program3262017

Celebrating Our 63rd Season of Music for All!
Mystical Songs and Dances
of Scheherazade
Richard Owen Conductor
Sara Pearson Soprano
Ballet Neo
Kate Thomas Choreographer
Funding has been made possible in part by the New Jersey State Council on the Arts/ Department of
State,through grant funds administered by the Bergen County Department of Parks, Division
of Cultural and Historic Affairs.
March 26 2017 at 3PM
Riverdell Regional Middle School Auditorium
Adelphiorchestra.org
PO Box 262 River Edge, NJ 07661

Mystical Songs and Dances of Scheherazade
March 26 2017 at 3:00 p.m.
River Dell Regional Middle School River Edge, NJ
Richard Owen Principal Conductor
Shéhérazade
Asia
The Enchanted Flute
IThe Indifferent One
M. Ravel
1875- 1937
Sara Pearson - Soprano
Le Tombeau de Couperin
Prélude
Forlane
Menuet
Rigaudon
M. Ravel
1875- 1957
Intermission
Scheherazade, Op. 35
The Sea and Sinbad's Ship
The Kalender Prince
The Young Prince and the Young Princess
Festival at Baghdad - The Sea
N. Rimsky-Korsakov
1844 - 1908
Please turn off all cell telephones, pagers or other audible
electronic devices before the concert begins. Audio or video
recording of any kind, or photography are not allowed during the
performance without express permission from the Adelphi
Chamber Orchestra.

Orchestra Members
Violin-1
Alexandra Bernstein
Mary Kay Binder
Holly Horn
Claire Kapilow
Rachel Matthews
Sylvia Rubin
Cathy Yang
Violin-2
Amelia Muccia
Michael Peng
Heather Kaplin
Kuhara Yukiko
Elizabeth Smith
Karin Pollok
Lauren Halloran
Viola
Heather Wallace
Marianne Annechino
Paula Washington
Piotr Kargul
Peg Roberts
Geraldine Marson
Cello
Robert Deutsch
Janis Kaplan
David Moore
Alice Kayzerman
Steve Reid
Bass
Jay VandeKopple
Marvin Topolsky
Lauren Einhorn
Flute
Natasha Loomis
Lisandra Hernandez
Jackie Burkat
Oboe
Mark Sophia
Jacob Slattery
Kaitlin Pet
English Horn
Jacob Slattery
Clarinet
Alexander Knox
Ashley Grutta
Bassoon
Tommy Morrison
Briana Lehman
French Horn
Kyle Anderson
Kuan Ting Chang
Ian Vlahovic
John Harley
Trumpet
Alex Rensink
George Sabel
Trombones
Tom Kamp
Robert Fournier
Keith Marson
Tuba
Robert Sacchi
Timpani
Mark Zettler
Percussion
Gary Fink
Steve Myers
Harp
Irene Bressler
Celeste
Stefanie Watson

Principal Conductor Richard Owen is
celebrating his fifth season as conductor of the
Adelphi Orchestra. Mo. Owen is known
internationally as a gifted and visionary
conductor for his innovative programming
style and audience rapport. Combining a
successful career as a conductor, entrepreneur,
pianist and organist, Maestro Owen is also
music director of Camerata NY Orchestra
and St. Jean Baptiste Church (NYC). He was formerly on the
conducting staff of the NY Philharmonic (cover conductor) as
well as the Deutsche Oper am Rhein
(Duessledorf). This season, Mr. Owen has a busy schedule
which includes the Nutcracker with the Donetsk State Ballet,
Scheherazade with the Adelphi Orchestra and Carmina Burana
with Camerata New York and the NYC Masterchorale.Mo.
Owen recently made several conducting debuts including with
the Little Opera Theater of New York (Gluck’s The Reformed
Drunkard), with Rioult Dance (M. Torke’s Iphigenia) the
Center for Contemporary Opera (Night of the Living Dead) and
Carmina Burana with the Montreal Symphony,
conducting alongside Mo. Kent Nagano. He has conducted
symphony orchestras in Duisburg, Duesseldorf, Rzeszow,
Jacksonville, Monterrey, Belgrade as well as the Staatskapelle
Weimar, the Europa Symphony, the Silesian Philharmonic,
the Baltic Opera and the Pacific Symphony. Mr. Owen
graduated from Dartmouth College, where he was a recipient of
a piano scholarship. He studied piano, accompanying and
conducting at the Manhattan School of Music and at the
University for Music and the Performing Arts in Vienna,
Austria. A native New Yorker, Mr. Owen is committed to the
cultural growth of the New York Metro/Northern New Jersey
by presenting diverse repertoire to all generations.

Ballet Neo celebrates the technical
aesthetic of classical ballet, exploring
the discipline as an expressive tool,
creating compelling theatrical
experiences. Ballet Neo’s powerful
dancers master the scope the repertory
of neo- classical works by Artistic
Director, Choreographer Kate Thomas.
Thomas’ ballets encompass
sophisticated motifs of intimacy and
loneliness, classical narratives, and refined responses to experimental music.
Artistic Director, Kate Thomas collaborated with Grammy Award winning
violinist, composer, Mark O’Connor to produce The Appalachian Suites
Project, Flowers of Darkness, The Women of Monongah, the ballet suite was
inspired by the largest industrial disaster in the United States: the Monongah,
West Virginia mining disaster of 1907. The company has performed at the
Downtown Dance Festival (August 2006), Dancers Responding to AIDS,
International Dance Festival, An Evening with Chamber Ballet, Ballet Arts,
“Measurement and Caution,” music by Nini Raviolette and Acoustica
premiered in the New Choreographers on Pointe’, Ballet Builders, City. Ballet
Neo performed in APAP at Peridance 2012, two New Choreographers on
Pointe’s Previews at the 92nd Street Y and the Ailey Citigroup Theater, John
Prinz and Friends at the Ailey Citigroup Theater. The company has produced
biannual New York City seasons at Manhattan Movement and Arts.
Kate Thomas, Artistic Director of Ballet Neo creates contemporary
ballets with mature narratives that range from deeply emotional personal
stories to intricate interpretations of a wide variety of music. Thomas trained
at The Martha Graham School of Contemporary Dance and performed with
Graham based companies. Following her first work’s inclusion in Eleo
Pomare’s Vital Arts Dance Festival Thomas turned from performance to
choreography. Her company, Ballet Neo, performs regularly in venues such as
the Downtown Dance Festival (August 2006, 2013, 2015), 4 Voices at
Manhattan Movement and Arts, The Brooklyn Dance Festival, Dancers
Responding to AIDS, The International Dance Festival of Staten Island
Ballet, City Center Studios, NY. Dedicated to dance education, Thomas
developed an approach to movement for young children utilized by many
studios and pre-schools throughout the city. Thomas founded B.Mus. Inc., a
not for profit corporation to support her passion for choreography and dance
education. B. Muse, Inc. provided dance programs, lecture demonstrations
and performances to schools in Harlem, the South Bronx, and throughout
Upper Manhattan through her Morningside Heights Dance Development
Program. Kate Thomas is currently Director of The School at Steps, a
Division of Steps on Broadway, and teaches Advanced Ballet Repertory. In
the position of Director, she has redefined and developed the academic year
curriculum-based program in all three divisions (Young Dancers, Technique
and Pre-Professional), has created new programs for the Young Dancers
Program, and has enhanced the Summer Programs offered by the school.

Sara Pearson has performed extensively
throughout the United States with companies
such as Baltimore Lyric Opera, Washington
National Opera, and The Metropolitan Opera,
among many others. Recent appearances
include Leonora (Trovatore) with New
Rochelle Opera and Lia in Debussy’s
L’enfant Prodigue with Baltimore Lyric Opera. Additional roles
in repertoire includeNedda (Pagliacci), the title roles of
Madama Butterfly, Suor Angelica, and Susannah, Donna Elvira
(Don Giovanni) and Paolina (Donizetti’s Poliuto). Ms. Pearson
has also performed important Orchestral works such as
Beethoven‘s Ninth Symphony, Mozart’s Exultate Jubilate, and
Barber’s Knoxville: Summer of 1915. Next, she will perform
Ravel’s Shéhérazade with the Adelphi Orchestra and cover
Leonora in La Forza del Destino with New Amsterdam Opera.
Ms. Pearson received her Graduate Performance Diploma from
the Peabody Institute of Johns Hopkins University and is
currently based in New York City.
The Adelphi Orchestra (AO) is a professional, non-profit
orchestra offering symphony, chamber and educational concert
programs in Northern New Jersey and the New York
metropolitan area, presenting concerts with accomplished
national and international guest soloists and distinguished
conductors. Nominated for the 2016 & 2017 Jersey Arts
People’s Choice Award in the Favorite Orchestra/Symphony
Division, the Adelphi Orchestra is distinguished as northern
New Jersey’s longest continuously performing orchestra and
has been a proud member of the New Jersey cultural
community for 62 years. . The AO has been a recipient of a
Bergen County Arts Grant since 2006 and received a certificate
of commendation in recognition of its constant commitment
and dedication to the residents and communities in Bergen
County. The Orchestra is a member of the League of
Orchestras.

Ravel / Klingsor: Shéhérazade
Asie, Asie, Asie,
Vieux pays merveilleux des contes de
nourrice
Où dort la fantaisie comme une impératrice,
En sa forêt tout emplie de mystère.
Asie, je voudrais m'en aller avec la
goëlette
Qui se berce ce soir dans le port
Mystérieuse et solitaire,
Et qui déploie enfin ses voiles violettes
Comme un immense oiseau de nuit
dans le ciel d'or.
Je voudrais m'en aller vers des îles de
fleurs,
En écoutant chanter la mer perverse
Sur un vieux rythme ensorceleur.
Je voudrais voir Damas et les villes de
Perse
Avec les minarets légers dans l'air.
Je voudrais voir de beaux turbans de
soie
Sur des visages noirs aux dents
claires;
Je voudrais voir des yeux sombres
d'amour
Et des prunelles brillantes de joie
En des paux jaunes comme des oranges;
Je voudrais voir des vêtements de velours
Et des habits à longues franges.
Je voudrais voir des calumets entre des
bouches
Tout entourées de barbe blanche;
Je voudrais voir d'âpres marchands
aux regards louches,
Et des cadis, et des vizirs
Qui du seul mouvement de leur doigt
qui se penche
Accordent vie ou mort au gré de leur
désir.
Je voudrais voir la Perse, et l'Inde, et
puis la Chine,
Asia, Asia, Asia!
Ancient, wonderful land of nursery
stories
Where fantasy sleeps like an empress,
In her forest filled with mystery.
Asia, I want to sail away on the
schooner
That rides in the harbour this evening
Mysterious and solitary,
And finally unfurls purple sails
Like a vast nocturnal bird in the golden
sky.
I want to sail away to the islands of
flowers,
Listening to the perverse sea singing
To an old bewitching rhythm.
I want to see Damascus and the cities
of Persia
With their slender minarets in the air.
I want to see beautiful turbans of silk
Over dark faces with gleaming teeth;
I want to see dark amorous eyes
And pupils sparkling with joy
In skins as yellow as oranges;
I want to see velvet cloaks
And robes with long fringes.
I want to see long pipes in lips
Fringed round by white beards;
I want to see crafty merchants with
suspicious glances,
And cadis and viziers
Who with one movement of their
bending finger
Decree life or death, at whim.
I want to see Persia, and India, and
then China,

ombrelles,
Et les princesses aux mains fines,
Et les lettrés qui se querellent
Sur la poésie et sur la beauté;
Je voudrais m'attarder au palais
enchanté
Et comme un voyageur étranger
Contemple à loisir des paysages peints
Sur des étoffes en des cadres de sapin,
Avec un personnage au milieu d'un
verger;
Je voudrais voir des assassins souriants
Du bourreau qui coupe un cou
d'innocent
Avec son grand sabre courbé d'Orient.
Je voudrais voir des pauvres et des
reines;
Je voudrais voir des roses et du sang;
Je voudrais voir mourir d'amour ou
bien de haine.
Et puis m'en revenir plus tard
Narrer mon aventure aux curieux de
rêves
En élevant comme Sindbad ma vieille
tasse arabe
De temps en temps jusqu'à mes lèvres
Pour interrompre le conte avec art. . . .
Pot-bellied mandarins under their
umbrellas,
Princesses with delicate hands,
And scholars arguing
About poetry and beauty;
I want to linger in the enchanted palace
And like a foreign traveller
Contemplate at leisure landscapes
painted
On cloth in pinewood frames,
With a figure in the middle of an
orchard;
I want to see murderers smiling
While the executioner cuts off an
innocent head
With his great curved Oriental sabre.
I want to see paupers and queens;
I want to see roses and blood;
I want to see those who die for love or,
better, for hatred.
And then to return home later
To tell my adventure to people
interested in dreams
Raising – like Sinbad – my old Arab
cup
From time to time to my lips
To interrupt the narrative artfully…
La flûte enchantée
L'ombre est douce et mon maître dort
Coiffé d'un bonnet conique de soie
Et son long nez jaune en sa barbe
blanche.
Mais moi, je suis éveillée encor
Et j'écoute au dehors
Une chanson de flûte où s'épanche
Tour à tour la tristesse ou la joie.
Un air tour à tour langoureux ou
frivole
Que mon amoureux chéri joue,
Et quand je m'approche de la croisée
Il me semble que chaque note s'envole
De la flûte vers ma joue
Comme un mystérieux baiser.
The shade is pleasant and my master
sleeps
In his conical silk hat
With his long, yellow nose in his white
beard.
But I am still awake
And from outside I listen to
A flute song, pouring out
By turns, sadness and joy.
A tune by turns langorous and carefree
Which my dear lover is playing,
And when I approach the lattice
window
It seems to me that each note flies
From the flute to my cheek
Like a mysterious kiss.

L'indifférent
Tes yeux sont doux comme ceux
d’une fille,
Jeune étranger,
Et la courbe fine
De ton beau visage de duvet ombragé
Est plus séduisante encor de ligne.
Your eyes are soft as those of any
girl,
Young stranger,
And the delicate curve
Of your fine features, shadowed with
down Is still more seductive in
profile.
Ta lèvre chante sur le pas de ma porte
Une langue inconnue et charmante
Comme une musique fausse. . .
Entre!
Et que mon vin te réconforte . . .
Mais non, tu passes
Et de mon seuil je te vois t’éloigner
Me faisant un dernier geste avec
grâce,
Et la hanche légèrement ployée
Par ta démarche féminine et lasse. . . .
On my doorstep your lips sing
A language unknown and charming
Like music out of tune…
Enter!
And let my wine comfort you …
But no, you pass by
And from my doorway I watch you
go on your way
Giving me a graceful farewell wave,
And your hips gently sway
In your feminine and languid gait…
MAURICE RAVEL Shéhérazade
Three Songs on Poems of Tristan Klingsor
When he was 23 years old Ravel, responding to the stimulus of the fantasy
elements in Weber and Wagner, and those in such Russian orchestral works
as Balakirev’s Tamara and Rimsky-Korsakov’s Antar, conceived his first
idea for an opera, on the same subject as one of Rimsky’s better-known
symphonic suites, and he roughed out a libretto of his own for Shéhérazade,
based on Galland’s Mille et une Nuits. That project was abandoned before he
got very far with it, but he did complete two Shéhérazades in other forms.
One was his very first orchestral work, which he designated an "ouverture de
féerie" and in which he made his conducting début on May 27, 1899. That
piece was hissed by the audience, trounced by the critics, and withdrawn by
the composer, who never performed it again and did not allow the score to be
published in his lifetime. He recycleded some of its material, however, in a
different kind of Shéhérazade which proved to be far more successful, a
sumptuous song-cycle with texts by Tristan Klingsor.
That suspiciously Wagnerian name was actually the pseudonym of Ravel’s
friend Léon Leclère, one of the most versatile members of the circle of young
poets, painters and musicians who called themselves "Apaches." Leclère/
Klingsor was known primarily as a painter and poet, but had also composed
songs; as Alexis Roland-Manuel noted in his biographical memoir of Ravel,
Klingsor "teased all the Muses, and came to no harm." As soon as Klingsor’s
Shéhérazade was published, in 1903, Ravel indicated his eagerness to set
some of the poems; he began at once, completed the orchestral settings before
the end of the year, and attended the very successful premiere on May 17,
1904, when the work was sung by the soprano Jane Hatto in a concert of the
Société National de Musique conducted by Alfred Cortot.

MAURICE RAVEL Le tombeau de Couperin
World War I took its toll on Maurice Ravel; a number of his friends were killed
in action, and he himself agonized about enlisting, even though he was 39 years
old when the war began. Gerald Larner’s biography describes some of Ravel’s
thoughts during this period: “[Ravel] wrote to [a friend] to express the anguish
aroused in him by ‘those weeping women, [and] above all the horrible
enthusiasm of the young men and all my friends who have had to join up and
my not knowing what is happening to them’.”Ravel wrote Le tombeau de
Couperin as an homage to François Couperin, one of the major composers of
the French Baroque era “and to 18th century French music in general.”
Tombeau literally means “tomb,” but it also refers to a work or collection of
works, either musical or poetic, written in homage to a dead colleague or
master. Tombeaux of this sort are a part of French musical and literary tradition
dating back to the Renaissance. Musicologist Gerard McBurney points out,
“Beneath the formality of this music is an elegy for French culture, which was
being deeply threatened and might well have been destroyed by a world war
which was turning the north of France into a blood bath … [Le tombeau]
doesn’t talk directly about the war at all; it talks about eternal values: beauty,
elegance, the things that we want to preserve … in other words, the opposite of
movement to a fallen comrade. Le tombeau employs several dance styles, in
the manner of a Baroque suite. The second movement forlane is a dance from
northern Italy, the third is the popular Baroque menuet, and the final
movement’s dance, a rigaudon, hails from Provence.
Nikolai Rimsky-Korsakov's Scheherazade, inspired by alluring images
from the Tales from the Arabian Nights, established the Russian composer as a
brilliant orchestrator. Rimsky-Korsakov described Scheherazade as "an
Oriental narrative of … varied fairy tale wonders." The solo violin, as
Scheherazade, stitches the exotic stories together.
The literary inspiration for Rimsky-Korsakov's orchestral masterpiece is a
collection of folk tales from Egypt, India and Persia that includes stories dating
back over 1,000 years. In 1704, French translator Antoine Galland began
publishing the Tales of the Arabian Nights in a series of installments,
beginning with Sinbad the Sailor. For most Europeans who would never
experience the East firsthand, these tales provided a colorful, exotic lens
through which the wonders of "the Orient" were viewed. The otherness of all
things Eastern colored the imaginations of Westerners; in their minds it became
a quasi-magical realm tinged with mystery, the scent of foreign perfumes and
spices, beguiling music and other sensual delights. Galland's translations
created a frenzy among Europeans for all things Eastern and contributed to the
rise of turquerie, an interest in the culture, art and style of the Turkish Ottoman
Empire. Rimsky-Korsakov capitalized on listeners' instant association of
Scheherazade with the East when he immortalized the legendary storyteller and
her fantastic tales in music. According to legend, Scheherazade's stories were
invented to prevent execution at the hands of her brutal husband.
Sultan Shakriar believed all women were naturally deceptive and had each of
his wives killed after one night. Scheherazade escaped this fate by telling
stories that spun themselves out over 1,001 nights. Her stories were an
ingenious amalgam of poems, folk songs and fairy tales. Infected by the
universal desire to find out "what happened next," the sultan deferred her
execution each morning and eventually lifted her death sentence.

In his memoir My Musical Life, Rimsky-Korsakov wrote, " I meant these
hints to direct but slightly the hearer's fancy on the path which my own fancy
had traveled. All I desired was that the hearer, if he liked my piece as symphonic
music, should carry away the impression that it is beyond doubt an
oriental narrative of some numerous and varied fairy-tale wonders, and not
merely four pieces played one after the other and composed on the basis of
themes common to all four movements." More specifically, Rimsky-Korsakov
indicates the solo violin, which opens the first two movements, the intermezzo
of the third movement and the conclusion of the fourth all correspond to Scheherazade
herself. (The forbidding theme in the brasses that opens the whole
work and is sometimes associated with the Sultan is perhaps better perceived
as a metaphor for Scheherazade's death sentence. Postponed as long as she
continues to beguile the Sultan with her inventive stories, it is always present
as a threatening, if unspoken, reminder.)
Rimsky-Korsakov's student, composer Anatoly Lyadov, suggested the names
by which each of Scheherazade's four sections is known to most audiences.
Although Rimsky-Korsakov approved them initially, he had them removed
from subsequent editions of the score, in keeping with his conception that
Scheherazade was not a linear narrative. Instead, Rimsky-Korsakov described
it as a "musical kaleidoscope" of images: the ocean carrying Sinbad's ship
from one near-escape to the next; the roguish exploits of a Kalendar Prince
(the Tales includes several stories of princes who, disguised as beggars, enjoyed
daring adventures; Rimsky-Korsakov does not specify which tale he is
illustrating but presents a lighthearted composite of mischief-making); an enchanting
love story of a young prince and princess, possibly Aladdin and the
princess Badur; a vastly different ocean, now storm-tossed and deadly, which
finally wrecks Sinbad's ship against the rocks.
©2013 Elizabeth Schwartz

Tickets for Une Fete en France
Students – $20 Seniors – $25 Regular – $35
Premium – $40 VIP Ticket – $75
Available at todays concert in the Lobby
Visit Adelphiorchestra.org for tickets

Patrons of the Adelphi Orchestra
Foundations
Amazon Smiles
Holy Name Hospital
Price Waterhouse Cooper
Puffin Foundation
TD Bank Affinit y Program
Raymond James Charitable Trust
Bill & Melissa Gates Foundation
Sponsors
David Rubin, MD
Pathline Laboratories
Concerto Member
Hagop and Sirapi Aram
Barbara Cohen
Cynthia Bernstein
Glenn Danks
Linsy Farris
Stanley Miller
Rob Quinn
Leta & Stan Sabin
Lorraine Spivak
Lorraine & Orlando Valcarel
Concertmaster Member
David & Kathy Meltzer
Michael & Farrah Peng
Sylvia & David Rubin
Principal Member
Alexandra & John Bernstein
Esther Kashkin
Joan Kuhns
Steven Reid
Jason Tramm
Phillip & Lisa Wilson
Virtuoso Member
Felicia & Stan Davis
Edward & Kathryn Friedland
Claire & Robert Kapilow
Rachel Matthews
Sigrid Snell
Anne Taylor, MD
Jay Van Dekopple & Linda
Mcknight
Tributes
IN HONOR OF:
Marilyn Bernstein
Sylvia Rubin
Lillian & Gerald Levin
Thomas Tantillo
Mary Tantillo
IN MEMORY OF:
Rev Louis Springsteen
Cliff and Kathy Lee
Margaret Cook Levy
Judith Clarke
Sylvia & David Rubin
Carroll Anne Grece
Sinfonia Members
Nachum Bacharach
Betty Heald
Kathy & John Hopkins
Daniel & Theresa Muccia
Dr. William & Leanore Rosenzweig
Mr. and Mrs. Francis Schott
George & Barbara Sabel
Constance Schnoll
Margaret Falahee Watkins

Congratulates the
Adelphi Orchestra on its
63rd season!
70 Hatfield Lane, Suite G01 |Goshen, NY 10924 |T: (845) 615-3320
845/368-5181

The Adelphi Orchestra
Wishes to express its gratitude to all of its volunteers,
friends, individuals, corporate and foundation donors, advertisers
RIVERDELL BOARD OF EDUCATION
The Staff at Riverdell Middle & High School
For helping make all our programs possible we are looking
forward to sharing more music with you this concert season!

Innovative programs, world-class conductors and soloists, and great music for
our community! The AO operates on a lean budget.
Your generous contributions allow us to continue to give the gift of music!
Upcoming Concerts
At the Ballet
April 2 2017 | 3:00 PM | Wyckoff Family YMCA
Young Artist Finals
April 22 2017 | 1:00 PM | Dimenna Center for Classical Music NYC
La Traviata: A Concert Version
May 7 2017 | 3:00 PM | Riverdell High School Auditorium
Une Fete Une Fête en France: Benefit Concert for our Young Artist Program
June 11 2017 | 7:00 PM | Merkin Concert Hall at the Kaufman Center NYC