A Student Matinee ConcertFeaturing the National Arts Centre Orchestra

Jean-Philippe Tremblay, ConductorHoly Heart High School, St. John’s, Newfoundland

Tuesday, November 12, 2002

A Teacher’s Study Guide

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National Arts Centre OrchestraStudent Matinee “Schubert’s Party”Tuesday, November 12th, 2002 at 13:00

Holy Heart High School, St. John’s, Newfoundland

Did you know that Schubert was a party animal? This Viennese composer is bestknown for his inspirational melodies written for voice, piano and orchestra. But he alsoloved to party and had many friends who attended his famous musical soirées known asSchubertiads! We're having one too - so come and join us! Conductor Jean-PhilippeTremblay will lead the National Arts Centre Orchestra in a fun-filled concert featuring thelife, times and music of Beethoven's contemporary - Franz Schubert.

CONCERT PROGRAMME

Jean-Philippe Tremblay, conductorStephen Lush, narratorDonnie Deacon, violin and conductorSean Rice, clarinetCaroline Schiller, sopranoPhilip Roberts, piano

Schubert Symphony No. 3 in D major, 3rd movement

Schubert Die ForelleCaroline Schiller, sopranoPhilip Roberts, piano

Schubert String Quartet, “Death and the Maiden”NACO string principals

Beethoven Symphony No. 3, 1st movement

Schubert Marche Militaire Arr: Walter Fischhoff With student recorders

Paganini Cantabile in D majorArr: Winston Webber Donnie Deacon, violin

Rossini Overture from The Italian Girl in Algiers

Weber Clarinet Concerto No. 1 in F minor, 1st movementSean Rice, clarinet

Schubert Symphony No. 3, 4th movement

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Programme Notes

FRANZ PETER SCHUBERTBorn in Vienna, January 31, 1797; died there, November 19, 1828

Symphony No. 3 in D major

Third movement: Menuetto vivace

In 1815, at the age of 19, Schubert produced an astonishing amount of music - nearly 200compositions - including his Third Symphony. There are four movements to this half-hour-longwork, from which we will hear today the third and fourth. Like most symphonies of the time, itrequires pairs of flutes, oboes, clarinets, bassoons, horns, trumpets and timpani (drums), plus a fullstring ensemble.

You will probably notice that it is mostly the violins that carry the melody lines. You will alsosense a strong rhythmic element that makes you want to tap your foot or even move your wholebody in response to the music. This is particularly noticeable in the third movement. The fullorchestra announces the thematic subject - not a real "theme" you can hum, but definitelymemorable for the rhythmic trick Schubert is playing with your ears. At first you will probably thinkthat the music begins right "on" the beat - after all, it does begin with a strong accent. But quicklyyou will discover that the first note is an "upbeat," as is each of the following accented notes.

The contrasting central episode of this movement has a folklike flavor and is a true gem ofSchubertian grace. Two woodwind instruments are featured here, the oboe and the bassoon. Theoboe is the higher voice, the bassoon the lower.

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FRANZ PETER SCHUBERT"Die Forelle" (The Trout)

Schubert left the world a vast treasure trove of songs - over six hundred! - all written in theshort space of just 17 years, and all in addition to an enormous amount of other music as well.Many of these songs rank among the most beloved ever written.

One of these in particular is a great favourite, a perfect creation called "Die Forelle" (TheTrout), which Schubert wrote at the age of 20. You can almost see the fish merrily splashing aboutin the sparkling water. The piano part, as in most fine Lieder (German art songs), is far more thanjust an accompaniment. It participates equally with the voice to provide a total musical picture ofgreat charm and appeal. The words are by Christian Friedrich Schubart (not Schubert!), aneighteenth-century German poet. Schubert later used this melody as the basis for a theme andvariations movement in his Trout Quintet, written for violin, viola, cello, double bass and piano.

The TroutI stood beside the brookletAnd watched the merry troutAs friskily it dartedAround and all about.

I stood upon the bankLost in a quiet dreamAnd watched the troutlet swimmingIn that clear mountain stream.

An angler, rod held high,Upon the other sideIn stony silence standingThe lively trout espied.

Long may the water glitter,The sheen unbroken lie,That stony-hearted anglerWill lose his catch, thought I.

But suddenly the poacherHis patience spent, alas,Stirred up the turbid water,And all in a split flash

He, clasping, jerked his rod,the trout was in the air,And I with beating heartBeheld her dangling there.

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FRANZ PETER SCHUBERT

String Quartet No. 14 in D minor (Death and the Maiden)

First movement: Allegro

Schubert began his Quartet in D minor in early 1824 at the age of 27. The previous yearhad brought him to the depths of despair and frustration. One of the reasons for his depressionwas a prolonged stay in the hospital during which he came to the realization that his illness (mostcertainly syphilis, for which no cure then existed) was probably fatal and that he had not long left tolive. The prevailing dark, somber and tragic mood of the D-minor quartet reflects this despondentstate of mind, and the composer's gloomy thoughts on life and death, the past and the future.

The quartet takes its nickname, "Death and the Maiden," from a song of the same titleSchubert had set seven years earlier to a poem by Matthias Claudius. Schubert borrowed thesong's opening passage, slightly modified, to serve as the basis of a set of variations for thesecond movement.

The obsession with tiny repeated rhythmic figures we found in the finale of the thirdSymphony returns in the first movement of this string quartet. The quartet opens with music ofgreat visceral impact, a full, chordal figure hurled forth in great anger by all the strings. The quicktriplet figure is heard almost continuously throughout the movement, either in the foreground or thebackground. The second subject, in F major, consists of two connected ideas, both themes ofeasygoing lyricism. One of the movement's most memorable passages is its coda (an extrapassage at the end), based on the opening subject. One writer, Brian Newbould, calls it music of"aching grief ... the final sobs in a monumental tragedy."

LUDWIG VAN BEETHOVENBorn in Bonn, Germany, December 16, 1770; died in Vienna, March 26, 1827

Symphony No. 3 in E-flat major, Op. 55 (Eroica)

First movement: Allegro con brio

Beethoven wrote most of his Eroica Symphony in late 1803 and completed it in early 1804.(Schubert would have been about six or seven at the time.) Originally the work was dedicated tothe great French military leader, Napoleon Bonaparte. Napoleon represented to Beethoven all thatwas noble and glorious in the human race - a daring young man who had risen through the rankson his own initiative and powers, who had liberated men from tyranny, who had defied oppressivegovernments, and who was espousing the battle cry of the French Revolution: "Liberté, Égalité,Fraternité!" But when Beethoven learned that Napoleon had proclaimed himself Emperor (May,1804), he withdrew the dedication. Some time later, when the work was published in 1806,Beethoven inscribed the title "Sinfonia Eroica, Composed to Celebrate the Memory of a GreatMan." This great man might have been an ideal, non-existent hero, but more likely, it was the spiritof heroism itself that interested Beethoven. To some people, the real hero of the Eroica is musicitself.

The Eroica is important musically as well as historically. In size and breadth, it far surpassedanything of its kind previously written. Its harmonic language was highly advanced for its age. The

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intensely strong rhythms and spiky dissonances disturbed many listeners at early performances. Inthe first movement, Beethoven employed no fewer than eight motivic building blocks.

FRANZ PETER SCHUBERT

Marche militaire No. 1 in D major, arranged for string orchestra by Walter Fischhoff

No famous composer wrote more music for one piano - four hands than Schubert. Themedium attracted him throughout his life, beginning at the age of 13 when he wrote a little Fantasiain G major. The Marche militaire in D major is the first of three published in 1826 as Op. 51. It hasbeen subjected to countless transcriptions and arrangements, for everything from accordion to fullsymphony orchestra, for purposes ranging from the tearoom to the three-ring circus to the concerthall. Whatever the medium, the form remains the same: a three-part structure consisting of similarouter sections in a brisk military tone framing a central episode of more lyric character.

NICOLO PAGANINIBorn in Genoa, Italy, October 27, 1782; died in Nice, France, May 27, 1840

Cantabile, arranged for string orchestra by Winston Webber

Words like "dazzling," "stupefying," "incredible" and "unique" have largely lost their impacttoday through an overdose of media hype. But no performer in musical history more deserved tobe regarded in these terms than Nicolo Paganini. This virtuoso exerted an absolutely magical,mesmerizing effect on all who heard him, and not just the easily-swayed public. Nearly every greatcomposer of the era was similarly affected. Schubert, not a musician to be easily impressed bymere showmanship, likened his playing to the singing of an angel. The stimulus that caused suchresponses is simple to explain, for in his day (the early nineteenth century), Paganini surpassedevery other violinist in the history of music by light years in his technical wizardry, velocity,intonation and arsenal of special effects.

But there was another, lesser-known side to Paganini. He was equally capable of writingsimple, charming little numbers like this Cantabile, a piece with a sweetly ingratiating melody suchas Schubert might have written. Originally composed for violin with guitar accompaniment, it wasnot published until 1922, nearly a century after the composer's death.

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GIOACHINO ROSSINIBorn in Pesaro, Italy February 29, 1792;died in Passy (a suburb of Paris), November 13, 1868

Overture from The Italian Girl in Algiers

Some composers just seem to have it all - talent, precocity, fecundity, wealth, fame,popularity, flair and wit. Schubert certainly had the first three, but Gioachino Rossini had them all.Just consider: Within a one-year period, he saw the premieres of five - FIVE! - of his operas invarious important Italian theaters, including La Scala. The year was 1812, and Rossini was just 20years old! (He was born five years before Schubert.) When Rossini drew the curtains on hisoperatic career in 1829, at the age of 37, he held the distinction of being the world's mostcelebrated composer, Beethoven having died two years previously.

Rossini's rich legacy of music is found today equally on the operatic stage and in theconcert hall. Although only a handful of his operas are performed with any regularity, at least adozen overtures are staples of the orchestral repertory, including that to L'Italiana in Algeri (TheItalian Girl in Algiers). Tribute to Rossini's genius and popular appeal also continues on a regularbasis through the use of his music in numerous radio and television commercials, films andcartoons, probably to a degree unmatched by any other single composer.

What gives Rossini's music that magical, irresistible appeal, an appeal that transcendsdistinctions between "classical" and "popular" music? Essentially what Rossini accomplished wasto make opera into pure entertainment as an end in itself - no political statements, no "big issues,"no thought-provoking stories, nothing pedantic, nothing too heavily fraught with emotion. Inaddition, there is often a good measure of humor, both musical and textual. But the core ofRossini's musical genius lies in one word - melody, simple melody, and who among us does notrespond to a good tune?

L'Italiana in Algeri, Rossini's tenth opera, was first seen in Venice in 1813. It proved to besuch a success that within four years it could be seen in at least five different Italian theaterssimultaneously. It was the first of his operas to be presented outside of Italy, and was largelyresponsible for spreading his reputation abroad. (Just compare Rossini's operatic success withSchubert's lack of it!)

The story of this harem mix-up on the Barbary Coast takes place unmistakably in the worldof high comedy and irrepressible good humor. Rossini loves a good musical joke, and wastes notime in startling his quietly expectant audience with a good kick in the pants and a loud guffaw justmoments into the overture. Following the mock serious slow introduction, Rossini allots importantthemes to two of his favorite instruments, oboe and piccolo, who, here and elsewhere in Rossini'smusic, are called upon to perform high-wire acts of stunning virtuosity.

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CARL MARIA VON WEBERBorn in Eutin, Germany, December 18, 1786; died in London, June 5, 1826

Clarinet Concerto No. 1 in F minor, Op. 73

First movement: Allegro

The early nineteenth century saw rapid developments in the design and construction ofmany instruments. One of the greatest beneficiaries of this technical progress was the clarinet, forwhich Carl Maria von Weber, a German contemporary of Schubert, wrote no fewer than sevencompositions between 1811 and 1816 featuring the instrument in concerto or chamber music. Allbut one were written for the virtuoso Heinrich Bärmann. Both of Weber's clarinet concertos datefrom 1811, and were commissioned by the King of Bavaria (today a region of southern Germany).

The concerto opens with a darkly serious subject. This serves as the sole melodic materialfor the orchestral exposition, and recurs periodically throughout the movement, though it is neverplayed by the soloist. The soloist's lines are predominantly lyrical, but there are frequentopportunities for virtuosic display as well.

FRANZ PETER SCHUBERT

Symphony No. 3 in D major

Fourth movement: Presto vivace

To close today's program, we will hear the finale (last movement) from the symphonywhose third movement opened the concert. Like the third movement, the finale too consists ofmusic of captivating rhythmic energy. It seems to skip along breathlessly, reflecting both lightnessand driving force. Notice how many times Schubert uses the same few rhythmic figures over andover. Yet these never become boring, for Schubert knows the secret of how to keep themomentum going, constantly varying the melodic and harmonic material with great effectiveness.It all sounds so easy and natural, but only a genius like Schubert can make it so. Try listening to asymphony by a second- or third-rate composer some day. You'll quickly notice the difference!

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Meet the Conductor …

Jean-Philippe TremblayApprentice Conductor, National Arts Centre Orchestra

Born in Chicoutimi in 1978, Jean-Philippe Tremblay is considered one of the most promising orchestraconductors in Canada. In June 2001, he was one of eight conductors chosen from Canada and abroad toparticipate in the National Arts Centre’s first annual Conductors Programme led by maestros JormaPanula and Pinchas Zukerman. This led to his appointment to the newly created position of ApprenticeConductor of the NAC Orchestra, funded in part by the Canada Council for the Arts' Conductor-in-Residence Programme, and in part through thegenerous support and leadership of William and PhyllisWaters, James and Margaret Fleck, and SandraSimpson - all of Toronto. In July 2002, Mr. Tremblaybecame the first winner of the $10,000 Joyce CongerAward for the Arts, which goes in support of his secondseason with the NAC Orchestra.

Trained in viola, composition and conducting at theQuebec Music Conservatory in Chicoutimi, the faculty ofmusic at the University of Montreal, the Pierre MonteuxSchool, and the Tanglewood Music Center as well as atthe Royal Academy of Music (London), his professorsincluded Seiji Ozawa, Robert Spano, André Previn,Michael Jinbo and Claude Monteux. Mr. Tremblay hasalso taken master classes under the direction of SirColin Davis, Yuri Simonov, Daniel Barenboïm, ZdenekMácal and Michael Tilson Thomas and the New WorldSymphony Orchestra. During the summer of 2000,invited by Seiji Ozawa and Robert Spano, he becameone of the youngest Conducting Fellows at theTanglewood Music Center.

In 2002, he became the first Canadian selected toparticipate in the National Conducting Institute a project of the National Symphony Orchestra and theJohn F. Kennedy Center for the Performing Arts in Washington DC, culminating in a concert with theNational Symphony Orchestra at the Kennedy Center on June 29.

Jean-Philippe Tremblay is the music director and conductor of the L'Orchestre de la francophoniecanadienne, an orchestra of young musicians which performed a series of 20 concerts in the NationalCapital Region and the province of Quebec in honour of the IV Games of the Francophonie in July 2001.In July 2002 the Orchestra continued with concerts in Quebec City and Montreal, and at the DomaineForget International Festival, and the National Arts Centre. He has led many orchestras in Quebec as wellas in the United States and England. In 1996 he founded the Société Cantus Firmus, a chamberorchestra that has given a number of performances. Mr. Tremblay first conducted the NAC Orchestra during the final concert of the Conductors Programme inthe summer of 2001. As Apprentice Conductor he led the Orchestra during three concerts in the 2001-02season and will conduct at least three more in 2002-03.

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Meet the Soloists …

Donnie DeaconPrincipal Second Violin, National Arts Centre Orchestra

Donnie Deacon joined the National Arts Centre Orchestra asprincipal second violin in September 2001, having just turned 22 thesame week.

Donnie Deacon was born in Glasgow, Scotland. He began to studythe violin at age 10 and was invited to join the Royal ScottishAcademy of Music at age 11. As a student of Serre Gibson, Mr.Deacon won all of the Academy competitions and performed assoloist many times with its orchestra, of which he was concertmasterat age 13.

Mr. Deacon continued his studies at the Yehudi Menuhin School inLondon with Natasha Boyarskaya, and Lord Menuhin himself.Donnie finished his schooling at the prestigious Curtis Institute ofMusic in Philadelphia with Jaime Laredo and Ida Kavafian.

As soloist, Mr. Deacon has performed all over the world with such distinguished orchestras as the RoyalScottish National Orchestra, BBC Symphony Orchestra, Ulster Orchestra, BT Scottish Ensemble, LondonSoloists, Concerto Soloists of Philadelphia, Pablo de Sarasate Orchestra, and the Orchestra of the CurtisInstitute of Music.

Mr. Deacon premiered the Violin Concerto by the young Canadian composer William Rowson with theCurtis Institute Orchestra in 2001. He performed the Canadian premiere of the same piece as guestsoloist with the Saskatoon Symphony Orchestra in May 2002.

Sean RiceGuest Clarinetist

Sean Rice is a third year performance major currently studying clarinetwith Paul Bendzsa at Memorial University of Newfoundland. AtMemorial University, he plays with the Concert Band and also holds theposition of assistant principal clarinet with the Newfoundland SymphonyOrchestra. Additionally, Sean is a member of the Gusto Trio and theGrenadillos Quartet.

In 2002 Sean was selected to perform in the CBC radio series ‘Up andComing’. In 2001, he received the Yamaha Rising Star Award andplayed lead saxophone in the Yamaha All Star Jazz Band at MusicfestCanada. In 2000, he competed in and won the Woodwind Category ofthe Canadian Federation of Music Festivals National Music Festival.Sean has also won back-to-back Rosebowls in the local Kiwanis MusicFestival. He received the Junior Rosebowl in 2000 and the SeniorRosebowl in 2001. Sean has also received runner-up in the 2000 and2001 Atlantic Debut Young Artists Competition and placed first in the

1999 and 2000 Provincial Music Festivals.

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Caroline SchillerSoprano

Caroline Schiller is a professor of voice and director of opera workshopat Memorial University of Newfoundland. She has a Doctor of Music inVoice Performance from Florida State University, a Master of Music inopera performance from New England Conservatory, and a Bachelor ofMusic degree from Mount Allison University.

Caroline Schiller’s work has spanned both opera and musical theatreincluding her performances in the role of Christine in the originalToronto cast of Phantom of the Opera. Her concert work includesperformances with the Boston Symphony Chamber Players and theMontreal Symphony Orchestra. During her career, she has beeninvolved in the creation of contemporary operatic works at the BanffCentre, taught and performed with the Charlottetown Festival, andperformed as a vocal fellow at the Tanglewood Music Center. She is aformer winner of the Canadian National Competitive Music Festival andthe International Young Singer of the Year Award.

Philip RobertsPiano

Philip Roberts, 18, was awarded the "International Medal" for his 1st placewin on July 12th, 2002 of the Senior Instrumental Solo Class at the 56thannual Llangollen International Musical Eisteddfod in front of an audience ofmore than 4000. Philip is a piano performance major at Memorial Universityin St. John's, Newfoundland where he studies with Prof. Timothy Steeves.Philip has attended the Keyboard Festival at the Banff Centre three timeswhere he studies with Marc Durand of the University of Montreal. In 1998,Philip was the Junior Rose Bowl winner at the St.John’s Kiwanis MusicFestival. In 2000, he completed the requirements for the Associate pianoperformance diploma of the Royal Conservatory of Music. His orchestralperformances include Gershwin’s Rhapsody in Blue, Bath’s CornishRhapsody and Saint-Saëns Piano Concerto Nr. 2. He is the 2001 winner ofthe Debut-Atlantic - Royal Bank Award for Musical Excellence and hasbeen heard on CBC several times including national broadcasts as part ofthis year’s CBC Up and Coming shows.

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Stephen LushActor / Narrator

Stephen Lush was introduced to the art of theatre by Montrealteacher and choreographer, Jo Leslie. He has studied acting atthe neighbourhood playhouse in New York City. Stephen spentsix months in Prague, where he trained at the CharlesUniversity dance center while assisting the administration of theCzech National Ballet with international correspondences inEnglish.

Lush’ s diverse theatre history includes work in new dance,classical theatre and the performance of original material. Hehas worked with most of the professional theatre companies inSt. John's, Newfoundland including Rising Tide, RCA, theElysian Company, and the Newfoundland ShakespeareCompany. For over 100 episodes, Stephen has been thecreator and voice of Briany Newell, the narrator of CBC One'sSunday Dinner heard every second Sunday on weekend am.

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The Orchestra Family

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For the purposes of the matinee performance, students should rehearse at a tempo ofquarter note = 68