<Program
Notes>
Nikolai Andreyevich
Rimsky-Korsakov (1844-1909)
"Capriccio Espagnol, Op.34"
Rimsky-Korsakov was one of
the original 'Five" who created the Russian school of music in the 19th
Century. Of the four who were amateurs, Rimsky was the only one who refused to
remain an amateur. Through unceasing learning he became one of the most
skillful musicians of his time. In 1871 he was appointed assistant professor of
composition at the St. Petersburg Conservatory. Admitting he knew very little
about composition, harmony, etc., he taught by first teaching himself and then
passing it along to his pupils. He became one of the most brilliant
orchestrators of all time, and his influence is still heard today. As a young
naval officer in the 1860's he traveled to London, New York, Rio de Janiero,
and Cadiz. When in 1887 he set about writing a work based on Spanish melodies
he had some idea of what he was dealing with--he had actually been to Spain.
The
Capriccio
Espagnol began as a piece for violin
and orchestra, but Rimsky soon concluded that to do it justice it must be a
purely orchestral work. The solo violin has a prominent role as do the clarinet
and harp. The opening Alborado, or morning song, is a sort of orchestral
explosion for full orchestra and sets a festive mood--the theme returns in the
middle of the piece and again at the end. A horn playing a calm, graceful,
nocturne-like melody announces the Variazioni. This theme is heard in five
variations before the Alborado theme returns. The Scena e canto gitano opens
with a fanfare evoking the vigor of Spanish gypsy music with
some brilliant solos. This is followed by the spirited Fandango astruiano and
the Alborado theme returns as a dramatic conclusion to the work. This is an
enjoyable piece of music and Rimsky-Korsakov knew it. In answer to the critics
and public opinion that the Capriccio is a 'magnificently orchestrated piece of
music', he said this was wrong. The Capriccio is a brilliant 'composition for
orchestra'. Rimsky further explained, "The change of timbres, the
felicitous choice of melodic designs and figuration patterns, exactly suiting
each kind of instrument, brief virtuous cadenzas for instruments, and so on,
constitute here the very ESSENSE of composition and not its garb of orchestration.
The Spanish themes of dance character furnished me with rich material for
putting in use multiform orchestral effects. All in all, the Capriccio is
undoubtedly a purely external piece, but vividly brilliant for all that."
Ho Zhan Hao (1932 - ) and
Cheng Gang (1933 - )
"The Butterfly Lovers
Concerto"
Ho Zhan Hao and Chen Gang
were both born in Shanghai and were fellow students at the Shanghai Music
Academy in the 1950's. Mr. Ho was a violin major and Mr. Chen majored in
composition. They collaborated on the composition of The Butterfly Lovers
Concerto in 1958. The concerto is
based on legendary folklore. Previous program notes tell us the story:
"Around the 4th Century, there lived a gifted and lovely maiden
named Zhu Ying Tai. Rejecting the restrictions imposed by tradition, she
disguised herself as a youth and journeyed to Hangchow (the capital) to study.
There she met Liang Shan Po, a scholarly and upright young man. They studied
and lived together like brothers for three years. Gradually a close and
profound friendship developed so that when the time came for them to part she
tried various subtle means to impress upon him her true inner feelings, but all
in vain. A year later when Liang discovered that Zhu was a girl he hastened to
her home to propose marriage. But unfortunately, he was too late. Her father
had already promised her to another man from a wealthy family. At their last
desperate meeting they swore eternal fidelity to each other. Soon afterward,
Liang died in despair. When Zhu was told of her lover's death she went to his
tomb and bitterly lamented her fate. Then she leaped to her death into the
interior of the tomb, which had opened to welcome her. The lovers were then
transformed into butterflies united happily ever after." Although the
concerto is in one movement, it has three sections that correspond to the most
important episodes of the story-- falling in love, refusing to
marry, and metamorphosing into butterflies. The composers made use of melodies
from the regional Shaoxing opera with the aim of creating Western symphonic
music with a Chinese context. The solo violin recalls the playing technique of
the Chinese two-string fiddle called Er-Ho. Though the musical technique is
Western, the score is most definitely Chinese--very lovely, very sad, very
touching.
Soloist Millie Bai
Unlike most violinists, Ms.
Bai began her violin self-study at the age of 17, taking lessons occasionally
with professional musicians in Shanghai, China. At the time, she was a
full-time employee in a factory as a result of the 'Cultural Revolution' in
China. She auditioned for the Shanghai Opera House Orchestra in 1975, but was
rejected because she was a factory worker. However, the people for whom she
auditioned were impressed with her playing and an agreement was made permitting
her to perform with them without pay. Thus, she played with the Opera House
Orchestra for about one and one-half years. Later she was accepted in the
extension division of the Shanghai Conservatory of Music while still a
full-time factory employee. Auditioning by tape, Ms. Bai was accepted and
granted a full scholarship to the New School of Music in Philadelphia where she
studied under the direction of Jascha Brodsky. After receiving her MM degree in
1991 she was appointed Mr. Brodsky's teaching assistant at Temple Music Prep
until his retirement in the fall of 1996. Aside from teaching, Ms. Bai is an
active musician who often appears with her sister, pianist Joy Bai, in chamber
music concerts and recitals. She has played in chamber music concerts with
David Bilger, Principal Trumpet of the Philadelphia Orchestra and with
Choong-jin Chang, Associate Principal Viola of the Philadelphia Orchestra. Ms.
Bai has appeared in concerts with Luciano Pavarotti, Sarah Brightman, Tony
Bennett, Vince Gill, Ray Charles and Rod Stewart in New York, Philadelphia,
Washington, DC and Atlantic City. Her own experience leads her to believe that there is
nothing impossible, and determination is the power to succeed.