SYLVAN WIND QUINTET RETURNS TO THE NATIONAL ARTS CLUB
THURSDAY, JANUARY 13, 2005 at 8 PM
The Sylvan Wind Quintet
SvjetlanaKabalin, flute; Mark Hill, oboe; AmyZoloto, clarinet;
Thomas Sefcovic, bassoon; Zohar Schondorf, horn
returns for the eleventh consecutive season to the National Arts Club, 15 Gramercy Park South on Thursday, January 13, 2005 at 8:00 PM for their inaugural concert of the new season in a program of More Treasures from the Library of Georges Barrère.
Charles Lefebvre Suite, Op. 57
Gabriel Pierné Pastorale, Op. 14, No. 1
Irene Poldowski Suite Miniature (arr. G. Barrère)
Emilio Provinciali Danse Villageoise
Hedwige Chrétien Quintette
Paul Hindemith Kleine Kammermusik, Op. 24, No. 2
Ticket prices for the concert are $25 for adults and $15 for students and seniors.
For further program information and reservations, please call or fax 212 / 222-3569.
Georges Barrère (1876-1944, France/USA) was one of five French wind players recruited by Walter Damrosch who envied the woodwind sounds of the Boston Symphony and wanted to emulate the sound in the New York Symphony Orchestra in 1905. In Paris, Barrère founded the Société Moderne d’Instruments à Vent in 1895 that performed 60 new works by 41 composers, in its first ten years. In New York, Barrère would go on to found the woodwind department at the Institute of Musical Art, later the Juilliard School, bringing with him the traditions of the French school of woodwind performance to this country. In 1910, he founded the Barrère Ensemble of Wind Instruments consistently promoting new repertoire, advocating American composers and supporting women composers long before it became fashionable. He toured throughout the country from 1912 to 1936 encouraging the new voices of the future – Henry Brant, Wallingford Riegger and Edgard Varèse - and responsible for the premières of more than 170 works, and more than 40 were dedicated to him. This is the second concert by the Sylvan Winds dedicated to preserving his legacy.
Charles Lefebvre (1843-1917, France) earned a law degree before enrolling as a student at the Paris Conservatory. A co-winner of the Prix de Rome in 1870, he returned to Paris in 1873 after traveling to Greece and the Near East. He also won the Prix Chartier in 1884 and 1891 and from 1895 became professor of the chamber ensemble class at the Conservatory. He composed lots of instrumental music, especially the wind suites, as well as operas, cantatas, sacred music, choruses, 35 songs and a sacred drama, Judith.
GabrielPierné (1863-1937, France) was born in Metz and at 17 moved to Paris, where he studied with Franck and Massenet at the Paris Conservatory. Winning the Prix de Rome in 1882, he succeeded Franck as the organist at Ste. Clothilde Church (1890-98), and became principal conductor of the Concerts Colonne (1910-34) with which he performed weekly concerts. He was made a chevalier of the Légion d’honneur and was admitted to the Academie des Beaux-Arts in 1925. Among his compositions were dramatic works, ballets, incidental music, oratorios, cantatas, orchestral music, chamber music, choral pieces and songs.
Irene Poldowski (1879-1932, Belgium/UK) was the daughter of the violinist Henry Wieniawsky, born in Brussels and later a student of composition and piano at the Brussels Conservatory. She later traveled to Paris to study with d’Indy and composed under the pen name ‘Poldowski’ rather than that of her father or husband, Sir Aubrey E.H. Dean Paul. Her music was influenced by contemporary French trends and she principally wrote songs and chamber works.
EmilioProvinciali (d. 1908, Italy/France?) is obscure indeed. Presumably born in Italy, he became well acquainted with Barrère’s colleagues in Paris. It is known that Metropolitan Opera conductor Louis Hasselmans dedicated his Petite valse, Op. 13 to him.
Hedwige Chrétien (1859-1944, France) was born in Compiègne and came to Paris to study at the Paris Conservatory in 1874. She studied several disciplines, was a pupil of Giraud and besides winning first prizes in solfège and piano, she also won the first prize in harmony and counterpoint in 1881 and in 1889, she joined the faculty. As a composer, she wrote five orchestral works, as well as numerous works for chamber ensembles, piano, voice and chorus.
Paul Hindemith (1895-1963, Germany) A towering personality of the 20th century, he came from humble beginnings, the son of a music-loving house painter. He began studying violin at nine and by 19 was an accomplished violinist, violist, clarinetist and pianist. Becoming concertmaster of the Frankfurt Opera orchestra, he was also a member of several string quartets on either violin or viola. An early pioneer of early music in Germany before the second world war, he made his mark as a composer in the 1920s at the Donaueschingen Festival. In this country, Hindemith taught at Yale University from 1940-53 and also lectured at Harvard. The wind quintet was written for his colleagues in the Frankfurt Opera orchestra. A consummate craftsman, the work combines virtuoso wind writing with biting sonorities and rhythmic vitality.
—————————————————————
Hailed by The New York Times for “its venturesomeness of programming and stylishness of performance,� the ensemble has performed throughout the Tri-State area, and has toured both domestically and abroad. The Sylvan Winds has established a reputation as one of the city’s most versatile chamber music ensembles and has received many honors, including an invitation to perform at the Governor’s Arts Awards. Dedicated to exploring the entire body of literature for wind instruments, the ensemble has consistently earned audience and critical acclaim. Of their spring ‘99 concert at Weill Recital Hall, New York Times critic Paul Griffiths wrote, “the work was beautifully executed here, with due care for its rhythmic demands. Indeed, throughout the evening the musicians showed themselves able to think, breathe and enter as one.�
—————————————————————
Additional series performances by the SYLVAN WINDS this season will take place on Wednesday,March 16, 2005 at 7:30 PM at the Americas Society, 680 Park Avenue in a Sounds of the Americas program, with works by W.G. Still, Astol, d’Rivera, Alleman, León, Villa-Lobos, Piazzolla and a world premiere by New York composer Max Lifchitz, and will close the season with a Winds and Piano program on Wednesday, May 25, 2005 at 8:00 PM at Weill Recital Hall, with guest artist Pedja Muzijevic in works by D’Indy, Sarabande et Menuet, Op. 24bis; Saint-Saëns, Caprice on Danish and Russian Airs, op. 79; Mendelssohn, Koncertstück No. 1 in f minor, Op. 113, and the Thuille, Sextet in Bb Major, Op. 6.
SYLVAN WIND QUINTET RETURNS TO THE NATIONAL ARTS CLUB
THURSDAY, JANUARY 13, 2005 at 8 PM
The Sylvan Wind Quintet
SvjetlanaKabalin, flute; Mark Hill, oboe; AmyZoloto, clarinet;
Thomas Sefcovic, bassoon; Zohar Schondorf, horn
returns for the eleventh consecutive season to the National Arts Club, 15 Gramercy Park South on Thursday, January 13, 2005 at 8:00 PM for their inaugural concert of the new season in a program of More Treasures from the Library of Georges Barrère.
Charles Lefebvre Suite, Op. 57
Gabriel Pierné Pastorale, Op. 14, No. 1
Irene Poldowski Suite Miniature (arr. G. Barrère)
Emilio Provinciali Danse Villageoise
Hedwige Chrétien Quintette
Paul Hindemith Kleine Kammermusik, Op. 24, No. 2
Ticket prices for the concert are $25 for adults and $15 for students and seniors.
For further program information and reservations, please call or fax 212 / 222-3569.
Georges Barrère (1876-1944, France/USA) was one of five French wind players recruited by Walter Damrosch who envied the woodwind sounds of the Boston Symphony and wanted to emulate the sound in the New York Symphony Orchestra in 1905. In Paris, Barrère founded the Société Moderne d’Instruments à Vent in 1895 that performed 60 new works by 41 composers, in its first ten years. In New York, Barrère would go on to found the woodwind department at the Institute of Musical Art, later the Juilliard School, bringing with him the traditions of the French school of woodwind performance to this country. In 1910, he founded the Barrère Ensemble of Wind Instruments consistently promoting new repertoire, advocating American composers and supporting women composers long before it became fashionable. He toured throughout the country from 1912 to 1936 encouraging the new voices of the future – Henry Brant, Wallingford Riegger and Edgard Varèse - and responsible for the premières of more than 170 works, and more than 40 were dedicated to him. This is the second concert by the Sylvan Winds dedicated to preserving his legacy.
Charles Lefebvre (1843-1917, France) earned a law degree before enrolling as a student at the Paris Conservatory. A co-winner of the Prix de Rome in 1870, he returned to Paris in 1873 after traveling to Greece and the Near East. He also won the Prix Chartier in 1884 and 1891 and from 1895 became professor of the chamber ensemble class at the Conservatory. He composed lots of instrumental music, especially the wind suites, as well as operas, cantatas, sacred music, choruses, 35 songs and a sacred drama, Judith.
GabrielPierné (1863-1937, France) was born in Metz and at 17 moved to Paris, where he studied with Franck and Massenet at the Paris Conservatory. Winning the Prix de Rome in 1882, he succeeded Franck as the organist at Ste. Clothilde Church (1890-98), and became principal conductor of the Concerts Colonne (1910-34) with which he performed weekly concerts. He was made a chevalier of the Légion d’honneur and was admitted to the Academie des Beaux-Arts in 1925. Among his compositions were dramatic works, ballets, incidental music, oratorios, cantatas, orchestral music, chamber music, choral pieces and songs.
Irene Poldowski (1879-1932, Belgium/UK) was the daughter of the violinist Henry Wieniawsky, born in Brussels and later a student of composition and piano at the Brussels Conservatory. She later traveled to Paris to study with d’Indy and composed under the pen name ‘Poldowski’ rather than that of her father or husband, Sir Aubrey E.H. Dean Paul. Her music was influenced by contemporary French trends and she principally wrote songs and chamber works.
EmilioProvinciali (d. 1908, Italy/France?) is obscure indeed. Presumably born in Italy, he became well acquainted with Barrère’s colleagues in Paris. It is known that Metropolitan Opera conductor Louis Hasselmans dedicated his Petite valse, Op. 13 to him.
Hedwige Chrétien (1859-1944, France) was born in Compiègne and came to Paris to study at the Paris Conservatory in 1874. She studied several disciplines, was a pupil of Giraud and besides winning first prizes in solfège and piano, she also won the first prize in harmony and counterpoint in 1881 and in 1889, she joined the faculty. As a composer, she wrote five orchestral works, as well as numerous works for chamber ensembles, piano, voice and chorus.
Paul Hindemith (1895-1963, Germany) A towering personality of the 20th century, he came from humble beginnings, the son of a music-loving house painter. He began studying violin at nine and by 19 was an accomplished violinist, violist, clarinetist and pianist. Becoming concertmaster of the Frankfurt Opera orchestra, he was also a member of several string quartets on either violin or viola. An early pioneer of early music in Germany before the second world war, he made his mark as a composer in the 1920s at the Donaueschingen Festival. In this country, Hindemith taught at Yale University from 1940-53 and also lectured at Harvard. The wind quintet was written for his colleagues in the Frankfurt Opera orchestra. A consummate craftsman, the work combines virtuoso wind writing with biting sonorities and rhythmic vitality.
—————————————————————
Hailed by The New York Times for “its venturesomeness of programming and stylishness of performance,� the ensemble has performed throughout the Tri-State area, and has toured both domestically and abroad. The Sylvan Winds has established a reputation as one of the city’s most versatile chamber music ensembles and has received many honors, including an invitation to perform at the Governor’s Arts Awards. Dedicated to exploring the entire body of literature for wind instruments, the ensemble has consistently earned audience and critical acclaim. Of their spring ‘99 concert at Weill Recital Hall, New York Times critic Paul Griffiths wrote, “the work was beautifully executed here, with due care for its rhythmic demands. Indeed, throughout the evening the musicians showed themselves able to think, breathe and enter as one.�
—————————————————————
Additional series performances by the SYLVAN WINDS this season will take place on Wednesday,March 16, 2005 at 7:30 PM at the Americas Society, 680 Park Avenue in a Sounds of the Americas program, with works by W.G. Still, Astol, d’Rivera, Alleman, León, Villa-Lobos, Piazzolla and a world premiere by New York composer Max Lifchitz, and will close the season with a Winds and Piano program on Wednesday, May 25, 2005 at 8:00 PM at Weill Recital Hall, with guest artist Pedja Muzijevic in works by D’Indy, Sarabande et Menuet, Op. 24bis; Saint-Saëns, Caprice on Danish and Russian Airs, op. 79; Mendelssohn, Koncertstück No. 1 in f minor, Op. 113, and the Thuille, Sextet in Bb Major, Op. 6.