March 24, 2013 at 3:00 pmPascack Valley Regional High School, Hillsdale, NJ

PO Box 262 · River Edge, NJ 07661

Mozart Celebration!

ACONJ.ORGCelebrating Our Fift y-Ninth Season

Diane Wittry, Conductor

Prelude Concert:Pascack Valley Chamber Choir

Alice Burla, Pianist

Mozart Celebration!

March 24, 2013 at 3:00 pmPascack Valley Regional High School, Hillsdale, NJ

Diane Wittry Conductor

Overture: Le nozze di Figaro, K 492 (Th e Marriage of Figaro) W.A. Mozart

1756–1791

Concerto for Piano No. 20 in D minor, K 466 W.A. Mozart1756–1791

I. AllegroII. Romanza

III. Allegro assaiAlice Burla Piano

• Intermission •

Symphony No. 40 in G Minor KV 550 W.A. Mozart1756–1791

I. Allegro moltoII. Andante

III. MenuettoIV. Allegro assai

Please turn off all cell telephones, pagers, or other audible electronic devices before the concert begins. Audio or video recording of any kind, or photograpy are not allowed dur-ing the performance without express permission from the Adelphi Chamber Orchestra.

Prelude Concert: Pascack Valley Chamber ChoirArgine Safari Choir Director

Ave Verum Corpus, KV 618 W.A. Mozart1756–1791

Luminous Night of the Soul Ola Gjeilo Lyrics: Charles A. Silvestri & St. John of the Cross

Orchestra Members

Violin 1Melissa Macy*Jina ChoiGenevieve R. JeuckClaire KapilowRebecca KarleRachel MatthewsAlexandra WilsonAlice Yoo

Violin 2Sylvia Rubin*Heather KaplinAmelia D. MucciaAntonis PanayotatosKarin PollokEllie LipkindArlene LocolaLise DeCoursin

ViolaRuth Demarco-Conti*Mary Kay BinderRoland HutchinsonMichael PengGigi Jones

CelloRobert Deutsch*Erika Boras TesiMark SerkinPaul VanderwalEvan Ardelle

BassJay VandeKopple*David Muleski

FluteCarron Moroney*Natasha Loomis

OboeLinda Kaplan*John Skelton

ClarinetMonte Morgenstern*Caren Davis

BassoonRobert Quinn*Jessica Frane

French HornCarolyn Kirby*Deloss Schertz

TrumpetGeorge Sabel*Roger Widicus

TimpaniJames Mallen

Audio EngineerVincent Troyani

*PrincipalsRotating Seating Among Sections

Diane Wittry, Conductor

International conductor, DIANE WITTRY, specializes in conducting American music abroad, and is known in the United States for her innovative programming and her en-gaging audience rapport. During the past few seasons, she has conducted concerts in Japan, Canada, Bosnia, Russia, Slovakia, New York, Washington D.C., New Jersey, Wiscon-sin, and California, as well as her regularly scheduled con-certs with the orchestras in Pennsylvania and Connecticut. She is known as a conductor who “specializes in fi nding cre-ative ways to make the music fresh, accessible, and exciting.”

In the United States, Diane Wittry has led performan ces by, among others, Th e Los Angeles Philharmonic, the Buff alo Philharmonic, Florida Philharmonic Orchestra, the Little Orchestra Society of New York, and the symphony orchestras of Milwaukee, San Diego, Houston, New Jersey, Santa Barbara, Augusta, Stockton, Pottstown, Wichita, and Wichita Falls; while her international engagements include concerts with the Sarajevo Philharmonic in Bosnia, the National Symphony Orchestra of Ukraine, Russia’s Maikop and Sochi symphony orchestras, Slovakia’s State Orchestra-Kosice, Italy’s Sinfonia Dell’Arte di Firenze, Canada’s Niagara Symphony, and Japan’s Orchestra Osaka Symphony. She has also conducted at the music festivals of Ojai (CA), Penn’s Woods (PA), and I-Park (CT).

Diane Wittry was recently named the Artistic Director (USA) for the Internation-al Cultural Exchange Program for Classical Musicians through the Sarajevo Philhar-monic (Bosnia) and the Bosnian-Herzegovinian American Academy for Arts and Sci-ences (Chicago). She is also the Music Director of the Allentown Symphony Orchestra (PA), a professional orchestra that performs about 22 concerts per season. In the past, Diane Wittry has been the Music Director and onductor of the Norwalk Symphony (CT), Artistic Director of the Ridgewood Symphony (NJ), and Music Director and Conductor of Th e Symphony of Southeast Texas (TX) where her artistic leadership garnered national attention.

Over the years, Diane Wittry has received many honors and awards, including the American Symphony Orchestra League’s Helen M. Th ompson Award for outstanding artistic leadership of a regional orchestra. She has been the subject of profi les in Th e New York Times and Newsweek. Ms. Wittry received the Women of Excellence Award in Beaumont, Texas, the Arts Ovation Award and the Woman of Distinction Award from Allentown, Pennsylvania. Most recently, she became only the third American to be named—in recognition of her leadership in the arts and humanities—the recipient of the prestigious Fiorino Doro Award from the City of Vinci, Italy.

Her book Beyond the Baton, (Oxford University Press) about artistic leadership for young conductors and music director was recently re-released in paperback. It is the focus of a yearly International Conducting Workshop which helps emerging con-ductors put to practical use the elements in the book.

More information about Diane Wittry’s work is available at:www.DianeWittry.com.

Alice Burla

Alice Burla, 16, was called “the extraordinary talent” by Th e New York Times.

Born in Toronto, Canada into a family of musicians, Alice began studying piano at the age of 4, made her orchestral debut at 5 and played her fi rst solo recital at 6.

Alice won 1st prize at Canadian National Music Competition, 8th New York Music Com-petition and was the fi nalist at 13th Hamamatsu International Piano Academy Competition.

In 2003 Alice became one of the youngest students ever accepted to Th e Juilliard School and studied with Oxana Yablonskaya.

In 2007, 2008 and 2011 Alice Burla was featured on PBS telecasts of “Live from Carnegie Hall” and on WQXR as part of “From the Top” national radio broadcast.

Ms. Burla has played a wide repertoire, including Bach’s Goldberg Variations, Ero-ica Variations by Beethoven, 2 Suites for two pianos by Rachmaninoff , 12 etudes Op.25 by Chopin and 15 piano concertos with orchestras in the USA, Mexico, Ukraine and Poland.

Since the age of 10, Alice Burla has successfully concertized internationally. She has performed in such venues as Salle Cortot (Paris), the Wiener Saal at the Mozarte-um (Salzburg), Aula Nova (Poznan), Academy of Music (Bydgoszcz) and Torun City Center (Poland); C.Bechstein Centrum (Berlin), Central Music School, Munich and Deutsch-American Institute in Heidelberg (Germany), City Center in Lucca, (Italy), Prokofi ev Philharmonic Hall in Donetsk (Ukraine), Evans Hall in Sde Boker (Israel), San Pedro Auditorium in Monterrey (Mexico), ACT City Concert Hall in Hamamatsu (Japan), Glenn Gould Studio at CBC Radio (Toronto), Living Arts Centre of Missis-sauga, Oakville Centre for the Performing Arts (Ontario) Canada, as well as in major concert halls in USA, such as Zankel and Weill Hall at Carnegie Hall, Paul Hall at the Juilliard School, Steinway Hall, Th e Yamaha Piano Salon, Th e Cathedral of St. John the Divine and Baryshnikov Arts Center, NYC, Newport Music Festival, RI, Maverick Concerts in Woodstock, Th e Performing Arts Center in Purchase, Rockland Cultural Arts Center, NY, Zoellner Arts Center in Bethlehem, PA, Jordan Hall, Boston , Dux-bury Music Festival, MA.

In 2010, Ms. Burla appeared as a piano prodigy in the 20th Century Fox major fi lm Wall Street: Money Never Sleeps.

Program NotesLe nozze di Figaro, ossia la folle giornata (Th e Marriage of Figaro, or Th e Day of Madness), K. 492, is an opera buff a (comic opera) composed in 1786 in four acts, with a libretto in Italian by Lorenzo Da Ponte, based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). Beaumarchais’s earlier play Th e Barber of Seville had already made a successful transition to opera in a version by Paisiello. Although Beaumarchais’s Marriage of Figaro was at fi rst banned in Vienna because of its licentiousness, Mozart’s librettist managed to get offi cial approval for an operatic version which eventually achieved great success. Th e opera was the fi rst of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte.

Figaro premiered at the Burgtheater in Vienna on 1 May 1786. Mozart himself directed the fi rst two performances, conducting seated at the keyboard, the custom of the day. Th e Marriage of Figaro is now regarded as a cornerstone of the standard operatic repertoire, and it appears as number six on the Operabase list of the most-performed operas worldwide.

Th e Marriage of Figaro is a continuation of the plot of Th e Barber of Seville several years later, and recounts a single “day of madness” (la folle giornata) in the palace of the Count Alma-viva near Seville, Spain.

Th e overture is especially famous and is oft en played as a concert piece. Th e musical mate-rial of the overture is not used later in the work, aside from two brief phrases during the Count’s part in the terzetto Cosa sento! in act 1.

—From Wikipedia, the free encyclopedia

Concerto for Piano No. 20 in D minor, K 466, was written in 1785, and fi rst performed at the Mehlgrube Casino in Vienna on February 11, 1785, with the composer as soloist.

Th e fi rst movement starts off in D minor, the strings restlessly but quietly building up to a forte. Th e theme is taken up by the piano and developed throughout the movement. A brighter mood exists in the second theme, but never becomes jubilant. Th e timpani further heightens the tension in the coda before the cadenza. Th e movement ends quietly.

Th e second movement is a fi ve-part rondo with coda. Th e piano begins with the main B-fl at major melody alone. Th is lyrical melody a sense of harmony between piano and orchestra, inspiring its title ‘Romanza.’ Halfway through, the piece moves on to a second episode, where the beautiful melody is replaced by a turbulent theme in G minor, contrasting the starting peaceful mood. Finally, the melody returns as the movement nears the end. Th e piece ends with a light and delicate ascending arpeggio, gradually becoming a faint whisper.

Th e fi nal movement, a rondo, begins with the piano rippling upward in the home key before the orchestra replies with a furious section. (Th is piano “rippling” is known as the Mannheim Rocket.) A second melody is touched upon by the piano, the mood still dark and restless. A con-trasting cheerful melody in F major ushers in aft er, introduced by the orchestra before the piano rounds off the lively theme. A series of sharp piano chords snaps the bright melody and then begin passages in D minor on solo piano again, taken up by full orchestra. Several modulations of the second theme (in A minor and G minor) follow. Th ereaft er follows the same format as above, with a momentary pause for introducing the customary cadenza. Aft er the cadenza, the mood clears and the bright happy melody is taken up by the winds. Th e solo piano repeats the theme before a full orchestral passage develops the passage, thereby rounding up the concerto with a jubilant D major fi nish.

—From Wikipedia, the free encyclopedia

Symphony No. 40 in G minor, KV. 550 is sometimes referred to as the “Great G minor sym-phony,” to distinguish it from the “Little G minor symphony,” No. 25. Th e two are Mozart’s only extant minor key symphonies.

Th e 40th Symphony was completed on 25 July 1788, during an exceptionally productive period of just a few weeks, also seeing the completion of the 39th and 41st symphonies (26 June and 10 August, respectively).

It is suggested that Mozart never heard his 40th Symphony performed. Some even suggest that he wrote the symphony (and its companions, #39 and #41) without intending it to be per-formed, but rather for posterity; as (in Einstein’s words), an “appeal to eternity”.

Modern scholars suggest that these conjectures are not correct. First, in a recently discov-ered 10 July 1802 letter by the musician Johann Wenzel (1762–1831) to the publisher Ambrosius Kühnel in Leipzig, Wenzel refers to a performance of KV. 550 at the home of Baron Gottfried van Swieten with Mozart present, but the execution was so poor that the composer soon left the room. Th ere is strong circumstantial evidence for other, probably better, performances. On sev-eral occasions between the composition of the symphony and the composer’s death, symphony concerts were given featuring Mozart’s music for which copies of the program have survived, an-nouncing a symphony unidentifi ed by date or key. Copies survive of a poster for a concert given by the Tonkünstlersocietät (Society of Musicians) April 17, 1791 in the Burgtheater in Vienna, conducted by Mozart’s colleague Antonio Salieri. Th e fi rst item on the program was billed as “A Grand Symphony composed by Herr Mozart”.

Most important is the fact that Mozart revised his symphony (the manuscripts of both ver-sions still exist). As Neal Zaslaw says, this “demonstrates that [the symphony] was performed, for Mozart would hardly have gone to the trouble of adding the clarinets and rewriting the fl utes and oboes to accommodate them, had he not had a specifi c performance in view.” Th e orchestra for the 1791 Vienna concert included the clarinetist brothers Anton and Johann Nepomuk Stadler; which, as Zaslaw points out, limits the possibilities to just the 39th and 40th symphonies.

Th e symphony is scored (in its revised version) for fl ute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani.

Th e work is in four movements: Molto allegro, 2/2; Andante, 6/8; Menuetto. Allegretto – Trio, 3/4; Finale. Allegro assai, 2/2. Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form.

Th e fi rst movement begins darkly, not with its fi rst theme but with accompaniment, played by the lower strings with divided violas. Th e technique of beginning a work with an accompani-ment fi gure was later used by Mozart in his fi nal piano concerto (KV. 595) and later became a favorite of the Romantics (examples include the openings of Mendelssohn’s Violin Concerto and Sergei Rachmaninoff ’s Th ird Piano Concerto).

Th e fi rst theme is well known, and also appears in the cadenza in the fi rst movement of his 21st Piano Concerto, written three years before this symphony.

Th e second movement is a lyrical work in 6/8 time, in E fl at major.Th e minuet begins with an angry, cross-accented hemiola rhythm and a pair of three-bar

phrases; various commentators have asserted that while the music is labeled “minuet,” it would hardly be suitable for dancing. Th e contrasting gentle trio section, in G major, alternates the playing of the string section with that of the winds.

Th e fourth movement opens with a series of rapidly ascending notes outlining the tonic triad illustrating what is commonly referred to as the Mannheim rocket. Th e movement is writ-ten largely in eight-bar phrases, following the general tendency toward rhythmic squareness in the fi nales of classical-era symphonies. A remarkable modulating passage, which strongly desta-bilizes the key, occurs at the beginning of the development section, in which every tone but one in the chromatic scale is played. Th e single note left out is in fact a g-natural (the tonic).

Th e symphony is unquestionably one of Mozart’s most greatly admired works, frequently performed and recorded. Ludwig van Beethoven knew the symphony well, copying out 29 bars from the score in one of his sketchbooks. It is thought that the opening theme of the last move-ment may have inspired Beethoven in composing the third movement of his Fift h Symphony.

—From Wikipedia, the free encyclopedia

Patrons of the Adelphi Chamber OrchestraHagop and Sirapi AramChick BarnesCynthia BernsteinBarbara BettigoleLupe CatalaIrwin & Gloria CohenJeaninne & Fred FeinsteinMrs. Jon Fellgraff David FeltnerKatie & Ed FriedlandClaire & Larry GoldsteinElizabeth HealdDennis C HirschfelderEsther InfanteClaire & Robert KapilowCarolyn & Paul KirbyPeggy & Al KlaseJoan & Bill KuhnsIsabel KurlanGerald & Lillian LevinMargaret Cook LevyFred and Harriet LudewigRuth R. Maier

Rachel MatthewsMartin MerzbachStanley MillerMartin PerlmanPerlman family FoundationPerry & Gladys RosensteinLeanore & William RosenzweigDr. David RothConstance R. Schnoll & Alfred ParanaySylvia & David RubinSam Ash MusicLeta & Stan SabinNaomi & Jacob Samkoff Marilyn SiegelSigrid & George SnellManny & Janet SosinskyLorraine SpivakRev & Mrs. L.O. SpringsteenHerb & Gaby StraussNancy VandersliceRobert E. WhitelyPhillip & Lisa Willson

TributesIn memory of Frank Lee

Barbara BettigoleRobert ColwellGlenn Danks

Peggy & Al KlaseJoan & Bill KuhnsCliff & Kathy Lee

Margaret Cook LevyMr. & Mrs. Elmer Omstead

Elmer & Jean OmsteadMartin Perlman

Perlman Family FoundationSylvia & David Rubin

(Violin Chair)Sigrid & George Snell

Rev. & Mrs. L.O. Springsteen(Violin Chair)

Herbert & Gaby Strauss

In memory of Neal BettigoleBarbara Bettigole

In memory of Jules BravermanLeni & Bill Rosenzweig

In memory of Fannie Hardwick Feltner

David Feltner(Viola Principal Chair)

In memory of Edward A. LevyMargaret Cook Levy

In memory of Morton RubinDavid & Sylvia Rubin

In honor of Rick PeckhamDiane Wittry(Bass Chair)

Acknowledgments

Pascack Valley Regional School DistrictFor the Use of the Beautiful High School Auditorium

Th e River Dell Regional School DistrictFor the Use of Rehearsal Space for this concert

The Adelphi Chamber OrchestraThe Adelphi Chamber Orchestra

wishes to express its gratitudewishes to express its gratitude

to all of its volunteers, friends, individual, corporate, and to all of its volunteers, friends, individual, corporate, and

foundation donors, advertisers,foundation donors, advertisers,

Pascack Valley Board of EducationPascack Valley Board of Education

River Dell Board of EducationRiver Dell Board of Education

for helping to make all of our programs possible.for helping to make all of our programs possible.

We are looking forwardWe are looking forward

to sharing more music with you this concert season.to sharing more music with you this concert season.

Bravo Adelphi!We are Proud to Support the Adelphi Chamber Orchestra

as They Celebrate of Free Concerts.

For Over 80 Years Bergen County Residents Have Relied on Millers Skilled and Accessible Pharmacists and Their Many Specialized Services.

The newly renovated Millers Pharmacy Offers:

201.891.3333 678 Wyckoff Avenue Wyckoff, NJ 07481millerspharmacy.com Follow us on Facebook

Monday – Friday 9AM – 8PM, Saturday 9AM – 4PM

59 years

BraWe are Proud to Sup

as They Celebrat

For Over 80 Years BergenSkilled and Accessible Pharm

The newly reno

Congratulates theAdelphi Chamber Orchestra

on its 59th season! 70 Hatfield Lane, Suite G01 |Goshen, NY 10924 |T: (845) 615-3320

845/368-5181

Sunday Aft ernoon Concerts 2012–13May 5 2013 — 4:00 pm

River Dell Regional School District AuditoriumCelebration of Opera and Anniversaries: Richard Owen Jr., Conductor

Works of Verdi • Mascagni • Wagner • PoulencKaren Foster, Soprano

Community Outreach Concerts: Adelphi Chamber Ensemble

April 21 2013 — 3:00 pm Teaneck Public Library

ACO Solo Competition Recital:Prize winners in the 2012 ACO Young Artist Competition

Saturday March 30, 2013 — 2:00 pmDimenna Center for Classical Music, New York, NY

A Prudential financial professional can assess your situation. Draw up a plan. And help you build a secure future. To learn more, call me today.

Insurance and annuities issued by The Prudential Insurance Company of America, Newark, NJ and its affiliates. Securities products and services are offered through Pruco Securities, LLC. Each company is solely responsible for its own financial condition and contractual obligations. Prudential, the Prudential logo and the Rock symbol are service marks of Prudential Financial, Inc. and its related entities. 0223058-00002-00

INVESTMENTS I INSURANCE I RETIREMENT

Evan Ardelle Financial Professional Associate Prudential Financial The Prudential Insurance Company of America 11 Sunflower Avenue Paramus, NJ 07652 Office 201-632-2279 evan.ardelle@prudential.com www.prudential.com/us/evan.ardelle

YOU’D NEVER BUILD A HOUSE BY YOURSELF,

SO WHY BUILD YOUR FINANCES THAT WAY?

Support Northern New Jersey'sFinest Chamber Orchestra!

Innovative programs, world-class conductors and soloists,and great music for our community!

Th e ACO operates on a lean budget. Your generous contributionsallow us to continue to give the gift of music!

Become a Patron for the 2012–2013 Season

Adelphi Chamber Orchestra · PO BOX 262 · River Edge, NJ 07661

Th e Adelphi Chamber Orchestra is a not-for-profi t Corporation in the State of New Jersey, and is tax-exempt under Section 501(c)3 of the International Revenue Code. All gift s are tax-deductible to the fullest extent of the IRS Code.

Join our Email List!www.ACONJ.org

We will send you a concert reminder

Yes, I want to support the ACO’s Free Concerts!

Please make my gift in Memory Honor of: _____________

$50 $100 $250 $500 Other $ ______________

Notify (name): ________________________________________

Contribute to Th e Musical Chairs Drive

Name the Podium ($500) Concertmaster Chair ($250)

Principal Chair ($150) Any Other Chair ($75)

Listing in the program: Yes No Name: ____________________

Name: _________________________________________________

Address: ________________________________________________

Phone: ____________________ Email: _______________________

Please send me more information on Volunteering Planned Giving