The final two are played without a pause.
—Lembit Beecher
Pyotr Ilyich Tchaikovsky (1840-1893) :: Serenade for Strings in C major, Op. 48
Tchaikovsky once wrote, “I don’t just like Mozart, I idolize him.” In an era predating recording devices, the only way one could become familiar with hearing the works of a composer was to either attend concerts where the music was being performed, or be wealthy enough to hire people to play it for you at home. So, to broaden public knowledge of his idol, in 1887 Tchaikovsky re-arranged four Mozart pieces into the Suite No. 4 in G Major, Op. 61, (“Mozartiana”). Seven years earlier he wrote the Serenade for Strings in C Major, the first movement of which was meant to be reflective of Mozart whom he thought was “devoid of self-satisfaction and boastfulness…a genius whose childlike innocence, gentleness of spirit…are scarcely of this earth.”
How appropriate that those sentiments found an outlet in a serenade, a genre richly cultivated by Mozart who transformed them from the musical toss-offs they historically were (often serenades were only performed once and enjoyed casually in the evening, like an audible amuse-bouche) into sublime concert works worthy of repeat performances.
The Serenade for Strings is distinctly Tchaikovsky, yet distilled. Here he leaves aside his occasionally bombastic sensibilities and overt desire for virtuosity in order to showcase his extraordinary gift for lyrical melody, which in this setting sparkles like a rare jewel catching and embracing rays of light. In a letter to his patroness and friend Nadezhada von Meck he wrote, “It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.”
Observed as “string quintet in texture,” it begins with a lush descending homophonic motif commencing what will be a tense relationship between gravity and anti-gravity via long descending and ascending lines throughout the larger structure of the first three movements. The effect is a work that breathes with lines working in harmony of movement—which is perhaps why George Balanchine set the work to choreography. The charming Valse of the second movement glimmers all the more next to the noble melancholy of the Élégie, featuring melodies infused with signature Tchaikovsky yearning and striving. The Finale, at least temporarily, appears to break the tug between rising and descending in its suspended hovering like an autumn leaf fluttering in midair right before it is carried away in a flurry of an upward breeze—or, in this case, a whirlwind of Russian folk melodies, which are in turn abruptly brought to an end with the solemn return of the opening material. It returns only briefly, however, before it dissolves effortlessly in a seamless metamorphosis back into vivacity.
Program Notes by Kathryn J Allwine Bacasmot. Kathryn is a pianist/harpsichordist, musicologist, music & cultural critic, and freelance writer. She is a graduate of New England Conservatory, and writes program annotations for ensembles nationwide.
A Far Cry
Called a “world-wide phenomenon” by Boston’s WBUR, A Far Cry has nurtured a distinct approach to music-making since its founding in 2007. The self-conducted orchestra is a democracy in which decisions are made collectively and leadership rotates among the players (“Criers”). This structure has led to consistently thoughtful, innovative, and unpredictable programming — and impactful collaborations with celebrated performers and composers. Over the past year, A Far Cry has risen to the top of Billboard’s Traditional Classical Chart, been named Boston’s best classical ensemble by The Improper Bostonian, and celebrated two Grammy nominations for its Visions and Variations. Boston Musical Intelligencer sums up the group: “In its first decade, this conductor-free ensemble has earned and sustained a reputation for top-drawer playing, engrossing programming, and outstanding guest artists.”
A Far Cry’s omnivorous approach has led to collaborations with artists such as Yo-Yo Ma, Simone Dinnerstein, Roomful of Teeth, the Silk Road Ensemble, Vijay Iyer, and David Krakauer. A Far Cry’s 13th season in 2019-20 includes nine Boston-area concerts as part of the group’s own series, and a celebration of the conclusion of a 10-year residency at the Isabella Stewart Gardner Museum with three concerts—the last a blowout/collaboration with Boston hip-hop luminary Moe Pope. The orchestra also tours its “Memory” program, with concerts at University of Colorado, Wake Forest University, and a debut performance at the Kennedy Center in March.
Recent tour highlights include two new commissioning projects: Philip Glass’ third piano concerto with soloist Simone Dinnerstein, and The Blue Hour, “a gorgeous and remarkably unified work” (Washington Post) written by a collaborative of five leading female composers – Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw, and Sarah Kirkland Snider; and featuring Grammy-winning singer Luciana Souza.
A Far Cry’s Crier Records launched auspiciously in 2014 with the Grammy-nominated album Dreams and Prayers. The label’s second release, Law of Mosaics, was included on many 2014 Top 10 lists, notably from New Yorker music critic Alex Ross and WQXR’s Q2 Music, which named A Far Cry as one of the “Imagination-Grabbing, Trailblazing Artists of 2014.” In 2018, Crier Records released A Far Cry’s Visions and Variations, featuring variations by Britten and Prokofiev, and Ethan Wood’s re-imagining of Mozart’s “Ah vous-dirai-je Maman.” The album received two Grammy nominations, including one for Best Chamber Music Performance.
The 18 Criers are proud to call Boston home, and maintain strong roots in the city, rehearsing at their storefront music center in Jamaica Plain and fulfilling the role of Chamber-Orchestra-in-Residence at the Isabella Stewart Gardner Museum. Collaborating with local students through educational partnerships with the New England Conservatory and Project STEP, A Far Cry aims to pass on the spirit of collaboratively-empowered music to the next generation.