October 17, 2021: Roman Rabinovich, piano CLAUDE DEBUSSY (1862-1918) Hommage à Haydn October 17, 2021: Roman Rabinovich, piano Debussy composed his Hommage à Haydn at the request of Jules Écorcheville for a special issue of the Revue S.I.M. (Société Internationale de Musique) to celebrate the centennial in May 1909 of Haydn’s death. Five other composers also accepted the commission—Paul Dukas who wrote his Prélude élégiaque, Reynaldo Hahn his Thème varié sur le nom de Haydn, Charles-Marie Widor his Fugue sur le nom d’Haydn, and Vincent d’Indy and Maurice Ravel who both wrote pieces called Meneut sur le nom d’Haydn. The pieces were published in the January 15, 1910, issue of the Revue S.I.M. They were not premiered, however, until March 11, 1911, when nineteen-year-old pianist Ennemond Trillat performed them at a Société concert at the Salle Pleyel. Each composer was given the same assignment: Write a short piano piece using the letters of Haydn’s name as a five-note motive. This was an age-old practice to honor an important person, and in cases where there was no musical equivalent for a letter it could be skipped or be replaced by a substitution note. Here the composers were all given H (B natural in German nomenclature, A, Y (using D as the substitution), D, N (using G as the substitution). The substitution notes, given by the commissioner were obtained by “putting the letter’s alphabetical order over the diatonic series of the sound scale.” As a fascinating historical note, two of the other most important French composers of the day—Camille Saint-Saëns and Gabriel Fauré—declined to participate, presumably because, as Saint-Saëns wrote to Fauré, they would be the laughingstock of Germany for the wrong use of letter-note correspondences. Debussy’s Hommage à Haydn begins with a “soft and expressive” “Valse lent” (slow waltz) in which he presents a bass melody with a distinctive dotted-rhythmic pattern and then highlights his H-A-Y-D-N motive in the upper melody line of the right hand. The second section of the piece shifts to a lively, light character with the motive sped up in the first notes of the right hand. After an even more animated section Debussy concludes with a brief reminder of the expressive opening and a final fast but quiet flourish. This afternoon’s celebration of Haydn makes the perfect occasion to include Ravel’s Menuet sur le nom d’Haydn alongside Debussy’s tribute. Ravel writes a contemplative minuet with Impressionistic harmonies, presenting the motive six times, which he labels in the score. The motive begins the piece as the first five notes in the top line of the pianist’s right hand, migrates to the bass, and appears in inner voices in reverse order and inverted in reverse order (D-G-G-C♯-B). The final utterances appear in the top of the piano’s right hand and in a slow descent from the middle register to the bass. © Jane Vial Jaffe Return to Parlance Program Notes

VIDEOS PARLANCE PERFORMANCE VIDEOS VIDEO CONCERT PREVIEWS PARLOFF MULTIMEDIA LECTURES AND INTERVIEWS Watch in full screen Go to the video you'd like to watch. Press the red button with white arrow to play video. At the bottom-right of the video player, click full screen icon. PARLOFF LECTURES AT LINCOLN CENTER CHAMBER MUSIC SOCIETY THE SIXTEEN BEETHOVEN STRING QUARTETS Lecture on Beethoven’s Quartet, Op. 18, Nos. 1, 2, & 3 Lecture on Beethoven’s Quartet, Op. 59, Nos. 1, 2, & 3 Lecture on Beethoven’s Quartet, Op. 132, Op. 130, & the “Grosse Fuge,” Op. 133 Lecture on Beethoven’s Quartet, Op. 18, Nos. 4, 5, & 6 Lecture on Beethoven’s Quartet, Op. 74, Op. 95, & Op. 127 Lecture on Beethoven’s Quartet, Op. 131 & Op. 135 THE FIFTEEN SHOSTAKOVICH STRING QUARTETS Lecture on Shostakovich’s Life and Works Lecture on Shostakovich String Quartet Nos. 1, 5, 6, & 12 Lecture on Shostakovich String Quartet Nos. 3, 7, 13, & 14 Lecture on Shostakovich String Quartet Nos. 4, 8, 10, 11 Lecture on Shostakovich String Quartet Nos. 2, 9, & 15 HAYDN’S SEVEN LAST WORDS OF CHRIST Lecture on Haydn’s Seven Last Words of Christ SCHUBERT’S WINTERREISE Lecture on Schubert’s Winterreise THE HISTORY OF RUSSIAN MUSIC Lecture on the history of Russian Music THE INCREDIBLE DECADE: 1820 - 1830 Eloquent Masterpieces: Beethoven Piano Sonata, Op. 110, Schubert, “Arpeggione” Sonata, D. 821, and Mendelssohn, Quintet No. 1, Op. 18 Beethoven Reflected: Beethoven String Quartets, Op. 95 “Serioso” and Op. 132, and Mendelssohn String Quartet No. 2, Op. 13 Masterpieces for Eight: Schubert Octet in F major for Winds and Strings, D. 803 and Mendelssohn Octet in E-flat major for Strings, Op. 20 Transcendence: Beethoven String Quartet, Op. 135 and Schubert Cello Quintet, D. 956, Op. 163 PARLOFF LECTURES AT MUSIC@MENLO GEORGE CRUMB’S “BLACK ANGELS” AND OLIVIER MESSIAEN’S “QUARTET FOR THE END OF TIME” Part 1: Lecture on George Crumb’s “Black Angels” for Electric String Quartet Part 2: Lecture on Olivier Messiaen’s “Quartet for the End of Time” HAYDN’S LIFE AND TIMES Haydn’s Life and Music: Part 1 (1732 – 1770) Haydn’s Life and Music: Part 2 (1770 – 1809) CLASSICAL TWILIGHT: SCHUBERT & BEETHOVEN IN THE 1820S Part 1: Lecture on Schubert and Beethoven’s Relationship Part 2: Lecture on Schubert’s Winterreise THE MUSICAL HISTORIES OF LONDON, PARIS, AND SAINT PETERSBURG Part 1: Lecture on Music in London, Paris, and Saint Petersburg From 1509 to 1860 Part 2: Lecture on Music in London, Paris, and Saint Petersburg From 1860 to 1942 SEARCHING FOR THE MUSICAL SOUL OF RUSSIA Part 1: Lecture on Russian Music History (Medieval through the 19th Century) Part 2: Lecture on Russian Music History (20th Century) THE ART OF LATE BACH Lecture on Bach’s Musical Offering Lecture on Bach’s Art of Fugue FROM EXOTICISM TO FOLKLORISM: THE QUEST FOR MUSICAL AUTHENTICITY Lecture on The Style Hongrois Lecture on Bartók’s Quest for Musical Authenticity MUSIC AND SPIRITUALITY: EXPRESSING THE INEXPRESSIBLE Part 1: Defining Musical Spirituality Includes a discussion of Andrea Clearfield’s Tibetan Buddhist-inspired Cantata, Tse Go La Part 2: Haydn’s Seven Last Words of Christ PARLOFF LECTURES ON PONANT CRUISE LINES BRAHMS AND THE SCHUMANNS Part 1: Lecture on Brahms and the Schumanns (1850 – 1853) Part 2: Lecture on Brahms and the Schumanns (1853 – 1897) INTERVIEWS A CONVERSATION WITH THE MET FLUTISTS Michael Parloff interviews Metropolitan Opera flutists Denis Bouriakov, Stefán Ragnar Höskuldsson, Stephanie Mortimore, and Maron Khoury Part 1: Biographies Part 2: Life at the Met PARLOFF FLUTE PERFORMANCES François-Joseph Gossec: Gavotte Five Selections from Anna Magdalena Bach’s Notebook Albert Franz Doppler: Fantaisie Pastorale Hongroise, Op. 26 Cécile Chaminade: Concertino, Op. 107

April 14, 2019: Anne Akiko Meyers, violin; Jason Vieaux, guitar MANUEL DE FALLA (1876-1946) Siete Canciones Populares Espanolas April 14, 2019: Anne Akiko Meyers, violin; Jason Vieaux, guitar In 1907 Spanish composer Manuel de Falla went to Paris, where he formed friendships with Debussy, Dukas, and Ravel that greatly influenced his career. At the time of the Paris production of his opera La vida breve in the winter of 1913–14, a Spanish singer in the cast asked Falla for advice about which Spanish songs she should include on a Paris recital. He decided to arrange some Spanish songs himself using his own system of harmony, which he had just tried out for the harmonization of a Greek folk song requested by a Greek singing teacher. This system stemmed from Falla’s study of Louis Lucas’s L’acoustique nouvelle , a mid-nineteenth-century treatise he had picked up as a young man in Madrid at an open-air book stall, and which was to influence his later style profoundly. It consisted of deriving harmonies from the natural resonance of a fundamental tone, that is, its overtones, then using these as new fundamental tones. Though Falla never lost sight of traditional harmony he claimed that this system, which anticipated harmonic theories of the twentieth century, revolutionized his entire conception of harmony. The composer completed the Siete canciones in Paris before the outbreak of World War I forced him to return to Madrid in 1914. Ironically, He did not permit the singer who had sought his advice to perform them on a Spanish-themed program in Paris because of a bad experience he himself had had performing on a similar Spanish program. The songs were first performed by Luisa Vela (who had just sung in the Madrid premiere of La vida breve ) accompanied by the composer in Madrid on January 14, 1915. The first Paris performance was delayed until May 1920. The songs are dedicated to Madame Ida Godebski, a great friend of Falla; Cipa and Ida Godebski’s famous salon in Paris was a gathering place for many other composers and writers including Roussel, Stravinsky, Ravel, Gide, Valéry, and Cocteau. Falla chose to set seven folk songs from various regions of Spain. García Matos, in his detailed study of Falla’s sources in the Madrid periodical Música in 1953, found that two of the songs closely follow the folk sources as to the tunes and texts, two were retouched slightly, one was modified slightly and expanded, one reworked considerably, and one was probably created from a combination of sources. The songs have been performed far and wide in all manner of arrangements, often titled Suite populaire espagnole . Ernesto Halffter, student and friend of Falla, orchestrated the accompaniment, and subsequent adaptations have appeared for various instruments, notably a well-known arrangement for violin and piano by famous Polish violinist Paweł Kochański. (No. 2 is omitted in the violin arrangement and its offshoots, as is No. 1 in the arrangements for guitar; various order changes are also common.) “Asturiana” takes the listener to the North of Spain for a peaceful lament. The passionate “Jota” takes the name of one of the most widely known Spanish song and dance forms, associated with the region of Aragon. Falla employs the characteristic alternation of sections of rapid accompaniment in 3/8 meter with those in a slower tempo for the melody line. “Nana” is a lullaby, which Falla said he heard as a child from “his mother’s lips before he was old enough to think.” The tune stems from Andalusia, and as such differs from other Spanish cradle songs because, according to the composer, much Andalusian vocal music originated in India. The geographical origin of the “Canción” is uncertain, although Falla followed the popular theme fairly faithfully according to Matos. At the end a canon between the voice (violin in this case) and the accompaniment provides textural interest. The last song, “Polo,” of Andalusian origin, reflects the flamenco or Gypsy world. The original piano accompaniment evokes the guitar’s punteado style—returned here to its source of inspiration—and the accents represent palmadas (hand-clapping) by the spectators. © Jane Vial Jaffe Return to Parlance Program Notes

December 3, 2023: Brentano String Quartet; Antioch Chamber Ensemble LUDWIG VAN BEETHOVEN (1770–1827) Cavatina from String Quartet in B-flat, Op. 130 December 3, 2023: Brentano String Quartet; Antioch Chamber Ensemble When Prince Nicholas Galitzin ordered “one, two, or three new quartets” from Beethoven in November 1822, he could hardly have realized that he was instigating a series of works by which all later generations would judge profundity. Though the prince may have sensed something new in the first of the quartets (E-flat major, op. 127) and might have raised an eyebrow when the second (A minor, op. 132) appeared with an “extra” march and recitative before the finale, he must have been astounded by the third (B-flat major, op. 130). Composed between August and November 1825 in its original version, the B-flat Quartet began with an outwardly normal first movement only to be followed by a suite of four shorter movements and capped by a fugue of incomprehensible scope and difficulty. The prince pronounced himself pleased with the Quartets, but was only able to make one payment before going bankrupt and joining the army. Too late for Beethoven himself, but in the proper spirit, a son of Galitzin paid with interest what was owed into the Beethoven estate. The ever-faithful Schuppanzigh Quartet premiered the B-flat Quartet on March 21, 1826. Despite clamorous applause for other movements, the colossal fugue met with some resistance and the usually headstrong Beethoven was somehow persuaded to detach it and compose another concluding movement. Eventually, however, performances proliferated with the original ending—or sometimes both. The fifth movement, Cavatina, one of Beethoven’s most introspective and eloquent pieces, borrows its title from the term for an operatic aria. The emotional force of this “prayer” never failed to touch the composer himself. His friend, violinist Karl Holz reported that “the Cavatina was composed amid tears of grief; never had [Beethoven’s] music reached such a pitch of expressiveness, and the very memory of this piece used to bring tears to his eyes.” In an outwardly simple three-part form, the movement climaxes with the heartrending sobs of the first violin—Beethoven marks these “beklemmt” (oppressed, fearful)—before the condensed reprise of the opening. The emotional impact that Holz reported is so widely recognized that the movement is often played as a memorial tribute. Return to Parlance Program Notes

SUNDAY, SEPTEMBER 23, 2018 AT 3 PM GALA OPENER CHAMBER CONCERTOS BUY TICKETS NICHOLAS CANELLAKIS, CELLO “Superb young soloist.” — The New Yorker MICHAEL BROWN, PIANO “Formidable pianist” — The New York Times DAVID J. GROSSMAN, DOUBLE BASS Principal Bass LA Chamber Orchestra MATTHEW LIPMAN, VIOLA “Rich tone, eloquent phrasing.” — The New York Times ARNAUD SUSSMANN, VIOLIN “Beauty of sound and elegance.” — Nice Matin EMILY DAGGETT SMITH, VIOLIN “Irrepressible élan.” — The Seattle Times SEAN LEE, VIOLIN “Breathtakingly beautiful.” — The New York Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS Six dazzling artists will blend concerto panache and salon intimacy, performing virtuoso concertos in chamber settings. PROGRAM Wolfgang Amadeus Mozart Concerto No. 14 in E flat, K. 449 for piano and string quintet Michael Brown, solo piano Program Notes Franz Schubert Rondo in A, D. 438 for violin and string quartet Sean Lee, solo violin Program Notes Ernest Chausson Concerto in D, Op. 21 for violin, piano, and string quartet Arnaud Sussmann, solo violin Program Notes Watch Sean Lee perform Schubert’s Rondo in A:

March 19, 2023 – Rachel Naomi Kudo, piano JOHANN SEBASTIAN BACH (1685-1750) Sheep May Safely Graze, BWV 208 (arr. Petri) March 19, 2023 – Rachel Naomi Kudo, piano Our discussion of the present three Bach transcriptions must begin with Ferrucio Busoni, who was Egon Petri’s teacher. As a youth Busoni adored Bach above all other composers, a passion that endured throughout his life. He not only drew on Bach’s music for inspiration in his own works but he issued a monumental edition of Bach’s solo keyboard works transcribed for piano—a twenty-five volume collection plus a seven-volume set—aided by his students Egon Petri and Bruno Mugellini. So synonymous did Bach and Busoni become in the public’s mind that on Busoni’s first American tour his wife Gerda was once introduced by a society matron as “Mrs. Bach-Busoni.” This anecdote was related by Petri, a superb German pianist of Dutch descent, who began studying with Busoni in Weimar in 1901. Petri eventually settled in the United States, taught at Mills College, and authored many Bach transcriptions at Busoni’s behest. Busoni issued his Bach edition in two collections: the twenty-five-volume Klavierwerke, and the seven-volume Bach-Busoni edition. Although Busoni’s name appears on each volume of the Klavierwerke, many were edited by Petri and a few by Bruno Mugellini. Petri had expected Busoni to supervise his and Mugellini’s editorial work and they strove to operate under his principles and to emulate his style, yet Busoni concerned himself very little with reading their proofs, much to Petri’s surprise. Busoni strove to remain true to the essence of Bach’s music in his transcriptions, but inevitably his own Romantic sensibilities crept in with his addition of tempo and pedal markings, dynamics, register changes, repeats, and performance suggestions. Nevertheless, these transcriptions are rewarding additions to the piano repertoire. Ich ruf zu dir, Herr Jesu Christ—which appears as No. 5 in Busoni’s collection of Ten Chorale Preludes (1898) and No. 41 (BWV 639) in Bach’s Orgel-Büchlein (Little Organ Book)—has become a favorite of pianists and audiences for its poignant serenity. Flowing arpeggios in the middle voice accompany the tender, mostly unadorned chorale melody, supported by a steady “walking bass.” Wachet auf, ruft uns die Stimme is actually Busoni’s transcription of what was already a transcription by Bach himself. In 1731 Bach had composed the fourth movement of his Cantata 140 (Wachet auf) in chorale-prelude style with tenor(s) taking the chorale melody, surrounded by a a lyrical countermelody for upper strings in unison and supported by continuo (bass line and harmony). Thus it was a simple task to transfer all three parts to organ, which he did in BWV 645, one of a group of six late works that became known as the “Schübler Chorales” after their publication by Johann Georg Schübler in 1748–49. Busoni’s transcription for piano, No. 2 in his Ten Chorale Preludes, maintains the lilting flow in the upper line against the steady chorale in the middle voice. Turning to the first piece of the group of transcriptions, Egon Petri arranged his version of Schafe können sicher weiden (Sheep may safely graze) not from a chorale preude by Bach but rather a soprano aria from Cantata 208 Was mir behagt, ist nur die muntre Jagd! (What pleases me is above all the lively hunt). Bach wrote secular cantatas for aristocratic patrons to celebrate special occasions such as birthdays, name days, and accession days, or for academic ceremonies, and he composed Cantata 208 on a text by Weimar court poet Salomo Franck for the birthday of Duke Christian Weissenfels in 1713. Known as the Hunt Cantata, it contains “Schafe können sicher weiden,” the well-known aria for Pales, second soprano to Diana, goddess of the hunt. For centuries listeners have been captivated by its texture of rocking parallel thirds for two flutes—the quintessential pastoral instrument—accompanying the tender main melody, which praises Duke Christian for ruling his people as a good shepherd. The lovely aria has been transcribed for countless times for various performing forces, among the first—Percy Grainger’s for band (1931), Mary Howe’s for solo piano and two pianos (1935), and William Walton’s for orchestra (1940). Egon Petri’s transcription, published in 1944 has become the best-known transcription for piano. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, MARCH 24 2019 AT 3 PM BACH’S BIRTHDAY CONCERT BUY TICKETS TIMOTHY COBB, BASS Principal Bass New York Philharmonic DOV SCHEINDLIN, VIOLA EDWARD ARRON, CELLO PAUL HUANG, VIOLIN GILLES VONSATTEL, PIANO KRISTIN LEE, VIOLIN “Kristin Lee gave a sterling performance…the performance was beautifully integrated and seamless.” — Oberon’s Grove MING-FENG HSIN, VIOLIN JOEL NOYES, CELLO DANBI UM, VIOLIN “Danbi Um’s playing is utterly dazzling…a marvelous show of superb technique” — The Strad MAURYCY BANASZEK, VIOLA PIERRE LAPOINTE, VIOLA SARAH CROCKER VONSATTEL, VIOLIN MIHAI MARICA, CELLO “Stunning Performance” — New York Times WEN QIAN, VIOLIN FEATURING ABOUT THE PERFORMANCE BUY TICKETS Celebrate Bach’s 334th Birthday with fourteen outstanding artists performing six irresistible Bachian classics. PROGRAM J.S. Bach Prelude from Suite for Cello in D, BWV 1012 Edward Aaron, cello Program Notes J.S. Bach Double Violin Concerto in D Minor BWV 1043 Paul Huang and Danbi Um, solo violins Program Notes J.S. Bach Brandenburg Concerto No. 3, BWV 1048 Program Notes J.S. Bach Prelude from Violin Partita in E, BWV 1006 Kristin Lee, violin Program Notes J.S. Bach Violin and Piano Sonata in E, BWV 1016 Sarah Crocker Vonsattel, violin; Gilles Vonsattel, piano Program Notes J.S. Bach Piano Concerto in D Minor, BWV 1052 Gilles Vonsattel, solo piano Program Notes

September 25, 2016: Jason Vieaux, guitar; Escher String Quartet ANTONIO VIVALDI (1678-1741) Guitar Concerto in D major, RV 93 September 25, 2016: Jason Vieaux, guitar; Escher String Quartet Vivaldi’s greatness lay in his extraordinary mastery of eighteenth-century instrumental forms and orchestration. Though he composed numerous operas, he is best known for his close to 500 concertos, of which more than 230 were written for solo violin, some 120 for a variety of other solo instruments including winds, many for more than one soloist, and approximately 60 for string orchestra without solo instrument known as ripieno concertos. Vivaldi’s own instrument was the violin, which he had studied with his father, a violinist at the famous St. Mark’s church in Venice. Nevertheless, his legendary interest in all instrumental families included his writing works for plucked string instruments. Vivaldi trained for the priesthood, taking his Holy Orders in 1703, the same year he became maestro di violino at the Pio Ospedale Pietà, an orphanage and renowned conservatory for girls in Venice. Though his later activities as a composer and impresario occasioned much travel, Vivaldi retained his association with the Pietà throughout his life and many of his instrumental works were designed for his students there. Four of Vivaldi’s works involve lute—the Concerto in D major for two violins, lute, and basso continuo; the Concerto in D minor for viola d’amore, lute, and basso continuo; and two Trio Sonatas (C major and G minor) for lute, violin, and continuo. The first, third, and fourth of these were dedicated to Bohemian Count Johann Joseph von Wrtby (1669–1734), prompting speculation as to what kind of instrument Vivaldi had in mind, since there was a great difference in Austro-German and Italian lutes. It is natural that the lute works are now most often played on the guitar, not only because the guitar sounds similar to the lute and has overshadowed it in popularity, but also because Vivaldi himself frequently suggested such exchanges. All three movements of the D major Concerto follow the “rounded” type of binary form, in which the opening music returns halfway through the second section, which had begun by introducing various keys and slight manipulations of the musical materials. The first movement is notable for its energetic three-note melodic elaborations and the propulsive repeated notes in the bass line. The lovely slow movement shows a completely different possibility for employing a singing line in dotted rhythms. Vivialdi creates a particularly poignant effect with a “halo” of upper string suspensions (harmonic tensions and relaxations), illuminated by the simple change to straight sixteenth notes from dotted sixteenths. The animated closing movement races along in the rhythm of a gigue, with only brief pauses for breath in the prevailing stream of eighth notes. © Jane Vial Jaffe Return to Parlance Program Notes

SUNDAY, JANUARY 19, 2025 AT 4 PM THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN ABOUT THE PERFORMANCE BUY TICKETS On January 19, it will be an honor to welcome back the inimitable organ virtuoso organist Paul Jacobs . He will introduce and perform a selection of towering masterpieces by Bach, Mendelssohn, Franck, Ives and Liszt. composed especially for the King of Instruments. 2024-2025 SEASON September 29, 2024 Cellobration! October 20, 2024 Modigliani Quartet November 17, 2024 Paul Lewis Plays Schubert December 15, 2024 The Virtuoso Flutist Denis Bouriakov January 19, 2025 The Virtuoso Organist Paul Jacobs February 9, 2025 The Virtuoso Cellist Steven Isserlis March 9, 2025 Ravel’s 150th Birthday Concert April 13, 2025 Quartetto Di Cremona May 18, 2025 Late Night With Leonard Bernstein Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS PAUL JACOBS, ORGAN “Paul Jacobs is one of the great living virtuosos.” — The Washington Post “… An obliterating performance by one of the major musicians of our time.” - Alex Ross, The New Yorker Heralded as “one of the finest organists and teachers of our day,” by Zachary Woolfe of The New York Times, “one of the major musicians of our time” by Alex Ross of The New Yorker, the internationally celebrated organist Paul Jacobs combines a probing intellect and extraordinary technical mastery with an unusually large repertoire, both old and new. He has performed to great critical acclaim on five continents and in each of the fifty United States. The only organist ever to have won a Grammy Award, Mr. Jacobs is an eloquent champion of his instrument both in the United States and abroad. PROGRAM Felix Mendelssohn Sonata No. 1 in F Minor, Op. 65 I. Allegro moderato e serioso II. Adagio III. Andante--Recitative IV. Allegro vivace assai Program Notes Cesar Franck Program Notes Prelude, Fugue, and Variation, Op. 18 Charles Ives Variations on "America" Program Notes Johann Sebastian Bach Program Notes Arioso from Cantata, BWV 156 Franz Liszt Fantasia and Fugue on 'Ad Nos, Ad Salutarem Undam' Program Notes Watch Paul Jacobs perform Bach's "Great" Fugue in G minor, BMV 542: Watch Paul Jacobs perform "Little" Fugue in G Minor, BWV 578:

SUNDAY, DECEMBER 15, 2024 AT 4 PM THE VIRTUOSO FLUTIST DENIS BOURIAKOV, FLUTE A RECITAL FOR FLUTE AND ORCHESTRA with Erin Bouriakov, Flute Musicians From The New York Philharmonic Michael Parloff, Conductor DENIS BOURIAKOV , FLUTE ERIN BOURIAKOV , FLUTE ABOUT THE PERFORMANCE BUY TICKETS 2024-2025 SEASON September 29, 2024 Cellobration! October 20, 2024 Modigliani Quartet November 17, 2024 Paul Lewis Plays Schubert December 15, 2024 The Virtuoso Flutist Denis Bouriakov January 19, 2025 The Virtuoso Organist Paul Jacobs February 9, 2025 The Virtuoso Cellist Steven Isserlis March 9, 2025 Ravel’s 150th Birthday Concert April 13, 2025 Quartetto Di Cremona May 18, 2025 Late Night With Leonard Bernstein Artist Roster Parlance Program Notes LOCATION At West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ 07450 For map and directions, click here . CONCERT AMENITIES Whee lchair Accessible Fr e e Parking for all concerts FEATURING BUY TICKETS In 2012, Sir James Galway called the young Crimean flutist Denis Bouriakov “the greatest living talent at the moment on the flute.” Since that time, Bouriakov has established himself as one of the world’s leading soloists. With his phenomenal instrumental command and impeccable artistry, he is continually expanding the limits of the flute’s technique and repertoire through his burgeoning catalogue of transcriptions, recordings, and videos. His unique virtuosity will be showcased in a recital of music for flute and orchestra supported by eighteen musicians from the New York Philharmonic conducted by PCC’s Artistic Director, Michael Parloff . The program will include concertos by Mozart and François Devienne , and Denis’ wife, Erin, will share the spotlight in Bach’s Double Concerto in D minor , arranged for two flutes and orchestra. The afternoon will culminate with Denis’s bravura transcription Camille Saint-Saëns’s scintillating Rondo Capriccioso for flute and strings. Musicians from the New York Philharmonic Michael Parloff, conductor Sheryl Staples, Concertmaster Michelle Kim, violin Quan Ge, violin Qianqian Li, violin Audrey Wright, violin Alina Kobialka, violin Cong Wu, viola Robert Rinehart, viola Mathew Christakos, cello Nathan Vickery, cello Timothy Cobb, bass Lauren Scanio, flute Sarah Beaird, flute Ryan Roberts, oboe Michal Cieślik, oboe Tanner West, horn Liana Hoffman, horn Paolo Bordignon, harpsichord PROGRAM W.A. Mozart: Flute Concerto in G, K. 313 Program Notes J. S. Bach: Double Concerto for Two Flutes in D minor, BWV 1043, arr. by Denis Bouriakov (Denis and Erin Bouriakov, flutes) Program Notes INTERMISSION François Devienne: Flute Concerto No. 7 in E minor Program Notes W.A. Mozart: Andante in C, K. 315 for flute and orchestra Program Notes Camille Saint-Saëns: Introduction and Rondo Capriccioso, Op. 28, arr. by Denis Bouriakov Program Notes Watch the thrilling conclusion to Denis Bouriakov’s bravura arrangement of Camille Saint-Saëns’s Rondo Capriccioso for flute and strings: Watch Denis Bouriakov’s performance of the third movement of CPE Bach’s virtuosic Concerto in D minor:

November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano American Songbook Arlen: I Wonder What Became of Me; Gershwin: Our Love is Here to Stay; Weill: Youkali November 12, 2023: Angel Blue, soprano; Bryan Wagorn, piano I Wonder What Became of Me Harold Arlen Born in Buffalo, New York, February 15, 1905; died in New York, April 23, 1986 After composing Broadway musicals in New York in the 1930s, Harold Arlen began writing for Hollywood films—he is best-known for his songs for The Wizard of Oz, in particular, “Over the Rainbow” with lyricist Yip Harburg. He spent the next two decades composing primarily in collaboration with lyricist Johnny Mercer, helping to shape the spectacular effusion of American popular song at the time. In the mid-1940s Arlen again turned his attention to the theater, and it was for the 1946 Broadway show St. Louis Woman that he and Mercer wrote “I Wonder What Became of Me.” The lead, Della, was supposed to sing it as a lament that luxury has not brought fulfillment. Though the song was dropped in pre-Broadway tryouts, it took on a life of its own with such illustrious interpreters as Lena Horne. Arlen liked to break the mold of a thirty-two-bar popular song form on occasion, just as he sometimes felt some songs just need to “get into another key” than where they began.” “I Wonder What Became of Me” does both—it employ sections uneven in length and ends up in a new key in reflection of its wistful lyrics. Our Love Is Here to Stay George Gershwin Born in Brooklyn, New York, September 26, 1898; died in Hollywood, California, July 11, 1937 Pursuing his prodigious musical talent after dropping out of high school, George Gershwin went to work at age fifteen for a music publisher of popular songs, singing and playing them at the piano to attract buyers. Soon he began composing his own songs and piano pieces, and when he got a better job as a pianist for Broadway shows, it was a small step for him to compose his own shows, for which his brother Ira wrote the lyrics. They scored their first big hit in 1920 with the song “Swanee,” recorded by Al Jolson. George gained further celebrity with his highly original works combining jazz and classical styles for the concert hall such as Rhapsody in Blue and An American in Paris. By age thirty he was America’s most famous composer. He and Ira continued to write successful Broadway shows through the 1930s, but George’s untimely death of a brain tumor at age thirty-eight robbed the world of one of its most innovative and successful composers. “Our Love Is Here to Stay” was the last song Gershwin wrote before his death on July 11, 1937. His brother Ira fit it with words after George’s death as a tribute to him for the film The Goldwyn Follies (1938), in which it was sung by Kenny Baker. The song’s extraordinary popularity, however, stems from its use in the hit film An American in Paris, where Gene Kelly sings it to Leslie Caron. Youkali Kurt Weill Born in Dessau, March 2, 1900; died in New York, April 3, 1950 Kurt Weill had already earned recognition as Germany’s leading avant-garde theater composer when the rise of Nazism forced him and his wife, singer and actress Lotte Lenya, to move to Paris in 1934, then to New York in 1935. His greatest European successes—Mahagonny (1927) and Die Dreigroschenoper (1928), with its hit song “Mack the Knife”—had resulted from his collaboration with satiric dramatist Bertolt Brecht. Weill quickly adapted to the very different world of Broadway, having already begun to use American jazz and popular song elements in his European theater works. Writing for stage, film, and radio in America, Weill became especially known for works such as Knickerbocker Holiday (1938), which contains the ultra-popular “September Song”; Lady in the Dark (1940); Street Scene (1946); and Lost in the Stars (1949). Weill originally composed an instrumental version of the tango that became “Youkali” while in Paris as an interlude for the 1934 play Marie galante by Jacques Duval. The following year Roger Fernay (pseudonym of French actor Roger Bertrand) wrote lyrics for it, and the song was published jointly by the two under the title “Youkali.” It lay in obscurity, however, until the aging Lenya turned over a stack of Weill’s materials to Canadian-born soprano Teresa Startas, whose career at the Metropolitan opera spanned thirty-six years. Though written and first published in France, this “Tango Habanera,” as it is subtitled, holds a place in the “American songbook” because it emerged from oblivion when Stratas recorded it in 1981 in New York on her album The Unknown Kurt Weill. “Youkali” refers to an idyllic land where one can escape life’s troubles, but which turns out to be only a dream. —©Jane Vial Jaffe Return to Parlance Program Notes

December 15, 2024: THE VIRTUOSO FLUTIST. DENIS BOURIAKOV, FLUTE. A RECITAL FOR FLUTE AND ORCHESTRA, with Erin Bouriakov, Flute. Musicians From The New York Philharmonic. Michael Parloff, Conductor. François Devienne (1759-1803) Flute Concerto No. 7 in E minor December 15, 2024: THE VIRTUOSO FLUTIST. DENIS BOURIAKOV, FLUTE. A RECITAL FOR FLUTE AND ORCHESTRA, with Erin Bouriakov, Flute. Musicians From The New York Philharmonic. Michael Parloff, Conductor. Versatile musician François Devienne held numerous orchestral and chamber music positions as bassoonist and flutist, and he was accomplished enough on both instruments to have performed frequently as concerto soloist in his own works and those by others. Devienne also composed prolifically—concertos (flute, bassoon, and horn), sinfonies concertantes (works for more than one soloist with orchestra), comic operas, and hundreds of chamber works. Devienne was also a member of the military band of the Paris National Guard, which involved teaching children of French soldiers. He served as an adminstrator of the organization’s educational facet, which in 1792 became the Free School of Music of the National Guard—changed to National Institute of Music the following year and the Paris Conservatory two years later—and thus Devienne was one of the founders of the fledgling Paris Conservatory. He also authored an important method book for flute and is renowned for raising the level of works for wind instruments in the late eighteenth century. Devienne’s operas were performed at the Théâtre Montansier and at the Théâtre Feydeau (whose orchestra and that of the Théâtre Favart merged to become the orchestra of the Opéra Comique). Devienne’s most successful opera, Les visitandines received more than 200 performances between 1792 and 1797. He died much too young in 1803 at Charenton, a Parisian home for the mentally ill. Fortunately, though many of his manuscripts have disappeared, most of his hundreds of works were published. His music consistently favors a single melodic line with subordinate accompaniment and rarely thematic development or counterpoint, and his instrumental music contains plentiful opportunities to showcase the performer’s technique. Of Devienne’s twelve flute concertos, No. 7 in E minor, composed c. 1787, is often considered the best. At the time, concertos began with an orchestral exposition before the soloist entered, but Devienne allows the flute to enter the action earlier than normal: after the first theme in the minor home key, the flute enters by doubling the violins on the gentler second theme in the parallel major. Then, to avoid a predictable solo exposition beginning with the first theme, Devienne ingeniously puts the flute’s entrance into the spotlight with yet a third theme. These three themes form the basis of the movement, which grows ever more dazzling. The long flowing lines of the slow movement over sparse accompaniment suggest the style of gentle aria for one of Devienne’s operatic heroines. The most unusual feature of the movement is the introduction of a cadenza (extended improvisatory-sounding passage for the soloist), which is more typical in a fast movement. The finale unfolds as a lively rondo in the charming refrain alternates with contrasting episodes that become more intricate and viruosic as the movement progresses. The final return to the refrain builds to a dazzling conclusion. —©Jane Vial Jaffe Return to Parlance Program Notes