ECCO

ECCO :


Gustav Holst
, (1874-1934), St. Paul’s Suite, Op. 29, No. 2,  (1922)
I. Jig: Vivace
II. Ostinato: Presto
III. Intermezzo: Andante con moto
IV. Finale (The Dargason): Allegro

Dimitri Shostakovich, (1906-75), String Quartet No 8 in C Minor, Op 110, (1960)
I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo

Johann Sebastian Bach, (1685-1750) Chorale No. 22: Schmuke dich, o liebe Seele

Intermission

Edvard Greig, (1843-1907), Holberg Suite, Op. 40, (1884)
I. Praeludium (Allegro vivace)
II. Sarabande (Andante)
III. Gavotte (Allegretto)
IV. Air (Andante religioso)
V. Rigaudon (Allegro con brio)

Johann Sebastian Bach, (1685-1750), Chorale No. 34: Erbarm’ dich mein, o Herre Gott

David Diamond, (1915-2005), Rounds, (1944)
I. Allegro molto vivace
II. Adagio
III. Allegro vigoroso


WQXR HOST:  Elliott Forrest

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ECCO  – East Coast Chamber Orchestra

The critically acclaimed East Coast Chamber Orchestra (ECCO) is a collective of dynamic like-minded artists who convene for select periods each year to explore musical works and perform concerts of the highest artistic quality. Drawing from some of the world’s finest orchestras, chamber groups, and young soloists, ECCO strives for vitality and musical integrity; a self-governing organization, each member is equal and has a voice in every step of the artistic process, from programming to performance. ECCO believes that the best musical experience can speak to all audiences regardless of age or socioeconomic background and performs accordingly across a wide range of venues.

ECCO is also firmly committed to sharing educational experiences with the communities it visits. Through interactive children’s concerts, small group master classes, and one-on-one lessons, ECCO continually seeks out opportunities to connect with young people. Doing so creates a much more engaging concert experience, illustrating through living example the ways in which classical music can be accessible to the modern listener. Performance opportunities also allow the members of ECCO to share the musical knowledge gained during their individual and unique lifetimes of music. The same energy that is contagious in ECCO’s performances is presented and shared without the boundaries of the stage to those interested in learning.

Orpheus Chamber Orchestra

Orpheus Chamber Orchestra :


Johann Sebastian Bach, (
1685-1750), Brandenburg Concerto No. 3 in G Major, BWV 1048, (1721)
I. Allegro
II. Adagio (Cadenza)
III. Allegro

Christopher Theofanidis, (1967-), Muse, (2007)
I. brilliant, fiery
II.  with a light touch, ornate
III. willful, deliberate

 Johann Sebastian Bach, Brandenburg Concerto No. 2 in F Major, BWV 1047, (1721)
I. [no tempo indicated]
II. Andante
III. Allegro assai
Soloists: Elizabeth Mann, flute, Roni Gal-Ed, oboe, Caleb Hudson, trumpet, Eric Wyrick, violin

Intermission

Johann Sebastian BachBrandenburg Concerto No. 5 in D Major, BWV 1050, (1721)
I. Allegro
II. Affetuoso
III. Allegro
Soloists: Elizabeth Mann, flute, Areta Zhulla, violin, Paolo Bordignon, harpsichord

Johann Sebastian Bach, Brandenburg Concerto No 6 in B-flat Major, BWV 1051, (1721)
I. Allegro
II. Adagio ma non tanto
III. Allegro
Soloists: Dov Scheindlin, viola, Nardo Poy, viola

**The performance of the Orpheus Chamber Orchestra has been made possible by a generous grant from a Naumburg Orchestral Concerts Board member.**

WQXR HOST: Annie Bergen

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PROGRAM NOTES:

The​ Brandenburg Concertos

JOHANN SEBASTIAN BACH
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig, Germany

There are only three instances in Bach’s life where he made special copies of his compositions to be presented to nobility. The set of six Brandenburg Concertos (1721) was the first such instance, as they were presented to the Margrave of Brandenburg along with a letter from Bach asking for employment. A true staple of the Orpheus repertoire, the concertos exude a spirit of cheerfulness and joy, showcasing the many options available within the Baroque concerto form. From the spectacular harpsichord solo of the fifth concerto to the soaring trumpet passages of the second, this is music of amazing sophistication that remains a yardstick by which all great classical concertos are measured.

Brandenburg​ Concerto No. 3 in G Major, BWV 1048 [1721]
Instead of the typical​ concerto grosso​ setup of a solo group within the orchestra, the Third​ Brandenburg Concerto treats all members of the ensemble as soloists, with independent lines for three violins, three violas and three cellos supported by the basso continuo accompaniment. The equitable distribution of the material is especially clear in the first movement, in which the primary motive—a three-note figure that drops to the lower neighbor note and then returns to the starting pitch—cascades through the different voices.
The central​ Adagio movement consists simply of two linking chords, sometimes elaborated by an improvised cadenza. The concerto closes with a barreling​ Allegro finale, its tempo and character matching the reeling gigues that conclude most of Bach’s dance suites.
 
Brandenburg Concerto No. 5 in D Major, BWV 1050 [1721]
The Fifth Brandenburg Concerto features flute, violin and harpsichord as soloists. Such a trio was a common chamber music ensemble at the time, playing works known as trio sonatas. What is remarkable about this concerto is that the harpsichord functions as more than a supporting accompanist: It contributes whirlwind solo lines, and it issues a monster of a cadenza at the end of the first movement. This use of the harpsichord as a solo
instrument foreshadows the seminal keyboard concertos Bach later assembled in Leipzig.
The middle movement, labeled Affettuoso (“with feeling”), presents the soloists without the accompanying strings. Unlike a trio sonata, in which the harpsichord would typically have just a bass line with the right-hand harmonies filled in ad libitum, the harpsichordist’s right hand plays its own melodic line that intermingles with the flute and violin. In the finale, a fugue reinforces the equal footing of the voices. The violin and
flute take the first two entrances, and the harpsichord jumps in with the third and fourth voices of the fugue.
 
Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 [1721]
The Sixth​ Brandenburg Concerto limits its palette to the lower strings, including instruments from the viol family that have fallen out of fashion. With the violins absent, the two top lines go to instruments labeled viola da braccio​, or viola “on the arm”— meaning violas in the modern sense, held like violins. Joining as a third solo voice is a cello, also from the violin family.
The accompanying lines, marked​ viola da gamba and violone​, indicate bowed instruments that have frets tied to the fingerboard, and that are held upright (“da gamba” means “on the leg”). The inclusion of relatively simple viola da gamba parts may have been an attempt on Bach’s part to include his employer, Prince Leopold, who played the instrument reasonably well. In modern practice, two cellos and a contrabass substitute for
the viols.
A distinguishing aspect of the first movement is its very slow harmonic motion in the tutti​ sections, with persistent pulses holding steady while the violas add decorative filigree. If this was one way to avoid straining a less confident viol player such as the prince, the middle movement solves the problem by eliminating the viols entirely. The violas spin out long lines that rise into the violin’s usual register, supported by walking cello lines and spacious accompaniment from the basso continuo​. The finale is another festive dance in the style of a gigue, in which the soloists elaborate the main theme with
passages of flowing sixteenth-notes.
 
Brandenburg Concerto No. 2 in F Major, BWV 1047 [1721]
For the Second Brandenburg Concerto, the distinctive solo group consists of trumpet, flute (substituting for the original recorder), oboe and violin. The trumpet Bach wrote for was a natural instrument without valves, meaning that the range was confined to the notes of the overtone series extending up from the instrument’s fundamental pitch. The low overtones are spaced widely, as in the typical intervals of bugle calls, so to play melodies with adjacent notes requires accessing the higher harmonics. Playing in this​ clarino range of the natural trumpet requires extreme control and strength, and it produces one of the most bright and penetrating of all musical colors, lending the sonic palette of the Second Brandenburg Concerto its particular brilliance.

The jubilant opening movement makes up for the mismatched strength of the solo instruments by separating the voices out for individual statements and contrapuntal sparring. The more delicate aspects of the flute, oboe and violin emerge in the middle Andante movement, in which a walking bass line supports polyphonic weavings. A heralding call from the trumpet announces the Allegro third movement, initiating a rowdy finale that serves as a bookend to the unbridled joy of the opening movement.Incidentally, the Second Brandenburg Concerto holds the unique distinction of being the work of human creation intended to demonstrate to anyone listening in deep space the presence of intelligent life on Earth. It is the first selection of music broadcasting from the Voyager Spacecraft, a vessel launched in 1977 that has since traveled beyond our solar system.

© 2017 Aaron Grad


ORPHEUS CHAMBER ORCHESTRA
A standard-bearer of innovation and artistic excellence, Orpheus Chamber Orchestra is one of the world’s foremost chamber orchestras. Julian Fifer and a group of like-minded young musicians determined to combine the intimacy and warmth of a chamber ensemble to the richness of an orchestra founded Orpheus in 1972.  With 71 albums, including the Grammy Award-winning Shadow Dances: Stravinsky Miniatures, and 42 commissioned and premiered original works, Orpheus rotates musical leadership roles for each work and strives to perform diverse repertoire through collaboration and open dialogue.

Performing without a conductor, Orpheus presents an annual series at Carnegie Hall and tours extensively to major national and international venues. For the 2017-18 Season at Carnegie Hall Orpheus welcomes back Grammy-winning pianist André Watts for Mozart’s Piano Concerto No. 9. The Norwegian cellist Truls Mørk makes his long-awaited Orpheus debut with Shostakovich’s First Cello Concerto, a fascinating product of Soviet Russia that embeds a core of yearning and struggle within a facade of whimsy and humor. In February, Orpheus welcomes Norway’s young trumpet sensation Tine Thing Helseth, featuring concertos by Vivaldi and Albinoni, as well as Mozart’s popular Symphony No. 40. The season closes with Georgian violinist Lisa Batiashvili performing Prokofiev’s Second Violin Concerto, a powerful yet vulnerable work created while the composer teetered between his life of exile in Europe and a return to his transformed homeland.

Orpheus has trademarked its signature mode of operation, the Orpheus Process™, an original method that places democracy at the center of artistic execution. It has been the focus of studies at Harvard and of leadership seminars at Morgan Stanley and Memorial Sloan-Kettering Hospital, among others. Two unique education and engagement programs, Access Orpheus and Orpheus Institute, aim to bring this approach to students of all ages.

Access Orpheus, Orpheus’ educational initiative, shares the orchestra’s collaborative music-making process with public school students from all five boroughs in New York City. Because of declining resources for arts education, many public schools do not have access to fulltime arts teachers to provide music instruction and exposure to art and culture. Access Orpheus helps to bridge this gap with in-class visits, attendance at working rehearsals, and free tickets for performances at Carnegie Hall.

Orpheus Institute brings the Orpheus Process™ and the orchestra’s musicians to select colleges, universities, conservatories, and businesses to work directly with leaders of tomorrow. Corporate employees and students in all fields of study learn from Orpheus’ creative process and in areas of collaboration, communication, creative problem solving, and shared leadership. In the coming seasons, Orpheus will continue to share its leadership methods and performance practices as the ensemble provides audiences with the highest level of musicianship and programming.

Orpheus Chamber Orchestra Plays Bach Live From Central Park

The Orpheus Chamber Orchestra resumes its concert on July 9, 2013, at the Naumburg Bandshell in Central Park following a rain shower. (Kim Nowacki/WQXR )

At 7:30 pm on Tuesday, July 18, the Naumburg Orchestral Concerts series in Central Park continues with the Orpheus Chamber Orchestra playing an nearly all-Bach program. Performing without a conductor, Orpheus presents an annual series at Carnegie Hall and tours extensively to major national and international venues.

The Knights

Program

The Knights

“On a fast track to the top of the chamber orchestra ladder (Cleveland Classical)”

Eric Jacobsen, conductor

Nicholas Phan, tenor
Michael P. Atkinson
, French horn
Adam Hollander, oboe
Johnny Gandelsman, violin

Carl Philipp Emanuel Bach (1714-88)
Sinfonia in C Major, Wq. 182, No.3, (1773)

Igor Stravinsky (1882-1971)
Concerto in D, (1946)

  1. Vivace Arioso
  2. AndantinoRondo
  3. Allegro

Johann Sebastian Bach (1685-1750)
Concerto for Oboe & Violin in C minor, Bwv. 1060, (1733)

  1. Allegro
  2. Adagio
  3. Allegro


INTERMISSION


Benjamin Britten
(1913-76)
Serenade for Tenor, Horn, & Strings, Op. 31, (1943)
(Nicholas Phan-tenor, Michael P. Atkinson-French horn
Adam Hollander-oboe, Johnny Gandelsman-violin)

  1. “Prologue” (horn solo)
  2. “Pastoral”, a setting of The Evening Quatrains by Charles Cotton (1630–1687)
  3. “Nocturne”, Blow, bugle, blow by Alfred, Lord Tennyson (1809–1892)
  4. “Elegy”, The Sick Rose by William Blake (1757–1827)
  5. “Dirge”, the anonymous Lyke-Wake Dirge (fifteenth century)
  6. “Hymn”, Hymn to Diana by Ben Jonson (1572–1637)
  7. “Sonnet”, To Sleep by John Keats (1795–1821)
  8. “Epilogue” (horn solo; reprise of Prologue, played offstage)

The Knights…the ground beneath our feet, (World Premiere)


WQXR HOST: Naomi Lewin

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The Matt Herskowitz Trio

Program

The Matt Herskowitz Trio

Matt Herskowitz, piano

Mat Fieldes, bass

Dave Rozenblatt, drums


  1. S. Bach
    , (1685–1750) arr. Matt Herskowitz
    Prelude in C minor, Well Tempered Clavier Book 2
    , “Bach à la Jazz”
    (
    from the soundtrack of the film The Triplets of Belleville)

    J. S. Bach, (1685–1750) arr. Matt Herskowitz
    Preambulum from Partita no. 5 in G major

    Robert Schumann, (1810-1856) arr. Matt Herskowitz
    Concerto in A minor, Op. 54

    Allegro affettuoso

    Robert Schumann, (1810-1856) arr. Matt Herskowitz
    Toccata in C major, Op. 7 (1829-1833)

    Matt Herskowitz
    Polonaise Libanaise


INTERMISSION

Matt Herskowitz
Scenes from Jerusalem Trilogy


Matt Herskowitz

Bella’s Lament (from the musical theater play “Bella, the Colour of Love”)


Frédéric Chopin
, (1810-1849) arr. Matt Herskowitz
Sonata no. 2 in Bb minor, Op. 35

Grave – Doppio movimento

Sergei Prokofiev (1891-1953)
Etude in C minor, Op. 2 no. 3, “Prokofiev’s Revenge”

The Matt Herskowitz Trio

Program

The Matt Herskowitz Trio

Matt Herskowitz, piano

Mat Fieldes, bass

Dave Rozenblatt, drums


  1. S. Bach, (1685–1750) arr. Matt Herskowitz
    Prelude in C minor, Well Tempered Clavier Book 2
    , “Bach à la Jazz”
    (
    from the soundtrack of the film The Triplets of Belleville)J. S. Bach, (1685–1750) arr. Matt Herskowitz
    Preambulum from Partita no. 5 in G major
    Robert Schumann

    , (1810-1856) arr. Matt Herskowitz
    Concerto in A minor, Op. 54

    Allegro affettuoso   Robert Schumann, (1810-1856) arr. Matt Herskowitz
    Toccata in C major, Op. 7 (1829-1833)  Matt Herskowitz
    Polonaise Libanaise


INTERMISSION

Matt Herskowitz
Scenes from Jerusalem Trilogy


Matt Herskowitz

Bella’s Lament (from the musical theater play “Bella, the Colour of Love”)
Frédéric Chopin, (1810-1849) arr. Matt Herskowitz
Sonata no. 2 in Bb minor, Op. 35

Grave – Doppio movimento

Sergei Prokofiev (1891-1953)
Etude in C minor, Op. 2 no. 3, “Prokofiev’s Revenge”

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Time for Three

Program

Time For Three:

Time for Three’s program shall be announced from the stage. The repertoire ranges from from Bach to the Beatles, to Amazing Grace and original compositions. Time For Three’s program has something for everyone.

***Wyoming 307 – R Meyer

Forget About It – R Meyer

Black Bird – Lennon McCartney

Bach Double – Bach

Csardas – Monti

Shenandoah – Traditional

Fox Down – R Meyer

Turkey In The Straw – Traditional

Jerusalem’s Ridge – Bill Monroe

Ragtime Annie – Traditional


INTERMISSION

Philly Phunk – R Meyer

Of Time and Three Rivers – R Meyer

Thunder Stomp – R Meyer

Ashokan Farewell/Amazing Grace – Jay Ungar, traditional

Ecuador – R Meyer

Brahms Hungarian Dance #5 – Brahms

Orange Blossom Special – Charlie Rouse

Encore: Hallelujah – Lenard Cohen

Extra tunes:

Quail Hollow – Nick Kendall

Back Home Again In Indiana – composer?

Don’t Forget – R Meyer

Bradford Commission – Kendall/De Pue/Meyer

Mohawk – R Meyer

The Hymn – Kendall/De Pue/Meyer

Moon River – Henry Mancini

All works arranged by Time for Three

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Additional Information

TIME FOR THREE The groundbreaking, category-shattering trio Time for Three transcends traditional classification, with elements of classical, country western, gypsy and jazz idioms forming a blend all its own. The members — Zachary (Zach) De Pue, violin; Nicolas (Nick) Kendall, violin; and Ranaan Meyer, double bass — carry a passion for improvisation, composing and arranging, all prime elements of the ensemble’s playing.

What started as a trio of musicians who played together for fun while students at Philadelphia’s Curtis Institute for Music evolved into Time for Three, or Tf3 for short — a charismatic ensemble with a reputation for limitless enthusiasm and no musical boundaries. Violinists Zachary De Pue and Nicolas Kendall first discovered their mutual love of fiddling in the country western and bluegrass styles. Bassist Ranaan Meyer then introduced them to his deep roots in jazz and improvisation. After considerable experimentation, the three officially formed Tf3. The ensemble gained instant attention in July 2003 during a lightning-induced power failure at Philadelphia’s Mann Music Center. While technicians attempted to restore onstage lighting, Ranaan and Zach, who were both performing with The Philadelphia Orchestra, obliged with an impromptu jam session that included works as far afield from the originally scheduled symphony as “Jerusalem’s Ridge,” “Ragtime Annie,” and “The Orange Blossom Special.” The crowd went wild.

To date, the group has performed hundreds of engagements as diverse as its music: from featured guest soloists with The Philadelphia Orchestra to opening for k.d. lang.

Tf3 sets itself apart not only with its varied repertoire performed with astonishing technical acuity, but also through its approach. Its high-energy performances are free of conventional practices, drawing instead from the members’ differing musical backgrounds. The trio also performs its own arrangements of traditional repertoire and Ranaan Meyer provides original compositions to complement the trio’s offerings.

Tf3 has performed on many of the nation’s impressive stages, including the Mann Music Center in Philadelphia, the Kennedy Center in Washington, D.C., and Joe’s Pub in New York. They have performed their own original works with over 60 orchestras. The group recorded the soundtrack to the History Channel’s production, The Spanish-American War, and in January, 2010, on the E1 Music (formerly Koch) label, will release its third CD, 3 Fervent Travelers. Their first recording, titled Time for Three, was released in October 2002, followed by a second CD released in January 2006, We just burned this for you! In addition, Time for Three has made a selection of its music available for digital download.

The ensemble has begun a major commissioning program to expand its unique repertoire for both symphony orchestras and concert series. One of these projects has involved a new work written by celebrated composer Jennifer Higdon, premiered in six performances by Tf3 with The Philadelphia Orchestra and Christoph Eschenbach in January 2008. Future commissions will include works by Chris Brubeck and William Bolcom.

Other highlights of Tf3’s past seasons include the Beethoven Society in Washington, D.C.; Cerritos Center in Los Angeles; Joanne Woodward’s Westport Playhouse; the Philadelphia Folk Festival; Wyoming’s Grand Teton Music Festival; and Chicago’s “Music in the Loft” series. The trio has performed with the Chicago Symphony Orchestra at Ravinia under Christoph Eschenbach; the Cleveland Pops in Severance Hall and at the Blossom Festival; the San Francisco Symphony; at the Saratoga Performing Arts Center with the Philadelphia Orchestra conducted by Charles Dutoit; in a two-week residency at the University of Michigan; a New Year’s Eve concert with the Indianapolis Symphony; in Memphis with the IRIS Chamber Orchestra; in three cities in Florida with the Sunshine Pops; with the New World Symphony conducted by Michael Tilson Thomas; and with the Philly Pops and Peter Nero.

In addition to its demanding performance schedule, the trio is committed to reaching younger audiences and has participated in a number of educational residencies and outreach concerts including Paul Newman’s Hole In The Wall Gang Camp (for which they have helped raise over $8 million along with Whoopi Goldberg, Alec Baldwin, Mikhail Baryshnikov and Joanne Woodward); The Fox Channel’s “Good Morning Philadelphia” telecast from the Kimmel Center; the Liberty Awards Ceremony honoring Colin Powell; and the Philadelphia Chamber of Commerce’s morning debate banquet for gubernatorial candidates Edward Rendell and Mike Fisher. Tf3 was also featured in the Pennsylvania Society’s televised annual gala from New York’s Waldorf-Astoria.

Time for Three has been seen and heard frequently on various television and radio broadcasts throughout the country, including numerous times on Public Television and NPR, and was featured in a documentary film about Philadelphia’s Rittenhouse Square directed by Robert Downey, Sr.

The 2009-10 season finds Time for Three continuing a rigorous North American performance schedule, including appearances with the Baltimore Symphony Orchestra under Marin Alsop; the Fort Worth Symphony under Miguel Harth-Bedoya; and the Indianapolis Symphony Orchestra. Also in 2009-10, the group furthers its commitment to outreach launching a multi-year residency with the Indianapolis Symphony and makes its Carnegie Hall debut on the Family Concert Series.

Or- Please see: http://tf3.com/index.php?page=bio for an updated Time For Three Bio