Untitled - The Buffalo Philharmonic Orchestra

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20 Amy Glidden Amy Glidden is currently the associate concertmaster of the Buffalo Philharmonic, a position she has held since 2000. A native of Wichita, Kansas, Amy attended the University of Kansas, where she received a B.A. in Biology as well as a B.M. in Violin Performance. Subsequently, she received a Master of Violin Performance degree from the Cleveland Institute of Music. Amy has performed with the Phoenix Symphony, the Toronto Symphony, the Fort Worth Symphony, and the Canadian National Ballet Orchestra. While a resident of San Francisco, Amy served as assistant concertmaster of the Marin Symphony and concertmaster of the Mendocino Music Festival. She travels west each summer to participate in the Sun Valley Summer Symphony and the Grand Teton Music Festival, where she has been a festival participant for 4 years. Amy has often performed as a soloist with the Buffalo Philharmonic, including performances of the Chausson Poeme, Mozart’s Violin Concerto No. 5, and Vaughaun-Williams The Lark Ascending. Other local solo engagements include performances with the Ars Nova Chamber Orchestra and the Amherst Symphony. Amy is a founding member of the Clara String Quartet, comprised of BPO musicians, which has performed on many chamber music venues across Western New York. In addition, Amy periodically returns to her hometown of Wichita, Kansas to collaborate in the “Chamber Music in the Barn” series. Locally, she performs with the Roycroft Chamber Music Festival and Buffalo Chamber Players. Besides maintaining a private violin studio, Amy is a Suzuki violin instructor and teaches at Orchard Park Suzuki Strings. Program Notes Einojuhani Rautavaara Finnish composer Born: October 9, 1928, Helsinki Isle of Bliss These are the first performances of this work on the Classics series; duration 11 minutes Einojuhani Rautavaara is a graduate of the University of Helsinki and the Sibelius Academy, with additional study in Vienna and at New York’s Juilliard School of Music. In the United States he also studied at the Tanglewood Music Center with Roger Sessions and Aaron Copland. He was appointed Rector at the Käpylä Music Institute in Helsinki and later became a tenured professor of composition at the Sibelius Academy. Rautavaara’s catalog includes a wide array of genres, from chamber music to opera, with a variety of symphonies, concertos and tone poems. As a whole his output is almost a textbook case of Post-Modernism, having traversed several stylistic periods throughout his long career including Neo-Classicism, Serialism and Neo- Romanticism. However most of his works comprise a variety of stylistic elements as a means to express his belief in the presence of a mystic link to human experience. He often refers to Thomas Mann in describing compositions as “having a metaphysical mind of their own.” About Isle of Bliss the composer writes: “I originally composed the orchestral fantasia Isle of Bliss (1995) for the
Espoo Music Institute orchestra. The work was inspired by the Finnish poet Aleksis Kivi’s (1834-72) version of the island paradise, one of the greatest themes in world literature, which Kivi called, Lintukoto, or Home of the Birds. Although not a “programmatic” depiction, the composition parallels Kivi’s poem in terms of overall form: the fast-moving, bright and carefree opening leads up to a dreamy, static section which matches the mysterious ceasing of time in the poem, where “no answer is sought, none found..” Like the poem, however, the composition reverts to the “crimson rise of dawn,” and finally vanishes into the distance. The enigmatic, distant yet brightly-lit and, as it were, gentle world of the poem seemed to me like the depiction of another reality, a different form of consciousness, only truly accessible through music, with its precise but wordless language. “The Finnish title of the composition, however, is also associated in my mind with a personal memory from one of the outer islands in the Baltic Sea, where I often used to spend the summer. Once late at night I saw a large bird there, pacing solemnly back and forth along the rocky shore. The next morning it lay there, dead. And the fishermen told me that it was the custom for old seagulls, when they felt death approaching, to fly out to that solitary shore, the last home of the birds.” Isle of Bliss begins with the sumptuous crash of a great ocean swell, flooding the shore with myriad timbres, including strident sea chanteys from gulls high on the wing overhead. The seascape is painted with plaintive effects, vibrant colors and harmonies from the late Romantic Age. For reference: Rautavaara’s remark that the piece is not “programmatic” indicates only that the music does not follow a strict, line-by-line correspondence with the original poetry - as can be found in masterworks like Schönberg’s Verklärte Nacht. Otherwise. Isle of Bliss is altogether tonal poetic in the best sense of the genre known as program music. Sergey Prokofiev Russian composer Born: April 23, 1891, Sontsovka, Ukraine Died: March 5, 1953, Moscow Concerto for Violin No.2 in G Minor, Op.63 Allegro moderato Andante assai Allegro, ben moderato First Classics performance: December 21, 1948, conducted by William Steinberg, with violinist Eudice Shapiro; most recently performed on February 12, 1989, conducted by Semyon Bychkov, with violinist Daniel Heifetz; duration 26 minutes As it is often remarked that Mozart composed with his heart in opera, it might also be said that Prokofiev composed with his eyes and ears tuned to ballet theater. His work in that genre was immensely successful, marked by major contributions to the permanent ballet repertoire, including Romeo and Juliet, Cinderella and the very popular children’s ballet Peter and the Wolf. Likewise, his well-known symphonies and concertos display such a direct kinship to the nuance of ballet that several have been choreographed, including the current work, Violin Concerto No.2. Scored in 1935, the concerto was written after Prokofiev’s 16-year sojourn in Western Europe. When he returned to his beloved Russia, the country was ruled by the Soviet regime of Joseph Stalin, who had made it clear to all Russian artists that modern works 21
Page 7 and 8: Table of Contents | November 11 - D
Page 9 and 10: Buffalo Philharmonic Orchestra Soci
Page 11 and 12: Matthew Kraemer, associate conducto
Page 13: JoAnn Falletta, music director Pete
Page 16 and 17: 14 Brody Dolyniuk - Vocals/Guitar B
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Page 26 and 27: 24 Piotr Gajewski, conductor Jason
Page 28 and 29: 26 His previous CD, Images of Methe
Page 30 and 31: 28 Their loud up-lifted Angel trump
Page 32 and 33: 30 on the guitar from the late Rena
Page 38 and 39: 36 Annual Fund The Buffalo Philharm
Page 40 and 41: 38 Elsie P. & Lucius B. McCowan Pri
Page 42 and 43: 40 Tribute Registry Music is timele
Page 46 and 47: 44 Patron Information Backstage Acc

Untitled - The Buffalo Philharmonic Orchestra

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