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@(3) or the International Revenue Code. All gift s are tax-deductible to the fulest 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

October 21, 2012 at 4:00 pmRiver Dell Regional High School, Oradell, NJ

PO Box 262 · River Edge, NJ 07661

Th e Romantics

ACONJ.ORGCelebrating Our Fift y-Ninth Season

David Feltner, Conductor

Sarah Adams, Violist

Th e Romantics

October 21, 2012 at 4:00 pmRiver Dell Regional High School, Oradell, NJ

David Feltner Conductor

Th e Fair Melusine, Op. 32 F. Mendelssohn1809–1847

Sonata for Viola and Orchestra Rebecca Clarke1886–1979

Orchestrated by Ruth LomonPartial Funding by the Rebecca Clarke Society

I. ImpetuosoII. Vivace

III. Adagio — Allegro

Sarah Adams Viola

• Intermission •

Serenade No. 1 in D Major, Op. 11 J. Brahms1833–1897

I. Allegro moltoII. Scherzo. Allegro non troppo — Trio. Poco più moto

III. Adagio non tropoIV. Menuetto I — Menuetto IIV. Scherzo. Allegro

VI. Rondo. Allegro

Th is Concert is Dedicated to the memory of Frank Lee

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.

Sunday Aft ernoon Concerts 2012–13

Jan 20 2013 — 4:00 pmRiverdell Regional School District Auditorium

Eric Dudley, Conductor • Robert Deutsch, Cello

Mar 24 2013 — 3:00 pmPascack Valley Regional High School

Diane Wittry, Conductor • Alice Burla, Piano

May 5 2013 — 4:00 pmRiverdell Regional School District Auditorium

Celebration of Opera and Anniversaries: Richard Owen Jr., ConductorWorks of Verdi • Mascagni • Wagner • Poulenc

Karen Foster, Soprano

Community Outreach Concerts: Adelphi Chamber Ensemble

Nov 4 2012 — 5:00 pm Nicholas Roerich Museum NYCFeb 24 2013 — 2:00 pm Mahwah Public LibraryApr 21 2013 — 3:00 pm Teaneck Public Library

Orchestra Members

Violin 1Alexandra Wilson*Amelia DeSalvio-

MucciaClaire KapilowRachel MathewsSylvia RubinAlice Yoo

Violin 2Michael Peng*Arlene LocolaChelsea MerrimanDana Reedy-Gagler

ViolaRuth Demarco-Conti*Roland HutchinsonMary Kay BinderGigi Jones

Audio EngineerVincent Troyani

CelloRobert Deutsch*Erika Boras TesiFlorin Sutton

BassJay VandeKopple*David Muleski

FluteCarron Moroney*Natasha Loomis

OboeLinda Kaplan*Alyssa Ahearn

ClarinetMonte Morgenstern*Caren Davis

BassoonRobert Quinn*Jessica Frane

French HornCarolyn Kirby*Deloss SchertzBryan MeyersAndrew KnowltonDavid Miller

TrumpetGeorge Sabel*Anthony Fenicchia

Timpani/PercussionJohn WagnerMarilyn Wagner

HarpIrene Bressler

CelestaNoriko Kubo

*PrincipalsRotating Seating Among Sections

David Feltner, Conductor

Hailed as “an intelligent and insightful musician” by Th e Bos-ton Globe, David Feltner is entering his ninth season as Mu-sic Director of the Chamber Orchestra of Boston. Following the inaugural concert of the COB in January 2001, he was invited to serve as Associate Conductor and Chorus Master for Boston Lyric Opera’s 2001–02 season, for which he re-ceived critical acclaim. Of Verdi’s Don Carlos, Opera News wrote, “Th e Lyric Opera Chorus under David Feltner sang splendidly.” Th e same publication commented on the pro-

duction of Tod Machover’s Resurrection: “…the chorus, under David Feltner, proved fully up to the challenge of the complex meters and rich, kaleidoscopic colors of Machover’s score.”

Following his Jordan Hall debut, he was invited to serve as Cover Conduc-tor for Keith Lockhart and the Boston Pops. He has also served as Cover Con-ductor for Larry Rachleff and the Rhode Island Philharmonic and has been Guest Conductor for Intermezzo: Th e New England Chamber Opera Series, conducting Lee Hoiby’s opera, Th e Scarf.

Mr. Feltner is also Music Director of the Nashua Chamber Orchestra. His performance of Robert Edward Smith’s Concerto for English Horn with the NCO was selected as one of the top ten best local performances in New Hamp-shire for 2007. In the Classical Countdown: Best of 2007, music critic Jeff Rapsis wrote: “Conductor David Feltner brought the Nashua Chamber Orchestra to new places.”

He has participated in many workshops with master teacher Joseph Gif-ford, in Vermont and in Elba, Italy and has performed in festivals in Spoleto, Italy, Flagstaff , Arizona (performing Wagner’s complete Ring Cycle) and the Festival Musical de Santo Domingo in the Dominican Republic.

Prior to becoming Music Director of Th e Chamber Orchestra of Boston, Mr. Feltner served for six seasons as Principal Violist of New York City Opera National Company. He also performs as violist for BLO, Boston Pops Espla-nade Orchestra, Emmanuel Music and Boston Modern Orchestra Project.

Sarah Adams

Sarah Adams began her musical training in Cleveland, Ohio, where her fi rst teachers were Kurt Loebel and Ed-ward Ormond, both members of the Cleveland Orches-tra, and where she won the inaugural Cleveland Orchestra String Competition and the Louis Lane Scholarship. She studied at the Eastman School of Music with Martha Katz, and members of the Cleveland Quartet, then received her BA and MM from Kent State University, studying with Kay Slocum, Tung Kwong-Kwong and Ma Si-Hon. Summer

studies were with Heidi Castleman, Jeff rey Irvine and Lynne Ramsey. Sarah attended Th e Juilliard School, where she received the Professional Studies Cer-tifi cate, studying with Karen Tuttle, and Felix Galimir. During her tenure as violist of the Cassatt Quartet, the quartet studied with Eugene Lehner, Louis Krasner and members of the Juilliard, Tokyo, American, Vermeer, Orion and Emerson Quartets, going on to become top prize winners at the Banff String Quartet Competition and concertizing throughout the United States, Canada, France and Japan.

Ms. Adams is a frequent performer of chamber music in the New York area. She is a member of the New York Chamber Ensemble, and the Sherman Chamber Ensemble. As violist with the Roerich Quartet, she performed con-certs in NYC, upstate New York and Vermont, at the Riverrun Chamber Music Festival, and at Sarah Lawrence College. A frequent performer with Orpheus Chamber Orchestra, she has also performed and recorded with Parnassus and the Smithsonian Chamber Players. Other chamber music appearances include the Claring Chamber Players, Friends of Mozart Chamber Series, the Wind-ham Chamber Music Series, the Saratoga Chamber Players, the New Jersey Chamber Music Society, Speculum Musicae, the Amernet String Quartet, and the Metropolitan Museum Chamber Series with fl utist Paula Robison. Th is 2010–2011 season, Sarah joins the Cassatt Quartet for performances and re-cordings in NYC, Chappaqua, NY, Lincoln, Nebraska, Odessa, Texas, Sanibel Island, Florida, Th e Seal Bay Music Festival and Music Mountain Chamber Music Festival.

Ms. Adams has been assistant principal violist of the Houston Symphony Orchestra, and is currently principal violist of the Riverside Symphony and the Brooklyn Philharmonic Orchestra. She is a member of the American Bal-let Th eatre, performs frequently with the New York City Opera Orchestra, the American Symphony Orchestra, and the Orchestra of St. Luke’s, and has ap-peared oft en with the New York Philharmonic, the Metropolitan Opera Or-chestra, and the New York Chamber Symphony. Sarah has been a member of the house orchestras for Jerome Robbin’s Broadway, Kiss of Spiderwoman, Candide, Swan Lake, Aida and La Boheme.

Ms. Adams has served on the faculty of Long Island University and Queens College, and has taught viola and chamber music at Columbia University since 1993. She has performed as soloist in Alice Tully Hall with the Jupiter and Riverside Symphonies, at Caramoor with the Orchestra of St. Luke’s, at the Washington Square Music Festival, with Parnassus at the Ethical Culture Soci-ety, and in recital with the Hong Kong Chamber Series, the Houston Chamber Music Society, and the New York Viola Society. Her summer appearances include the Bard Music Festival, the Hartwick College Summer Music Festi-val, the Sherman Chamber Music Series, the Cape May Music Festival and the Windham Music Festival. Sarah resides in Westchester with her children- Quinn, Eugene, Hannah, Winona, and Jean-Luc, her husband, Fred Grevin, and their dog, Buddy.

Program Notes

Th e Fair Melusina (Zum Märchen von der Schönen Melusine), opus 32: A medieval French romance, fi rst recorded in 1387 by Jean d'Arras, tells of a wa-ter sprite, or mermaid, named Melusine (in English, Melusina), who is able to render her fi shy bottom half human for several days at a time to go about on land. She marries Count Raymond of Poitiers, but only on the condition that he never see her on Saturdays, as that is when she must resume her mermaid form. Eventually, Raymond does spy on her one Saturday, with dire results. Mendelssohn was captivated by the tale and wrote a concert overture on the subject. Th e music does not narrate a specifi c sequence of events, but evokes certain characters and situations from the story. Th e fi rst section employs a gracefully burbling theme introduced by clarinets, suggesting Melusine and her natural environment. Th ere soon follows a long, turbulent passage relating to the storm and stress of life among humans, which subsides into a less strenu-ous melody under which the rhythm of the more violent section remains. Th at rhythm is derived from the fl uid, watery fi gure in the overture's opening bars. Mendelssohn subjects all this material to a substantial development. Th e fi nal section returns to the gentler music of the opening, which gradually slows, thins, and trickles away.

From All Music Guide

Sonata for Viola and Orchestra: Rebecca Clarke’s Viola Sonata caused a sen-sation in a 1919 chamber music competition hosted by Elizabeth Sprague Coolidge, chamber music patron and founder of the Berkshire Music Festi-val. Submitted anonymously with 72 other works, Clarke’s piece tied for fi rst place with Ernest Bloch’s submission – an unheard of achievement in 1919 for a “woman composer.” Although an immediate success, the Sonata gradually disappeared from the repertoire, and Clarke was long forgotten. In later years Clarke referred to the piece as her “one little whiff of success” and it was her most performed composition during her lifetime.

Since the rediscovery of the Sonata in 1976, it has become (according to some noted violists) the most frequently performed large work for viola and piano. Clarke wrote for her own instrument, the viola; her idiomatic under-standing adds to the work’s immediacy. In three movements, “Impetuoso,” “Vi-vace” and “Adagio — Allegro,” it is powerful and expansive in scale. Th e second movement, an exuberant scherzo, can be performed as a stand-alone piece for a pops orchestra or when a shorter work featuring viola is desired.

Th e Rebecca Clarke Society commissioned Ruth Lomon, resident compos-er and scholar at the Women’s Studies Research Center at Brandeis University, to orchestrate the sonata. Lomon has received commissions from numerous organizations including the Massachusetts Council for the Arts, the National Endowment for the Arts, and New England Arts. Lomon’s newly orchestrated

Congratulates theAdelphi Chamber Orchestra

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

845/368-5181

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

version of Clarke’s Sonata for Viola was premiered in Worcester, MA, with Pe-ter Sulski, viola soloist, and the Worcester Collegium, led by Ian Watson. Th is historic event took place in St. Paul’s Cathedral, as part of the St. Paul’s Music Festival. Th is aft ernoon’s perfomance is partially funded by the Rebecca Clarke Society.

From Th e Rebecca Clarke Society website: www.rebeccaclarke.org

Serenade No. 1 in D Major, Op. 11Brahms composed this work in 1858, during his three-year tenure in the princi-pality of Detmold as choir conductor and court pianist. Serenade No. 1 evolved from a nonet for winds and strings, written at the Detmold in 1858, but recast for chamber orchestra during the next year (both versions have been lost, or were destroyed by the composer). He gave this material its fi nal and surviving form in 1859, adding two more movements to the original four before publish-ing it in 1860 as his fi rst orchestral work. Odd as it may seem today, both this and a second Serenade in A, Op. 16, written in 1860 (without violins, only lower strings, winds, and brass) were considered avant-garde.

Although Brahms employed sonata-form in the opening Allegro molto and the Adagio third movements of the Serenade No. 1, it is basically a dance work. Th e jaunty, dotted main subject sets a mood that recurs several times be-fore its apotheosis in a rondo-fi nale. Both the second and the fi ft h movements are scherzos. Th e fi rst of them is marked Allegro non troppo (that modifying "not-too-much" remained a Brahmsian caution throughout his lifetime). Song sections are cast dramatically in D minor, witht the slightly-faster trio in B fl at major.

Th e third movement, Adagio non troppo, is the work's emotional fulcrum; this too is in B fl at major. A minuet within a minuet follows—the fi rst one in G major, the second one in G minor with an espressivo, legato theme played the violins over plucked violas. Th e second scherzo comes next, an unqualifi ed Al-legro in D major, with a trio in C. Th e shortest movement in the piece, it pays overt homage to Beethoven.

Th e concluding rondo in 2/4 time is another unmodifi ed Allegro in D ma-jor. Clarinets and bassoons an octave apart, playing in thirds, announce the principal subject.

From All Music Guide

Patrons of the Adelphi Chamber Orchestra

Hagop and Sirapi AramChick BarnesCynthia BernsteinBarbara BettigoleJeaninne & Fred FeinsteinMrs. Jon Fellgraff David FeltnerKatie & Ed FriedlandElizabeth HealdClaire & Robert KapilowCarolyn & Paul KirbyPeggy & Al KlaseJoan & Bill KuhnsGerald & Lillian LevinMargaret Cook LevyRuth R. MaierRachel Matthews

Martin MerzbachMartin PerlmanPerlman family FoundationPerry & Gladys RosensteinLeanore & William RosenzweigDr. David RothConstance R. Schnoll & Alfred

ParanaySylvia & David RubinSam Ash MusicSigrid & George SnellManny & Janet SosinskyRev & Mrs. L.O. SpringsteenHerb & Gaby StraussNancy VandersliceRobert E. Whitely

Tributes

In memory of Frank LeeBarbara BettigolePeggy & Al KlaseJoan & Bill Kuhns

Sylvia & David Rubin(Violin Chair)

Margaret Cook LevySigrid & George Snell

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

Martin PerlmanPerlman Family Foundation

Elmer & Jean Omstead

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

Th e River Dell 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

Partial Funding by the Rebecca Clarke Society

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,

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.