Igor BegeLman wITh PhoeBuS Three - Des Moines Art Center

2011 | 2012 SeaSon
at the ar t Center
on stage
Bold-Brilliant-Beautiful
Igor Begelman | clarinet
with
Phoebus Three
SaTurday, aPrIL 21, 2012 | 8 Pm
deS moIneS arT cenTer | LevITT audITorIum

Program Igor BegeLman wITh PhoeBuS Three
Igor Begelman | clarinet
with Phoebus Three
Igor Begelman | clarinet Larisa Gelman | bassoon Rieko Aizawa | piano
PROGRAM
Trio Pathetique in D minor Mikhail Glinka (1804–1857)
Allegro Moderato
Scherzo: Vivacissimo
Largo
Allegro con spirito
Histoires for piano solo Jacques Ibert (1890– 1962)
La marchande d’eau fraiche (The Fresh Water Seller)
La cage de cristal (The Crystal Cage)
Le petit ane blanc (The Little White Donkey)
La meneuse de tortues d’or (The Leader of the Golden Tortoises)
Suite from Porgy and Bess George Gershwin (1898 – 1937)
(arranged for clarinet and piano) Jascha Heifetz (1901 – 1987)
INTERMISSION
Afro for clarinet, bassoon, and piano Paquito D’Rivera (b. 1948)
Romance for bassoon and piano Edward Elgar (1857 – 1934)
Selections for clarinet and bassoon
Los Tres Golpes Ignacio Cervantes (1847 – 1905)
Ave Maria J. S. Bach (1685 – 1750) / Charles Gounod (1818 – 1893)
Benny’s Gig Morton Gould (1913 – 1996)
Concert Piece No. 2 in D minor Felix Mendelssohn (1809 – 1847)
for clarinet, bassoon, and piano

IGOR BEGELMAN | clarinet
Biography Igor BegeLman wITh PhoeBuS Three
In performing an astonishingly large and varied repertoire,
clarinetist Igor Begelman’s virtuosity and imagination have
been praised by critics as a “remarkable display of music
making” and have earned him an impressive list of awards,
engagements, and honors. Whether in collaboration with
such distinguished artists as Richard Goode and Midori,
or with such esteemed ensembles as the Chamber Music
Society of Lincoln Center, Igor Begelman’s musical gifts
and technical prowess take center stage.
Crafting a career of international dimensions,
Igor Begelman has appeared as soloist with major
orchestras in the United States and abroad, including the
Houston Symphony, L’Orchestre de la Suisse Romande,
the Orchestra of St. Luke’s, and I Musici de Montréal
among many others. His recital appearances have included
engagements throughout Europe, Canada, Mexico, Japan,
and Israel, as well as recitals in such distinguished venues as
Philadelphia’s Kimmel Center, Boston’s Faneuil Hall,
New York’s Weill Recital Hall at Carnegie, Lincoln Center,
and 92nd Street Y. Equally accomplished as soloist and
chamber musician, his appearances have taken him to
the Caramoor and Ravinia, Marlboro, Tanglewood, and
Schleswig-Holstein festivals.
An active educator, Mr. Begelman has given master
classes throughout the United States. He is professor of
clarinet at the North Carolina School of the Arts and
director of the Wind Program at the Bowdoin International
Music Festival, while currently teaching at Brooklyn
College and Sarah Lawrence College. Raised in Kiev,
Ukraine, Igor Begelman received his master’s degree from
The Juilliard School of Music and his bachelor’s degree
from The Manhattan School of Music.
LARISA GELMAN | bassoon
Bassoonist Larisa Gelman has established herself as an
exceptional and dynamic performer in the United States
and abroad. In recent seasons she was featured as a
soloist with the Brooklyn Symphony performing Richard
Strauss’ “Duo Concertante,” and with the Broadway
Bach Ensemble performing Vivaldi and Weber concertos.
Ms. Gelman’s solo concerts have included Carnival in
Caroline, Maryland; Impromptu Concerts, Key West,
Florida; Mozart Festival at World Bank, Washington,
D.C.; Kimmel Center, Philadelphia, Pennsylvania; West
Chester University, Pennsylvania; Queens College, New
York City; the Flint Institute of Art, Flint, Michigan;
Juneau Jazz and Classics in Juneau, Alaska; The Encore
Programs at Elmira College, New York; as well as the
acclaimed recital at Caramoor Festival. Currently director
of Educational Outreach at the 92nd Street Y, Ms. Gelman
is involved with educational events in the United States by
collaborating with the Midori and Friends Foundation, the
New York Philharmonic Outreach Program, Astral Artistic
Services, Piatigorsky Foundation and Young Audiences
of New York, and abroad at the Oberlin Panama Project
and the Carvalho International Music Festival and School
in Brazil. Her innovative methods bring interdisciplinary
involvement of music into the academic classroom.
RIEKO AIZAWA | piano
In 1988, Ms. Aizawa was brought to the attention of
Alexander Schneider by the recommendation of pianist
Mitsuko Uchida. Schneider engaged her as soloist with
his Brandenburg Ensemble at the opening concerts of
Tokyo’s Casals Hall; later that year, Schneider presented
14-year-old Ms. Aizawa in her U.S. debut concerts at the
Kennedy Center and Carnegie Hall, performing Mozart’s
Concerto No. 12 in A major, K. 414, with his New York
String Orchestra. The Washington Post celebrated her
performance: “She played with a beautiful, limpid tone
and a sense of characterization and cohesiveness that is
unusual.” To complete her triumphant season of
U.S. debuts, during January of 1989, Ms. Aizawa stepped
in as soloist with the San Francisco Symphony, guest
conducted by Schneider.

Program Notes Igor BegeLman wITh PhoeBuS Three
Since then Ms. Aizawa has performed in solo and
orchestral engagements throughout the U.S., Canada, and
Europe, including Lincoln Center’s Avery Fisher Hall,
Boston’s Symphony Hall, and Chicago’s Orchestra Hall.
Highlights of recent seasons have included acclaimed
performances with the New Japan Philharmonic under
Seiji Ozawa, the English Chamber Orchestra under Heinz
Holliger, the Festival Strings Lucerne in Switzerland under
Rudolf Baumgartner, the St. Paul Chamber Orchestra
under Hugh Wolff, the Curtis Institute Orchestra with
Peter Oundjian, the St. Louis Symphony under David
Loebel, and, most recently, a wonderfully received
performance with the Vienna Chamber Orchestra.
As a recitalist, Ms. Aizawa has been heard in many
North American cities, including New York, Philadelphia,
Washington D.C., St. Louis, Seattle, Boulder, Los Angeles,
Houston, and Toronto; at the Caramoor International
Festival; at Lincoln Center’s Mostly Mozart Festival;
Ravinia Festival; and Gilmore Keyboard Festival. Following
a recent all-Beethoven recital in Dresden, Germany, a
reviewer wrote: “Her listeners followed her playing—full of
details and delicate contrasts—breathlessly.”
Ms. Aizawa received her master’s degree from
The Juilliard School of Music, where she worked with
Peter Serkin. She is also a graduate of the Curtis Institute
of Music in Philadelphia, where she was awarded the
prestigious Rachmaninoff Prize and studied with Seymour
Lipkin, Peter Serkin, and Mieczyslaw Horszowski as
his last pupil.
MIKHAIL GLINKA (1804 – 1857)
Trio Pathetique in D minor
Mikhail Glinka was the first in Russia to create romances,
operas, and chamber music based on Russian themes, using
Russian folk melodies, and is commonly regarded as the
founder of Russian nationalism in music. His influence
on composers such as Rimsky-Korsakov, Borodin, and
Mussorgsky was considerable. As a child, he took some
lessons with the famous Irish virtuoso pianist John Field,
who was living in Petersburg, but his association with music
remained purely amateur until visits to Europe which began
in 1830. In both Italy and Germany he was able to formally
study and improve his compositional technique. His music
offered a synthesis of Western operatic form with Russian
melody, while his instrumental music was a combination of
the traditional and the exotic.
The Trio Pathetique dates from around 1827 – 8, well
after his piano studies with Field but before he embarked
on his travels. It was originally for the combination of
clarinet, bassoon, and piano, but Glinka’s publisher insisted
he also make a version for standard piano trio, which he
did. One can hear Russian folk melody, which he must
have heard from the serf musicians of his uncle’s orchestra;
however, it is expressed in the idiom of the Viennese classics.
The opening Allegro moderato is in the transitional style
of early Romanticism with a classical structure. In the
second movement, Scherzo, the piano is given a sparkling
part against which the others have long-breathed lyrical
passages. The tuneful trio recalls early Beethoven. The trio’s
center of gravity is its third movement, Largo. The sobriquet
“pathetique” no doubt comes from the melodies given to
the winds, especially the lower voice. The running triplets
which characterize the exciting finale, Allegro con spirito,
eventually give way to what must be the original basis of the
thrilling movie music used in silent films.
JACQUES IBERT (1890 – 1962)
Histoires for piano solo
Jacques Ibert was born in Paris, studied music from an early
age at the Paris Conservatory, and won its top prize at his
first attempt, the Prix de Rome, despite studies interrupted
by his service in World War I. Before attaining success as
a composer, he earned a living as a private teacher, as an
accompanist, and as a cinema pianist. He took private
lessons in orchestration, along with fellow students Arthur
Honegger and Darius Milhaud.
In addition to composing, Ibert was active as a
conductor and in musical administration. In 1937 he was

Program Notes Igor BegeLman wITh PhoeBuS Three
appointed director of the Academie de France at the Villa
Medici in Rome, and held that post until 1960, except
for an enforced break during the war years of World War
II. The war years were difficult for Ibert; in 1940 the
Vichy government banned his music and he retreated to
Switzerland. In August 1944, he was readmitted to the
musical life of the country when General de Gaulle recalled
him to Paris.
For the theatre and cinema, Ibert was a prolific
composer of incidental music. He wrote the music for more
than a dozen French films, and for American directors he
composed a score for Orson Welles’ 1948 film of Macbeth,
and the Circus ballet for Gene Kelly’s Invitation to the
Dance in 1952.
GEORGE GERSHWIN (1898 – 1937)
Porgy and Bess
In a career tragically cut short in mid-stride by a brain
tumor, George Gershwin proved himself to be not only
one of the great songwriters of his extremely rich era, but
also a gifted “serious” composer who bridged the worlds
of classical and popular music. The latter is all the more
striking, given that, of his contemporaries, Gershwin was
most influenced by such styles as jazz and blues. Gershwin’s
first hit, interpolated into the show Sinbad in 1919, was
“Swanee,” sung by Al Jolson. Gershwin wrote both
complete scores and songs for such variety shows as George
White’s Scandals (whose annual editions thus were able to
introduce such songs as “I’ll Build a Stairway to Paradise”
and “Somebody Loves Me”). After 1924, Gershwin
worked primarily with his brother Ira as his lyricist. The
two scored a series of Broadway hits in the 20s and early
30s, starting with “Lady Be Good” (1924), which included
the song “Fascinatin’ Rhythm.” In the same year George
composed his first classical piece, “Rhapsody in Blue,” and
he would continue to work in the classical field until his
death. By the 30s the Gershwins had turned to political
topics and satire in response to the onset of the Depression,
and their Of Thee I Sing became the first musical to win
a Pulitzer Prize. In the mid 30s, Gershwin ambitiously
worked to meld his show music and classical leanings in
the creation of the folk opera Porgy and Bess, with lyrics
by Ira and DuBose Heyward. The Gershwins had moved to
Hollywood and were engaged in several movie projects at
the time of George Gershwin’s death.
THE OPERA
George Gershwin’s opera, Porgy and Bess, was based on
DuBose Heyward’s novel “Porgy,” and subsequent play
of the same title, which he wrote with his wife Dorothy
Heyward. All three works deal with African-American life
in the fictitious Catfish Row (based on the area of Cabbage
Row), in Charleston, South Carolina, in the early 1920s.
Originally conceived as an “American folk opera,”
Porgy and Bess premiered in New York in the fall of 1935,
and featured an entire cast of classically trained African-
American singers—a daring artistic choice at the time.
Gershwin chose the African-American musician Eva Jessye
as the choral director for the opera.
The work was not widely accepted in the United States
as a legitimate opera until 1976, when the Houston Grand
Opera production of Gershwin’s complete score established
it as an artistic triumph. Nine years later, the Metropolitan
Opera of New York gave their first performance of the
work. This production was also broadcast as part of the
ongoing Saturday afternoon live Metropolitan Opera
radio broadcasts. The work is now considered part of the
standard operatic repertoire and is regularly performed
internationally. Despite this success, the opera has been
controversial; some critics from the outset have considered
it a racist portrayal of African-Americans.
JASCHA HEIFETZ (1901 – 1987)
More than a century after his public debut, the name Jascha
Heifetz continues to evoke awe and excitement among
fellow musicians. In a performing career that spanned
65 years, he established an unparalleled standard of violin
playing to which violinists around the world still aspire.
After the 19-year-old Heifetz’s London debut, George
Bernard Shaw wrote him a now legendary letter. “If you
provoke a jealous God by playing with such superhuman
perfection,” Shaw warned, “you will die young. I earnestly
advise you to play something badly every night before going
to bed, instead of saying your prayers. No mortal should
presume to play so faultlessly.”
Heifetz is widely considered to be one of the most
profoundly influential performing artists of all time. Born
in Vilna, Russia on February 2, 1901, he became a U.S.
citizen in 1925. Fiercely patriotic to his adopted country,
he gave hundreds of concerts for Allied service men and
women during World War II, including tours of Central
and South America, North Africa, Italy, France, and
Germany, often playing from the back of a flatbed truck
in dangerous conditions.

Program Notes Igor BegeLman wITh PhoeBuS Three
In 1928, he published the first of dozens of acclaimed
violin transcriptions. Many, including his arrangements of
selections from Gershwin’s “Porgy and Bess,” are now part
of the standard repertoire. Using the pseudonym Jim Hoyl,
he even wrote a pop song that became a hit in 1946.
In his later years, Heifetz became a dedicated teacher
and a champion of causes he believed in. He led efforts
to establish “911” as an emergency phone number, and
crusaded for clean air. He and his students at the University
of Southern California protested smog by wearing gas
masks, and in 1967 he converted his Renault passenger car
into an electric vehicle.
As a result of his vast recorded legacy, Heifetz’s violin
playing is no less influential today than it was in his
lifetime. To legions of violinists he remains, quite simply,
“The King.”
PAQUITO D’RIVERA (b. 1948)
Afro for clarinet, bassoon, and piano
Born on the island of Cuba, Paquito D’Rivera began his
career as a child prodigy. A restless musical genius during
his teen years, Mr. D’Rivera created various original and
groundbreaking musical ensembles. As a founding member
of the Orquesta Cubana de Musica Moderna, he directed
that group for two years, while at the same time playing
both the clarinet and saxophone with the Cuban National
Symphony Orchestra. He eventually went on to premiere
several works by notable Cuban composers with the same
orchestra. Additionally, he was a founding member and codirector
of the innovative musical ensemble Irakere. With
its explosive mixture of jazz, rock, classical, and traditional
Cuban music never before heard, Irakere toured extensively
throughout America and Europe, won two Grammy
nominations (1979, 1980) and a Grammy (1979).
Paquito D’Rivera’s first recognition as a solo artist
by The Recording Academy (GRAMMYs) came in 1996
with the highly acclaimed recording Portraits of Cuba.
Since then, Mr. D’Rivera has received many recognitions
as an artist and composer, including two nominations for
his recent release, JazzClazz (featuring Sabine Meyer and
Trio Clarone). In addition to his extraordinary performing
career as an instrumentalist, Paquito D’Rivera has rapidly
gained a reputation as a dynamic composer. His works
often reveal his widespread and eclectic musical interests,
ranging from Afro-Cuban rhythms and melodies, including
influences encountered in his many travels, and back to his
classical origins
EDWARD ELGAR (1857 – 1934)
Romance for bassoon and piano
Sir Edward Elgar was born on June 2, 1857 at Broadheath,
a village some three miles from the small city of Worcester
in the English West Midlands. His father had a music
shop in Worcester and tuned pianos. The young Elgar,
therefore, had the great advantage of growing up in a
thoroughly practical musical atmosphere. He studied the
music available in his father’s shop and taught himself to
play a wide variety of instruments. It is a remarkable fact
that Elgar was very largely self-taught as a composer—
evidence of the strong determination behind his original
and unique genius. His long struggle to establish himself
as a pre-eminent composer of international repute was
hard and often bitter. For many years he had to contend
with apathy, with the prejudices of the entrenched musical
establishment, with religious bigotry (he was a member
of the Roman Catholic minority in a Protestant majority
England), and with a late Victorian provincial society
where class consciousness pervaded everything.
Through the 1880s and the 1890s Elgar’s experience
grew and his style matured as he conducted and composed
for local music organizations. He also taught violin and
played the organ at St. George’s Roman Catholic Church in
Worcester. In 1889 he married one of his pupils, Caroline
Alice Roberts, daughter of the late Major-General Sir
Henry Roberts, who had enjoyed a distinguished career
with the British army in India. She married Edward in
opposition to her family, who considered that in marrying
the son of a mere tradesman, a music teacher without
prospects, she was marrying beneath herself. Nevertheless,
Alice, with determination and a dogged faith in Edward’s
emerging genius, played a vital part in the development
of his career. That faith was rewarded in 1904, when
an all-Elgar festival was held at Covent Garden, and the
composer was knighted by King Edward VII.
IGNACIO CERVANTES (1847 – 1905)
Los Tres Golpes
Ignacio Cervantes was a Cuban virtuoso pianist and
composer, enormously influential in the creolization of
Cuban music. A child prodigy, he was taught by pianist
Juan Miguel Joval, later by composer and tutor Nicolas
Ruiz Espadera in 1859, and by the visiting American
composer Louis Moreau Gottschalk. Gottschalk
encouraged Cervantes to study at the Conservatoire de
Paris, which he did from 1866–1870 under Antoine
François Marmontel and Charles-Valentin Alkan, and was
awarded first prizes in composition (1866) and harmony

Program Notes Igor BegeLman wITh PhoeBuS Three
(1867). He also performed with Christina Nilsson and
Adelina Patti.
In 1875 Cervantes and Jose White left Cuba when
warned by the governor-general, as he had found out that
they had been giving concerts all over the country to raise
money for the rebel cause in the Ten Years’ War. In the
U.S. and Mexico, Cervantes continued to raise money by
giving concerts until the pact of Zanjon brought a lull in the
conflict. He returned in 1878 and left again in 1895 when
the Cuban War of Independence started.
Cervantes wrote one opera (Maledetto, 1895), various
chamber pieces, “Scherzo capriccioso,” 1885, “Zarzuelas,”
and the famous forty-one “Danzas Cubanas.” He also
conducted for the opera company at Havana’s Payret
Theater. His “Fusion de Almas” was written for his daughter,
Maria Cervantes (1885 – 1981), who became a well-known
pianist, composer, and singer.
J. S. BACH (1685 – 1750)
CHARLES GOUNOD (1818 – 1893)
Ave Maria
Charles Gounod was born in Paris, the son of a pianist
mother and an artist father. His mother was his first piano
teacher, but he ultimately entered the Paris Conservatory
and studied with Fromental Halevy. In 1839 he won the
Prix de Rome, and while in Italy studied the music of
Palestrina and other sacred works of the sixteenth century.
These he never ceased to cherish. An 1855 performance of
Gounod’s Saint Cecilia Mass was very well received, and
dates his fame as a noteworthy composer.
Fanny Mendelssohn, sister of Felix Mendelssohn,
introduced the keyboard music of Johann Sebastian Bach
to Gounod, who came to revere Bach. For him, The Well-
Tempered Clavier was “the law to pianoforte study…the
unquestioned textbook of musical composition.” It inspired
Gounod to devise an improvisation of a melody over the
C major Prelude from the collection’s first book. To this
melody, Gounod fitted the words of the Ave Maria, resulting
in a setting that became world famous.
Gounod wrote his first opera, Sapho, in 1851, but it
was a commercial failure. He had no great theatrical success
until Faust (1859), derived from Goethe. This remains the
composition for which he is best known; and although it
took a while to achieve popularity, it became one of the
most frequently staged operas of all time, with no fewer
than 2,000 performances of the work having taken place by
1975 at the Paris Opera alone, not counting other theaters.
MORTON GOULD (1913 – 1996)
Benny’s Gig
Morton Gould was an American composer, conductor,
arranger, and pianist. Born in Richmond Hill, New
York, Gould was recognized early as a child prodigy
with abilities in improvisation and composition. His first
composition was published at age six. Gould studied at
the Institute of Musical Art, although his most important
teachers were Abby Whiteside and Vincent Jones.
During the Depression, Gould, while a teenager,
worked in New York City playing piano in movie theaters
as well as with vaudeville acts. When Radio City Music Hall
opened, Gould was hired as the staff pianist. By 1935, he was
conducting and arranging orchestral programs for New York’s
WOR radio station, where he reached a national audience
via the Mutual Broadcasting System, combining popular
programming with classical music.
In the 1940s Gould appeared on the Cresta Blanca
Carnival program as well as The Chrysler Hour where
he reached an audience of millions. He composed
Broadway scores, film music, music for television series,
and ballet scores. Gould’s music, commissioned by
symphony orchestras all over the United States, was also
commissioned by the Library of Congress, The Chamber
Music Society of Lincoln Center, the American Ballet
Theatre, and the New York City Ballet.
As a conductor, Gould led all of the major American
orchestras as well as those of Canada, Mexico, Europe,
Japan, and Australia. With his orchestra, he recorded
music of many classical standards, including Gershwin’s
“Rhapsody in Blue”on which he also played the piano.
Incorporating new styles into his repertoire as they
emerged, Gould integrated wildly disparate elements,
including a rapping narrator and a singing fire department
into commissions for the Pittsburgh Youth Symphony. In
1993, his work “Ghost Waltzes” was commissioned for
the ninth Van Cliburn International Piano Competition.
In 1994, Gould received a Kennedy Center Honor in
recognition of lifetime contributions to American culture.
FELIX MENDELSSOHN (1809 – 1847)
Concert Piece No. 2 in D minor for clarinet, bassoon,
and piano
Felix Mendelssohn, grandson of the distinguished Jewish
thinker, Moses Mendelssohn, was born in Hamburg, the
son of a banker, (the additional surname Bartholdy was
added to the family name when his parents converted
to Christianity). The family moved to Berlin, where
Mendelssohn was brought up, and was able to associate

with a cultured circle of friends. He was associated with the
revival of public interest in the music of J. S. Bach, and in the
early 1830s traveled abroad for his education, spending time
in Italy and also visiting England, Wales, and Scotland.
In 1829, Mendelssohn spent a very pleasant time in
Munich, a city which the young composer felt had a greater
hospitality and greater culture than Vienna. He saw a good
deal of clarinet virtuoso Heinrich Bahrmann, becoming good
friends, and wrote the Concert Piece No. 2 for Bahrmann
and his son. The piece was first performed in January 1833,
with Bahrmann on clarinet, his son, Carl, on basset horn, and
Mendelssohn on piano.
Mendelssohn became Conductor of the Gewandhaus
Orchestra in Leipzig early in 1835 (where he also established
a conservatory), his stay there interrupted briefly by a return
to Berlin. He died in Leipzig in 1847. Prolific and precocious,
Mendelssohn had many musical gifts as composer, conductor,
and pianist. His style of composition combined something
of the economy of means of the Classical period with the
romanticism of a later age.
We would like to thank each of the individuals
and sponsors who have supported On Stage throughout
the years, in particular Buz and Sue Brenton.
Your generosity has enabled us to present a world-class
concert series for 15 years. We would also like
to express our sincere appreciation to Gilda Biel
for her devotion to this program. Gilda’s passion and
commitment is an inspiration to us all.
on stage 2011–2012 is
co-sponsored by
Homesteaders Life Company
and iles Funeral Homes.
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on Stage Program from
2/1/2011 – 4/15/2012.
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