2 or 8? 8 or 2? A Beethoven quandary.

When putting together the programming for the 2016 Wintergreen Summer Music Festival, I had a few "must-haves" on my list. With the theme "Expect the Unexpected," the great jokester Haydn had to be represented. We also needed some unique instrument representation (accordion, anyone?). We had to do Rhapsody in Blue, with its premiere that was a surprise to many, including the composer. And, of course, we needed to tell the unique stories of some surprising musical heroes - women such as Clara Schumann, Maud Powell, and Nadia Boulanger.  

By Friedrich August von Kloeber (1793 - 1864) - http://portrait.kaar.at/Musikgeschichte%2019.Jhd/image3.html, Public Domain, https://commons.wikimedia.org/w/index.php?curid=279449

By Friedrich August von Kloeber (1793 - 1864) - http://portrait.kaar.at/Musikgeschichte%2019.Jhd/image3.html, Public Domain, https://commons.wikimedia.org/w/index.php?curid=279449

But, we also needed Beethoven. Why? Because, well, Beethoven. There is something about his music and his story that brings together the past and the future of music, whips us up into a humanistic frenzy, and results in a breathless rush of shared excitement.

But which symphony?! Fairly recently, the Wintergreen Festival Orchestra has performed his first, third, fifth, sixth, and seventh symphonies, and we are aiming for a ninth in the near future. So, that leaves me with numbers two and eight. Although heard in recent seasons as part of our Academy, we have never tackled these two works as the Wintergreen Festival Orchestra. 

I have conducted both of these symphonies, and they are decisively joyful, playful, humorous, and bombastic. I love them both in very different ways, and I think each one pairs equally well with Clara Schumann's Piano Concerto, which is on the first half of the concert. Symphony No. 2 brings out the youthful characteristics of Schumann's brilliant concerto, while Symphony No. 8 highlights the concerto's mature forward-looking elements.

I have personal and musical reasons for doing either one (ask me the story about the second some time), and I know our musicians will dive into either one with their typical virtuosity, commitment, and artistry.

So, what is an Artistic Director to do when she has a rare moment of indecision? DELEGATE, of course.  I am leaving the decision up to you - our audience, friends, musicians, and students. Just head to Facebook before 5pm on Friday, June 3 to vote.  

CLICK HERE TO VOTE VIA FACEBOOK!

The poll is "pinned" to the top of our Wintergreen Performing Arts Facebook page, so it should be easy to find. Feel free to urge your friends to vote for your favorite, too. Just share the poll on your own page and tell them how you want the vote to go. 

Thanks for participating!

Erin

If you need to do a bit of research first, here's a bit more information: 

BEETHOVEN SYMPHONY NO. 2

Beethoven composed his second symphony soon after he wrote a letter to his brother - a heartfelt letter now known as the "Heiligenstadt Testament." In it, he admits to considering suicide upon realizing that he is losing his most precious sense: his hearing. He explains, however, that the art within him prevents him from committing such an act. 

(The most touching quote is excerpted on this page, but you can - and should! - read the entire text here.)

What was the art within him? The vibrant second symphony! It follows the model that Haydn set forth in his mature works: A slow introduction followed by a joyful, active first movement; a lyrical second movement with a melody that would make Mozart proud; a third movement scherzo with surprises abounding; and a finale that seems to start with a guffaw.

Ludwig van Beethoven Symphony No 2 in D major, Op 36.

Christian Thielemann conducts the Vienna Philharmonic Orchestra.

Ah how could I possibly admit such an infirmity in the one sense which should have been more perfect in me than in others, a sense which I once possessed in highest perfection, a perfection such as few surely in my profession enjoy or have enjoyed . . . [W]hat a humiliation when one stood beside me and heard a flute in the distance and I heard nothing, or someone heard the shepherd singing and again I heard nothing, such incidents brought me to the verge of despair, but little more and I would have put an end to my life - only art it was that withheld me, ah it seemed impossible to leave the world until I had produced all that I felt called upon me to produce.

BEETHOVEN SYMPHONY NO. 8

When asked why the premiere of his eighth symphony received less attention than his seventh, Beethoven ironically replied: “because the eighth is so much better.”

Beethoven: Symphony No.8 in F Major, Op.93.

Paavo Jarvi conducts the Deutsche Kammerphilharmonie Bremen.

The eighth symphony is a different story. It is sometimes called the "Little" symphony, because its position in Beethoven's output is between two giants: the famous dance-like seventh and the historic ninth. Also, Beethoven called it "my little symphony in F" to distinguish it from the much longer
"Pastoral" (sixth) symphony, also in F Major. But even with its comparatively diminutive stature, it displays Beethoven's maturity as a experienced symphonist. The first movement has no formal introduction, but rather starts right out of the gate briskly and "con brio" ("with vigor"). There is great confidence in this opening - a confidence that spills over into the second movement. Rather than blindly follow the model of the cantabile second movement, he offers a "scherzando" (literally "joke") in the style of a playful clock. The third movement, an old-school elegant minuet, delivers a moment of peaceful respite before the fourth movement brings the work to a close with a famously bombastic, drawn-out, and thrilling ending.  

Frank Almond releases new recording

Congratulations to Week 4 Concertmaster Frank Almond on the release of his new CD, A Violin's Life, Vol 2: Music for the Lipinski Stradivari.  Frank will be with us during our final week to lead the orchestra, to solo in Anna Clyne's Prince of Clouds, and to talk about the adventures of the famed Lipinski Stradivarius. You can order this new recording on Amazon - or purchase it in person at the Festival!  Either way, make sure you grab a sharpie so you can get Frank to autograph your copy!

Blue Ridge Christmas Program Announced

Imagine, it’s a chilly Sunday afternoon in December. You bundle up and head to the lovely Rockfish Presbyterian Church. You see friends – old and new, and you enjoy the sounds of the talented Virginia Consort singing carols – also old and new.

Sounds like the perfect way to kick off the holiday season, and it sounds like a community tradition not to be missed!

And, finally, we can unveil the program!

Buy Tickets HERE!

Hodie Christus Natus Est - Giovanni Pierluigi da Palestrina (1525 -1594), performed by A cappella Ammesse on October 20, 2012

  • Traditional Carols
  • Alan Bullard: A Little Child There Is Y-Born
  • François Couperin: In Notte Placida
  • Cornelius Freundt: Gaboren Is Uns Der Heilige Christ
  • Giovanni Pierluigi da Palestrina: Hodie Christus Natus Est (Preview to the right!)
  • Alan Bullard: Scot's Nativity
  • Tchaikovsky, arr. Jeff Funk: Dance Of The Sugar Plum Fairy
  • Tomas Luis de Victoria: O Magnum Mysterium
  • Mack Wilberg, arr.: Christmas Is Coming

The Salt Lake Vocal Artists perform "Heilig" by Felix Mendelssohn for double choir in Basilica di San Saturnine.

  • Bob Chilcott: Where Riches is Everlastingly
  • Frank Ferko: O Frondens Virga
  • Dean Rishel, arr.: Hang The Holly
  • Laurie Betts Hughes, arr.: Ain't That A-Rockin'
  • Robert DeCormier, arr.: The Souling Song
  • Felix Mendelssohn: Heilig  (Preview to the left!)
  • Stacey Gibbs, arr.: Somebody Talkin' 'Bout Jesus
  • Plus – you get to participate!  Warm up your voices for an audience sing-along of Hark the Herald Angels Sing

TBT - The night the lights went off...and then back on.

Subtitle: Erin's Favorite Festival Moment

Today's Throwback Thursday takes us back to our "Bold Bach at Bold Rock" concert. On a beautiful Friday night, we filled the stunning Bold Rock Cidery with chairs, people, pie, and music. Academy students and Festival artists performed the music of Bach to a maximum capacity crowd. Everything went smoothly, until between the coffee pots and the added spotlights, we blew a fuse, and the lights went out. Of course, it was right in the middle of a tricky piece for voice, oboe, harpsichord, and cello, with notes and German words in very small print. Despite the challenge, David Rezits, Peter Marshall, Bill Parrish, and I made it through the joyous piece with some success.  (The show must go on, right!?)  

Our reward at the end? Well, the lights came back on! Approval from Bach, or just a happy coincidence?

Miraculously, John Taylor took a picture at that exact instant. Thank you, John, for capturing my favorite moment of the Festival!  - Erin

TBT - 20 (++) premieres for 20 years

Daron Hagen in Phoenix in front of his well-earned dressing room.

Daron Hagen in Phoenix in front of his well-earned dressing room.

For today's "Throwback Thursday," we honor our Chair of Composition, Daron Hagen, and we celebrate the October 9th premiere of his Symphony No. 5. Under the baton of Michael Christie, the Phoenix Symphony performed Hagen's sweeping new work. Daron flew to Phoenix for the premiere, and he even got his own dressing room!  At Wintergreen, we don't have dressing rooms, per say, but we do have a memorable view of the Blue Ridge Mountains!

Find out about the symphony on Daron's website here,  and read Daron's article on Huffington Post  recounting why he is still committed to the symphony as a genre.  Yes - it is still relevant. It appears that Haydn, Beethoven, and Tchaikovsky knew what they were doing! (That's a hint for the 2016 Festival, by the way).

Congratulations to Daron Hagen!

Speaking of world premieres, we at Wintergreen Performing Arts are proud to boast that we programmed more than twenty of them at the 2015 Wintergreen Summer Music Festival and Academy (our 20th anniversary). We are grateful for previous WPA Artistic and Executive Director Larry Alan Smith, whose vision started us on the path of encouraging and highlighting living composers.  And we thank the many, many composers who made this impressive list possible - including Daron!

Festival Performances

Artistic Director Erin Freeman and Chair of Composition Daron Hagen discussing Hagen's The Tramp before the world premiere. 

Artistic Director Erin Freeman and Chair of Composition Daron Hagen discussing Hagen's The Tramp before the world premiere. 

  • Clay, Danny and invoke - 1865 Suite (world premiere of entire piece) - Middle movement was previously performed - Good Night by Danny Clay - invoke Fellowship String Quartet
  • Fuhrman, Bruce - Shadow (world premiere of complete performance) - invoke Fellowship String Quartet
  • Hagen, Daron - The Tramp - original score to Charlie Chaplin’s The Tramp  - Thomas Josenhans, Clarinet; John Meisner & Jana Ross, Violins; Ann Marie Brink, Viola; Wesley Baldwin, Cello; Bleda Elibel, Bass; Erin Freeman, Conductor  - Featuring Peter Marshall on piano, playing the musical role of Charlie Chaplin.
  • Montopoli, Nick - Dogs - invoke Fellowship String Quartet
  • White, Michael - A Sephardic Life for string trio - Sharan Leventhal, Violin; Steve Larson, Viola; and Sara Sitzer, Cello
  • White, Michael - Duo for Violin and CelloAndrea Schultz, Violin and Michael Finckel, Cello
  • White, Michael - Trio for Oboe, Viola, and Piano - Aaron Hill, Oboe; Steve Larson, Viola; and Winston Choi, Piano            
  • White, Michael - In Memoriam for Flute and Orchestra - Lance Suzuki, Flute; Alfred Savia, Conductor; Wintergreen Festival Orchestra

Additional world premieres, featuring Academy composers

Academy Vocal Intensive Masterclass/Performance – Sunday, July 19

  • Baerwald, Josh - Canis Major - Victoria Rodriguez, Mezzo Soprano
  • Bandera, Carlos  - Stiller FreundErika Straus, Soprano
  • Weisensel, Maggie - AloneMaureen Brabec, Soprano

Academy Composers Concert - July 28

  • Bandera, Carlos - Florestan - Milene Rossato Moreira, Violin; Johanna Beaver, Viola; David Rezits, Cello
  • Tedesco, Frank - The Cracked Sandglass - Crawfords Climb Quartet
  • Tang, Joseph - Notion of Motion - Laurel Springs Quartet
  • Eber, Tevi - Still Waters Run Deep - Black Rock Quartet
  • Heyde, Zach - Totenstille - Rodes Farm Quartet
  • Baerwald, Josh - Bob Ross - Trillium Quartet
  • Flagello, Gala - Fast, Good, Cheap: Choose Two - Rebecca Racusin, Violin; Matthew Pegis, Viola; Michael Finckel, Cello
  • Keogan, Brandon - Small Piece for String Quartet - Ravens Roost Quartet
  • Avery, Dax - Steadfast Cactus - Lake Monocan Quartet
  • Blalock, Shelby - Elude - Shamokin Springs Quartet
  • Minigan, Colin - String Quartet No. 2 in Many Keys - Blue Ridge Quartet
  • Weisensel, Maggie - The Dim - invoke Fellowship String Quartet

 

 

TBT - Rossini's Sins

What do opera, a mass, some gondoliers, and two cats have in common? Well, Rossini, of course!

Yes, today's #throwbackthursday brings us back to the first Thursday night of the 2015 Wintergreen Summer Music Festival, when the Richmond Symphony Chamber Chorus, boas in hand, invaded the Dunlop Pavilion. They performed selections from the Petite Messe Solennelle by Rossini (a piece which is neither petite nor particularly solemn) as well as some other works that the opera composer wrote as part of a set he called "Sins of My Old Age."

The pianist who played some of the most virtuosic accompaniments imaginable was the incomparable Peter Marshall - one of WPA's own Festival Artists. He stepped in at the last minute for an injured pianist, but the chorus was in excellent hands (literally and figuratively). His expert technique was matched only by his sensitive and supportive accompanying skills. (Did you know that Peter is also the pianist for the Grammy-winning Atlanta Symphony Orchestra Chorus?!)

And, if you didn't get enough of the Rossini Petite Messe this summer, the Richmond Symphony Chorus will be revisiting the work in its entirety this Saturday in Richmond at the Alexander Paley Music Festival. The event is FREE and open to the public. Find information here: paleymusicfestival.org

Hopefully, performances like this Saturday's will keep you going until our 2016 Festival!