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DTSTART;TZID=America/New_York:20240413T200000
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SUMMARY:A Bridge to Beethoven
DESCRIPTION:Cellist Dr. Nicholas Hardie:\n  \n  \nWe close our 78th season with Beethoven’s joyful Symphony No. 8\, and two great 20th-century Russian composers who revered Beethoven.   Prokofiev’s Classical Symphony and Shostakovich’s Cello Concerto No. 1\, featuring Dr. Nicholas Hardie soloist\, GBS’ own Principal Cellist – pay homage to Beethoven\, a century and a half later and a thousand miles east. \n  \n  \n  \nProgram Notes \nApril 13\, 2024 \nAlice M. Caldwell\, Ph.D \n  \nSergei Prokofiev\, Symphony No. 1 in D major\, Op. 25\, “Classical” \nIn the context of music history\, the twentieth century is sometimes described as “the century of -isms.”  Of all the relevant movements\, neoclassicism is perhaps one of the more accessible of those “-isms.”  While some date the first example of neoclassicism from Stravinsky’s Octet for Winds of 1923\, representations of eighteenth-century and older music had a tradition going back to Mozart\, especially in music for the theater.  Twentieth-century neoclassicism can be seen as a rejection of both the atonal modernism developing early in the century\, and of the excesses of late Romanticism in the previous century. \nProkofiev’s “Classical” Symphony of 1917 harks back to the symphonies of Haydn\, Mozart\, and even the Mannheim school\, opening with an energetic\, upward D-major arpeggio that was practically a cliché of the eighteenth-century symphony.  But harmony and rhythm tell a more modern story\, and even the second theme\, which duly follows the rules and appears in the dominant key\, makes enormously wide leaps that keep us grounded in the twentieth century.  Prokofiev proceeds from the opening sonata-form movement to a graceful slow movement\, but then upends the traditional third movement minuet-trio by replacing it with a 4/4 gavotte where another wide-leaping melody is accompanied by modern harmonies.  The lively fourth movement closes the work in the spirit of Haydn.  It is interesting to note that Prokofiev himself bestowed the name of “Classical” symphony while declining to associate himself with any particular “-ism.” \nDmitri Shostakovitch\, Cello Concerto No. 1 \nA work of intense energy\, considered one of the most difficult in the repertoire\, Shostakovitch wrote his first cello concerto in 1959 for his friend Mstislav Rostropovitch.  Soloist Nicholas Hardie points out the deep influence of Rostropovich on Shostakovitch’s concept of the work\, writing that it “reflects the power\, emotion\, and character Shostakovich saw in his playing. It is also the reason it is so fiercely difficult.”  Scored for a chamber orchestra of strings\, winds\, horn\, celesta and timpani\, the four movements are further divided into two sections–the first\, followed by the second/third/fourth continuously attached.  Characteristics of neoclassicism link it to the other works in our program.  The first movement opens with a strong\, four-note theme\, answered by a military-sounding motive\, giving the feeling of a “jocular march\,” as Shostakovich himself described it.  The four-note motive will pervade the first movement\, and return in the third and fourth\, reminding us of Haydn and Beethoven’s use of intense motivic development. \nThe second movement takes the traditional form of a slow movement\, with the cello playing a lyrical melody reminiscent of an Eastern European folk song.  Following an intense buildup\, the cello brings back its theme played in delicate harmonics\, answered by the ethereal tones of the celesta.  This leads directly to the third movement\, entirely devoted to a solo cadenza.  Here the soloist works some of the previous themes in passages of tremendous virtuosity\, until the orchestra bursts out again into the last movement.  We feel rhythms that are dance-like but diabolical\, possibly an expression of the subversive humor with which Shostakovitch upheld his artistic integrity during the Soviet era.  Embedded in the texture is a brief\, concentrated\, and distorted quotation from a Georgian folksong said to be a favorite of Stalin (dead for six years at the time of composition).  The four-note motive of the opening returns with great emphasis to bring the work full circle to its conclusion. \nBeethoven\, Symphony No. 8 in F major \nWith the Eighth Symphony Beethoven’s turbulent middle\, or “heroic” period\, came to an end\, and it foreshadowed the further musical boundary-pushing to come\, following a difficult interval of life circumstances\, in his late period.  The year 1812 saw Beethoven’s personal relationships in disarray with respect both to his brother and to the unnamed “Immortal Beloved” addressed in a letter found after Beethoven’s death.  Nevertheless\, he completed both the Seventh and the Eighth symphonies in close succession.  The Seventh Symphony premiered to great public approval\, with its appealing rhythmic vitality and familiar forms including theme and variations\, fugue\, and minuet and trio.  When asked why the more subtle Eighth did not generate quite as much enthusiasm\, Beethoven replied\, ““because it is so much better.” \nBeethoven had already taken the conventional minuet and trio of the Classic era and turned it into the more humorous\, spicy\, and sometimes even diabolical scherzo (literally\, “joke” in Italian).  In the Eighth Symphony\, the spirit of the scherzo pervades all four movements:  there are rhythmic and metrical surprises\, formal twists\, and a novel use of the name.  The first movement gives us unusual phrasing\, syncopated accents\, recurring octave leaps\, and prominent hemiola (a temporary change of meter by shifting the accent).  The movement ends with a wisp of the main theme.  For the expected slow\, second movement\, Beethoven appropriates the name “Allegretto scherzando\,” imposing the sound and feel of a scherzo on the slow movement.  Some of the question-answer phrases recall the dialogue of comic opera.  The constant ticking of repeated notes can be heard in various ways.  Sudden dynamic changes and flurries of sixty-fourth notes add to the comic atmosphere.  Then\, since the scherzo slot has already been filled\, Beethoven provides an old-fashioned minuet and trio for the third movement (at least\, according to the title).  But the scherzo spirit continues\, with entrances in the “wrong” place to contradict the decorum implied by the name. For the finale\, the musical jokes take the form of unexpected harmonies and keys\, punctuated with sudden pauses\, a return of the octave theme from the first movement\, then an ending with one of the most emphatic statements of the tonic harmony in the repertoire. \n  \n  \nClick here then click “Subscriptions” for subscriptions at deep discounts.
URL:http://staging.gbs.org/event/a-bridge-to-beethoven/
LOCATION:Klein Memorial Auditorium\, 910 Fairfield Avenue\, Bridgeport\, CT\, 06605\, United States
CATEGORIES:Season 78
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DTSTART;TZID=America/New_York:20240316T200000
DTEND;TZID=America/New_York:20240316T200000
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SUMMARY:Flute Fusion
DESCRIPTION:Flautist Keith Bonner:\n  \nThe flute figures prominently with solos by GBS’ own Grammy® nominated Principal Flautist\, Keith Bonner. Debussy’s ethereal Afternoon of a Faun\, Paul Schoenfeld’s Klezmer Rondos\, and African-American composer Jessie Montgomery’s Coincident Dances surround Schubert’s Symphony No. 5.   Not “The Magic Flute\,” but a whole night of the magic of the flute! \n  \n  \nThe March 16 concert is sponsored by the family of Jennifer C. Moorin\, who passed away in January.  Along with her husband\, retired local attorney Herbert Moorin (a longtime Trustee of GBS)\, Jennifer was a prominent supporter and ardent worker in many local charities. “Jennifer was a bright light at GBS for decades\,” says GBS Chairman of the Board Doris Harrington.” “We are saddened by her loss but know that her spirit is well-expressed in Schubert’s Symphony No. 5\, we’ll be dedicating and performing in her honor in March.” \n  \nProgram Notes  \nMarch 16\, 2024 \n—Frank Martignetti\, PhD. \nSacred Heart University \n  \nDebussy: l’Après Midi d’un Faune\nJessie Montgomery: Coincident Dances\nPaul Schoenfeld: Klezmer Rondos\nSchubert: Symphony #5 \nOur program opens with a piece written in 1894 that transformed music history forever: Claude Debussy’s Prélude à l’après-midi d’un faune (L. 86). This ten-minute Impressionist masterpiece is viewed as a turning point in music history; Pierre Boulez memorably stated that “the flute of the faun brought new breath to the art of music.”  Debussy was inspired by the poem of the same name by the French symbolist Stéphane Mallarmé. Symbolist poets resisted naturalism and realism\, and sought to write about spirituality\, the subconscious\, imagination\, and dreams. Charles Burkhardt tells us that: \n[This prelude] was [Debussy’s] musical response to the poem of Stephane Mallarmé (1842–1898)\, in which a faun playing his pan-pipes alone in the woods becomes aroused by passing nymphs and naiads\, pursues them unsuccessfully\, then wearily abandons himself to a sleep filled with visions. Though called a “prelude\,” the work is nevertheless complete – an evocation of the feelings of the poem as a whole. \nYou will be struck by the dreamlike\, hazy nature of the Prelude. The piece begins with a languid flute solo\, centered on the tritone: the powerful and unstable interval that was viewed as “the devil in music” in the Renaissance\, but that forms the powerful gravitational pull of the dominant seventh chord\, and has given us the opening notes of Leonard Bernstein’s immortal “Maria.”  The rhythm and the tonality of the piece are fluid\, and ever shifting. The tonal ambiguity leads to the whole tone scale\, a major characteristic of Impressionism. This whole tone scale floats freely\, lacking the gravitational pull of the major or minor scale. \nIt is interesting to note the careful compositional structure that Debussy used to create the dreamworld of the Prelude; I’ll unpack this with you in the pre-concert lecture. Debussy uses compact musical ideas\, called “cells” (motives) and builds the piece systematically from them. It’s fascinating to note that the piece is 110 measures long\, and\, while the piece of music is not a linear narrative\, Mallarmé’s poem is also 110 lines long. \n  \nBoth of our next two pieces juxtapose multiple musical styles to evoke a place or occasion\, in ways similar to George Gershwin’s work in Rhapsody in Blue and An American in Paris. \n  \nComposer Jesse Montgomery has this to share regarding her Coincident Dances\, which I’m looking forward to experiencing with you for the first time at this concert. The GBS is one of the first fifteen orchestras in the world to perform this new work. Says Montgomery: \nCoincident Dances is inspired by the sounds found in New York’s various cultures\, capturing the frenetic energy and multicultural aural palette one hears even in a short walk through a New York City neighborhood. The work is a fusion of several different sound-worlds: English consort\, samba\, mbira dance music from Ghana\, swing\, and techno. \nMy reason for choosing these styles sometimes stemmed from an actual experience of accidentally hearing a pair simultaneously\, which happens most days of the week walking down the streets of New York\, or one time when I heard a parked car playing Latin jazz while I had rhythm and blues in my headphones. Some of the pairings are merely experiments. Working in this mode\, the orchestra takes on the role of a DJ of a multicultural dance track. \n  \nKlezmer Rondos evokes typical Eastern European klezmer band sounds within a typical concert work\, characteristic of Schoenfeld’s amalgamation of differing styles. Somewhat uniquely in the orchestral repertoire\, this piece includes saxophones and coronet (the trumpet-like instrument played by Louis Armstrong.) While we tend to think of the clarinet as the characteristic solo instrument in klezmer\, the flute\, violin or trumpet took on this role as well.  Our own principal flutist\, Keith Bonner\, takes the lead on flute and piccolo. I’m indebted to Neil Levin for this context: \nKlezmer Rondos quotes directly the opening section of a song of the Lubavitcher Hassidim\, Kol dodi (Voice of My Beloved)\, from Song of Songs\, attributed to the first Lubavitcher—or ḥabad—rebbe\, Rabbi Shneier Zalman of Liady. A variation is often attributed to rebbes of different dynasties who were Rabbi Zalman’s contemporaries. There is also the quotation of a well-known Lubavitcher niggun rikkud (dance tune)\, as well as other typical idiomatic Hassidic phrases and inflections throughout…An original Yiddish song in folk style\, to the poem Mirele by Michl Virt\, concludes the first of the two movements. \n  \nSchubert’s Symphony No. 5 uses the smallest orchestra of his symphonies; Schubert seems to have been particularly enamored with Mozart when writing this symphony\, and the instrumentation matches the first version of Mozart’s Symphony No. 40. The first movement is Schubert’s first to not begin slowly\, but begins with a very simple rising arpeggio (do-mi-sol) that comprises the first theme. Unusually\, the recapitulation begins in Eb (IV)\, not Bb—a device Schubert had used before.  The second\, slow movement ranges far afield harmonically\, in a way characteristic of Schubert but not heard in Haydn\, Mozart\, or Beethoven. The third movement\, a minuet\, is extremely Mozartean in character and harmony. The symphony concludes with a finale that is the shortest of the four movements. \n  \n  \nClick here then click “Subscriptions” for subscriptions at deep discounts.
URL:http://staging.gbs.org/event/flute-fusion/
LOCATION:Klein Memorial Auditorium\, 910 Fairfield Avenue\, Bridgeport\, CT\, 06605\, United States
CATEGORIES:Season 78
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DTSTART;TZID=America/New_York:20231216T200000
DTEND;TZID=America/New_York:20231216T200000
DTSTAMP:20260415T144940
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SUMMARY:Uniting at Yuletide
DESCRIPTION:A holiday festival! Singalongs\, music of the masters\, and carols — bring the family! \n(PROGRAM NOTES BELOW) \nEduardo Leandro\, Conductor \n-The Doris and Herbert Harrington Pre-Concert Talk-\nA special presentation from GBS about next season \n-Maureen Hamill and friends will sing and lead some singalong pieces! \nJule Styne                                      Let It Snow! Let It Snow! Let It Snow! (1945) \nTraditional                                     Away in a Manger \nJohann Strauss II                       The Blue Danube (1866)\n(1825-1899) Op. 314 \nJohn Williams                               Harry Potter and the Sorcerer’s Stone (2001)\n(b. 1932) \nMykola Leontovich                    Carol of the Bells (1914)\n(1877-1921) \nJ. S. Bach                                       Jesu Joy of Man’s Desiring (1723)\n(1685-1750)                                   BWV 147 \nTraditional                                    Chanukah Festival Overture\, Arr. Custer/O’Loughlin \nIrving Berlin                                 White Christmas (1942)\n(1888-1989) \nLeroy Anderson                         Sleigh Ride (1948)\n(1825-1899) \nI N T E R M I S S I O N \nTraditional                                       O Come All Ye Faithful (1744) \nPyotr Ilych Tchaikovsky           Waltz of the Flowers (1892)\n(1840-1893)                                  Op. 71a (from The Nutcracker Suite) \nGeorges Bizet                               Farandole from L’Arlesienne (1885-86)\n(1838-1875) \nTraditional                                     Hark the Herald Angels Sing (1739) \nIsaac Watts                                   Joy to the World (1719) \nFranz Gruber                                Silent Night (1818) \n_________________________________________ \nPROGRAM NOTES \nDecember 16\, 2023 \nUNITING AT YULETIDE \nMusic forms a giant part of our experiences and memories in the holiday season\, and this program draws from the many streams of music that form our holiday memories. Folk\, composed “classical” music\, film music\, and the Great American Songbook all contribute to this mighty river\, and this evening’s program. Many might be surprised at how orchestral music forms a vital part of the soundtrack of our lives\, but this evening’s program demonstrates this. \nFrom the folk tradition\, the relatively minor Jewish holiday of Hanukkah has nevertheless spawned a small but beloved repertoire of folksongs. Grammy- Award winning conductor and composer Lucas Richman has served as Music Director of the Bangor Symphony\, the Knoxville Symphony\, and an array of ensembles internationally as guest conductor. His Hanukkah Festival Overture sets the folk melodies that are an integral part of Hanukkah\, and has been performed by hundreds of orchestras since its  composition in 1994. From another part of the world\, the Ukraine\, what American audiences know as Carol of the Bells is actually a New Year carol\, Shchedryk\, written in 1914 by the Ukrainian composer Mykola Leontovych\, and based on Ukranian folktunes. It received its first United States performance at Carnegie Hall in 1922\, by the Ukranian National Chorus. Peter J. Wilhousky wrote the English lyrics we hear each December. Through these pieces\, we remember\, in our own small way\, these two regions    where our neighbors continue to suffer the effects of war and violence this year. \nFamiliar Christmas carols from Europe and the Americas might as well be folk music\, but have an interesting history. The origins of the familiar American carol Away in a Manger are shrouded in mystery; the text was long attributed\, incorrectly\, to Martin Luther. The third verse was penned by John T. McFarland in 1892. In metrical hymnody\, text and tune pairings are interchangeable\, and this carol is commonly sung to two different tunes\, and sometimes to a third. The most common\, Muller\, was composed by James R. Murray in 1887\, for a children’s hymnal. This memorable tune is easily recognizable due to the stepwise descent of an octave that begins the melody\, as well as the gentle dotted rhythm reminiscent of calmly rocking an infant to sleep. \nWilliam J. Kirkpatrick composed the other tune\, Cradle Song\, in 1895\, which uses a gentle\, recurring rhythm pattern to lull the infant to sleep. Rarely\, this carol is sung to an adaptation of the tune Afton Water\, by 19th century Kentucky composer\, lawyer\, and minister Jonathan E. Spilman. Interestingly\, another adaptation of Spilman’s tune became the alma mater of the University of South Carolina! O Come All Ye Faithful\, attributed to John Francis Wade\, has roots that may go back as far as the thirteenth century. Mendelssohn and Handel contributed\, indirectly\, to the Christmas carol repertoire\, with Hark the Herald Angels Sing and Joy to the World\, created by Lowell Mason (the father of music education in American schools). Franz Gruber’s beloved Stille Nacht premiered at St. Nicholas in Orbendorf\, Austria in 1818. Father Joseph Mohr wrote the lyrics in 1816\, and asked Franz Gruber\, teacher and organist in the  neighboring town\, to write the music. Mohr accompanied the premiere on guitar since the organ was damaged by flooding. \nFrom the classical tradition\, Tchaikovsky’s Nutcracker Suite and Strauss’ An der schönen blauen Donau\, Op. 314\, commonly known to English-speaking audiences as the Blue Danube Waltz form familiar symphonic contributions to our Christmas and New Year memories. J. S. Bach’s Jesus bleibet meine Freude is the tenth movement of his 1712 Advent church cantata Herz und Mund und Tat und Leben\, BWV 147\, known to English-speaking audiences as Jesu\, Joy of Man’s Desiring. \nThe final stream of music explored this evening includes songs written during the era of\, or in the style of\, the Great American Songbook. Irving Berlin’s White Christmas\, written for the 1942 film Holiday Inn\, and Sammy Cahn and Jule Styne’s Let It Snow dates from 1945. In a similar vein\, John Williams’ marvelous score for the Harry Potter films evoke the rich world of these stories\, including a Christmas feast in the Great Hall of Hogwarts. \nMay your holiday feasts be magnificent! \nFrank Martignetti\, Ph.D.\nSacred Heart University \n  \nClick here then click “Subscriptions” for subscriptions at deep discounts.
URL:http://staging.gbs.org/event/uniting-at-yuletide/
LOCATION:Klein Memorial Auditorium\, 910 Fairfield Avenue\, Bridgeport\, CT\, 06605\, United States
CATEGORIES:Season 78
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DTSTART;TZID=America/New_York:20231111T200000
DTEND;TZID=America/New_York:20231111T200000
DTSTAMP:20260415T144940
CREATED:20230726T175438Z
LAST-MODIFIED:20231109T150113Z
UID:511-1699732800-1699732800@staging.gbs.org
SUMMARY:Mingling with Mozart
DESCRIPTION:Mozart and those he influenced\, centered around Symphony No. 41 “Jupiter” \nEduardo Leandro\, Conductor\nJessica Rizzio\, Soprano\nThomas Woodman\, Baritone \nThe Doris and Herbert Harrington Pre-Concert Talk\nhosted by Dr. Alice Caldwell \nW. A. Mozart       Opera Selections\n(1756-1791) \nOverture from The Marriage of Figaro (K.492) \nArias from\nThe Marriage of Figaro (K.492)\nDon Giovanni (K.527)\nCosi fan tutte (K.588)\nThe Magic Flute (K.620) \nI N T E R M I S S I O N \nFlo Menezes       Mozart Trans-Criations (1986)\n(b. 1962) \nW. A. Mozart       Symphony No. 41 in C major “Jupiter” (K.551) – (1788)\n(1756 – 1791) \nI. Allegretto vivace\nII. Andante cantabile (F major)\nIII. Menuetto: Allegretto\nIV. Molto allegro \nClick here then click “Subscriptions” for subscriptions at deep discounts.
URL:http://staging.gbs.org/event/mingling-with-mozart/
LOCATION:Klein Memorial Auditorium\, 910 Fairfield Avenue\, Bridgeport\, CT\, 06605\, United States
CATEGORIES:Season 78
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DTSTART;TZID=America/New_York:20230423T150000
DTEND;TZID=America/New_York:20230423T150000
DTSTAMP:20260415T144940
CREATED:20230420T160128Z
LAST-MODIFIED:20230420T160128Z
UID:455-1682262000-1682262000@staging.gbs.org
SUMMARY:GBS & Sacred Heart University present: The GBS String Quartet
DESCRIPTION:The Greater Bridgeport Symphony & Sacred Heart University are proud to present this concert as a join production. \nThe Program\nString Quartet No. 4\, Op 18 Ludwig van Beethoven\nAllegro ma non tanto\nAndante scherzoso quasi Allegretto\nMenuetto Allegro\nAllegretto\nTwo Songs George Gerswhin\, arr. Silveman\n“He Loves and She Loves” from Funny Face\n“Do It Again” from The French Doll\nIntermission\nQuartet in G minor\, Op. 10 Claude Debussy Animé et tres décidé\nAsset vif et bien rythmé\nAndantino doucement expressif\nTrès modéré \nWith the launch of the 2023 Classical Series\, SHU Community Theatre is proud to host world-class classical music and to further its mission to offer “Entertainment & Education In Concert” through these noteworthy performances. \nThe GBS String Quartet\, founded by the principal string players of the Greater Bridgeport Symphony\, has seen a new renaissance since the start of the pandemic in 2020\, releasing multiple virtual performances\, including collaboration with music director Eric Jacobsen on cello\, and expanding their live concert appearances together. You can also find the quartet’s influence leading the strings in all Greater Bridgeport Symphony concerts and recording projects\, including their albums with members of the Silkroad Ensemble and with pianist Tiffany Poon\, and beautiful video projects with violinists Colin Jacobsen and with Simone Porter. The quartet has further represented the organization in the community in coordination with Music for Youth and the Greater Bridgeport Symphony’s educational outreach initiatives.
URL:http://staging.gbs.org/event/gbs-sacred-heart-university-present-the-gbs-string-quartet/
LOCATION:Sacred Heart University Community Theatre\, 1420 Post Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Season 78
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