2019 music on the hill · 2019 music on the hill pg 1 table of contents artistic director we thank...

2019 Music on the Hill Pg 1


Joseph J. SolomonMayor

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Table of Contents

Artistic Director We thank our many advertisers in this concert book for supporting our 2019 Music Festival. We hope you will patronize their businesses.

Funding for our festival is provided in part by grants from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly, The Carter Family Charitable Trust and many generous businesses and individuals.

John M. Pellegrino

Donors...................................................... p. 2

List of Advertisers................................ p. 9

Ticket Information............................. p. 10Concert Schedule................................. p. 11

Concert Programs

LAWN CONCERT................................. p. 12

FRENCH CHAMPAGNE...................... p. 16

NOW THAT’S ITALIAN!..................... p. 20

AMADEUS............................................... p. 26

JOHANN SEBASTIAN BACH........... p. 30

TRIO TIME............................................ p. 38

FOUR HANDS........................................ p. 42

Musicians ............................................. p. 45

Mission Statement ............................. p. 56

Welcome to Music on the Hill’s 2019 music festival! I’m excited to share that we will offer local audiences seven concerts between June 2nd and June 12th, in Westerly, East Greenwich, Warwick and Cranston, Rhode Island. I’m pleased that these concerts offer so much variety, for the listeners and the performers.

Inviting Rhode Island-born musicians home is always a fun and fulfi lling component of Music on the Hill, but so is introducing art-ists you come to love. To open this year’s festival, the Narragansett Brass Quintet will give another lawn concert at Clouds Hill Vic-torian House Museum in Warwick. Our pair of duos – the Miller-Porfi ris Duo and the Millar Piano Duo – share the Four Hands concert to close the festival at Dunn’s Corners Community Church in Westerly. The fi ve concerts programmed between these festival bookends feature performances dedicated to the music of Bach and Mozart, trips to France and Italy, and a variety-packed trio concert.

New to Music on the Hill this year are harpist Rachel Miller and flutist Janet Arms, both spotlighted on the French Champagne concert, in East Greenwich. This June 3rd concert at First Baptist Church on Peirce Street is also a first for Music on the Hill!

As in past years, Music on the Hill continues to offer free admis-sion for any students attending any of our concerts. So I encourage you to bring your grandchildren, godchildren, nieces and nephews to the concerts! If you teach, please tell your students the good news – free access to unique performances of chamber music, much of it rarely heard. All are welcome. We’ll also perform a no-cost, educational program for Warwick elementary students on Friday morning, June 7th. There, we introduce both our instru-ments and our own brief stories about starting out in music. Most of us owe our beginnings in music to the Rhode Island public school programs.

Once again, I’d like to extend my thanks to you – whether donor, ticket buyer, or past/current/future board member – for your sup-port. Music on the Hill is deeply rooted in the Ocean State, and flourishes thanks to you!

See you at the concerts.

Welcome to Music on the Hill’s 12th Festival

Pg 2 2019 Music on the Hill

Music on the Hill gratefully acknowledges the following music lovers for their gifts to our annual fund. This list reflects donations received

April 15, 2018 to April 1, 2019

Grants

Benefactors ($1000 to $1999)

Patrons ($500 to $999) Supporters ($250 to $499)

Sponsors ($2000 and above)Carter Family Charitable TrustRhode Island State Council on the Arts

We gratefully acknowledge our musicians' many contributions. Their generosity and

love for the Music on the Hill allow us to keep ticket prices low, and to

offer free admission to students.

AnonymousGreenwood Credit Union Ken & Sue LoiaconoGerard & Carol PellegrinoJohn Pellegrino

Centreville Bank Anne Marie GabrieleCraig & Maria KohanskiRobert & Marie Petrarca

Peter & Diana AlmonteMarjorie & Robert CatanzaroDaniel Gilbert & Donna LeeSharon GreenwoodPawtucket Credit Union Donald RankinSally RyanLee Vincent

Robert BauteDr. & Mrs. Anthony BruzzereDavid & Martha CapaldiAlice GrellnerTrevor HandyMargaret HoffVyra ImondiNancy KaysHubert & Ronelle MeunierVictor & Anne ModugnoJohn M. PellegrinoPratt Family Dentistry Priscilla RiggThomas SpainDorothy & Dixon StearnsRex TienAlan & Marie WeissBirgitta Whited


Music on the Hill gratefully acknowledges the following music lovers for their gifts to our annual fund. This list reflects donations received

April 15, 2018 to April 1, 2019

Donors ($100 to $249) Friends (up to $99)Cherie A. BeattyMr. & Mrs Jon BerberianIda BilodeauVincent & Margo BucciFrank DiZoglioConstantin Caramiciu & Martha RiceConstantin CaramiciuNancy & Ralf CarriuoloBetty ChallgrenCatherine ChannellEdgar & Elaine EdwardsRose & Stanley Galek John & Linda GoldenAnne HolstStephen B. JohnsGeorge & Evelyn KentMaija LutzJane Malone & Ernie DrewCarolyn MarshallPowell & Cheryl MorinKristen PellegrinoMiller-Porfiris DuoKathy & Frank RomeoDavid & Joyce RuppellRobert & Joanne SchachtElaine Schultz ReubenBetty & Robert SepeAudrey ShapiroAlan & Els ShineM.-Frances TaylorFlora TregerAnnetee & Romeo TuroJohn & Carolyn Wheeler

Judith AblonMargaret BarlowMarcia & Andrew BeaganWilliam CapalboCharlotte DumasBeatrice FlynnLoraine ForcierMicah GustafsonDale & Linda JohnsonCharles & Anne MansolilloJoanne MouradjianRosemary MurphyNancy NesterCarmen OldmixonSharon & Andrew PaceCarolyn PayneAlfred PellegrinoKay PetersonRuby Shalansky


RHODE ISL AND PHILHARMONICORCHESTRATACO CLASSICAL SATURDAYSTickets start at $15 Enjoy elegant musical Saturday evenings at The VETS.

AMICA RUSH HOUR FRIDAYSTickets start at $15

Early start time, shorter concert, relaxed atmosphere. Perfect for families.

2018/19 SEASONHighlights include works of Mozart,

Gershwin and many others!

LESSONS FOR EVERYONE• Violin, Strings, Piano, Guitar, Percussion, Voice, Woodwinds & more• Introduction to the Instruments• Composition• Electronic Music Creation• Music Theory

GROUPS YOU’LL LOVE• Youth Orchestras• Chamber Music• Wind Ensembles• Jazz Combos• Rock Bands

BABIES, TODDLERS & PRESCHOOLERS Develop the potential of young children through the fundamentals of music.

RHODE ISL AND PHILHARMONICMUSIC SCHOOL

musicschool.riphil.org401.248.7001

tickets.riphil.org401.248.7000


www.MusicOnTheHillri.org

91 Toll Gate Rd. ~ Suite 300Warwick, RI 02886

a team of investment research specialists

Ph: (401) 739-4322Fax: (401) 739-9042

Visit

for tickets & more information


(401) 884-6262www.egda.biz

EAST GREENWICHDENTAL ASSOCIATES,

4575 POST ROADEAST GREENWICH, R.I. Michael J. Harris, D.D.S.

Christopher M. Dumas, D.M.D


Listing of AdvertisersArtistic ContoursAspire DermatologyBald Hill Dodge Beekman ViolinBlackman Insurance AgencyClouds Hill MuseumCoastal Medical Skin & LaserCrow’s Nest RestaurantDecisive Wealth ManagementEast Greenwich Dental AssociatesChristopher L. Franklin, CPAGreenwood Credit UnionGulati Asset ManagementHoly Cow Ice CreamLa MasseriaMae’s Place, RestaurantMain Street Coff eeErin Marsh, RealtorMattioli OrthodonticsMusica DolceMutual Adjustments, Insurance AdjustersOld CanteenPeople’s Liquor WarehousePratt Family DentistryR.I. Philharmonic OrchestraRISCARobert’s Musical InstrumentsSaint Elizabeth HomeSmile Designers, DentistryStrand Optical Co.Sweet TwistThorpe’s Wines & SpiritsTom’s MarketWarwick Department of TourismWest Shore Dental AssociatesSnippers Salon

Pg. 44Pg. 35Pg. 29Pg. 5Pg. 8Pg. 19Pg. 24Pg. 36Pg. 7Pg. 8Pg. 33Pg. IB coverPg. 32Pg. 55Pg. 19Pg. 54Pg. 40Pg. 25Pg. 28Pg. 5 & 32Pg. 24Pg. 6Pg. 28Pg. 6Pg. 4Pg. 23Pg. 37Pg . 34Pg. 34Pg. 55Pg. 35Pg. 7Pg. 33Pg. IF coverPg. 29Pg. 25

Concert Sponsors

Sue and Ken Loiacono

Greenwood Credit Union

Gerard and Carol Pellegrino

John Pellegrino

Anonymous Donor

We thank the many businesses that support this music festival


To Purchase Tickets:To Purchase Tickets: (Students with ID are admitted free)

Tickets for our 2019 Music Festival

A) Online: www.BrownPaperTickets.com A) Online: www.BrownPaperTickets.com Search: Music on the Hill Search: Music on the Hill Choose # of concert tickets and ticket delivery: Choose # of concert tickets and ticket delivery: Print at home Print at home oror Mailed ( Mailed (if before 19 May)if before 19 May) oror Held at Will Call at concert Held at Will Call at concert $20 (+ $1.69 service fee ) $20 (+ $1.69 service fee )

C) By mail with check, using ORDER FORM below C) By mail with check, using ORDER FORM below Tickets mailedTickets mailed $20 (+ $0.50 service fee ) $20 (+ $0.50 service fee ) DEADLINE May 19DEADLINE May 19thth

D) At the door with CHECK or CASH: $25.00 per ticketD) At the door with CHECK or CASH: $25.00 per ticket

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

B) Online with PayPal: www.MusicOnTheHillri.orgB) Online with PayPal: www.MusicOnTheHillri.org Tickets mailedTickets mailed $20 (+ $1.50 service fee ) $20 (+ $1.50 service fee ) DEADLINE May 19DEADLINE May 19thth

*Order by mail before May 19, 2019**Order by mail before May 19, 2019*

Complete form and mail with check payable to Music on the HillComplete form and mail with check payable to Music on the HillMail to: Mail to: Music on the Hill, Box 633, East Greenwich, RI 02818 Music on the Hill, Box 633, East Greenwich, RI 02818

Name _____________________________________________________Name _____________________________________________________

Street _____________________________________________________Street _____________________________________________________

City ___________________________ State _____ Zip ___________City ___________________________ State _____ Zip ___________

Phone ______________________ E-Mail ______________________Phone ______________________ E-Mail ______________________

A ticket allows the holder into any one of the 7 concerts A ticket allows the holder into any one of the 7 concerts

Number of tickets ordered:________ Number of tickets ordered:________ Total amount enclosed $_____________ Total amount enclosed $_____________

OR

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2019 Music Festival

Monday June 3rd French Champagne 7:00 pm First Baptist Church 30 Peirce Street, East Greenwich, RI

Thursday June 6th Amadeus 7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI

Monday June 10th Trio Time 7:00 pm Holy Apostles Church 800 Pippin Orchard Road, Cranston, RI

Wednesday June 12th Four Hands 7:00 pm Dunn’s Corners Community Church 221 Post Road, Westerly, RI

www.MusicOnTheHillri.org

Wednesday June 5th Now That’s Italian! 7:00 pm Immaculate Conception Catholic Church 237 Garden Hills Drive, Cranston, RI

Sunday June 2nd Lawn Concert Narragansett Brass Quintet 3:00 pm Clouds Hill Museum 4157 Post Road, Warwick, RI

Sunday June 9th Johann Sebastian Bach 3:00 pm St. Gregory the Great Catholic Church 360 Cowesett Road, Warwick, RI


Meet and Greet the Musicians following the ConcertProgram subject to change

Lawn Concert

Clouds Hill Victorian Museum 4157 Post Road, Warwick, RI Sunday, June 2, 2019 3:00 pm

This concert is funded in part by the Greenwood Credit Union

Narragansett Brass Quintet Joseph Foley & Gino Villarreal, trumpets; Kevin Owen, French horn Alexei Doohovskoy, trombone; Thomas Gregory, tuba

Samuel Scheidt (1587-1654) Canzona Bergamasca 5’

Andrea Gabrieli (1533-1585) Venetian Brass Ricercar del Duodecimi Toni 3’

Giovanni Gabrieli (1557-1612) Canzona per Sonare No. 2 3’

George Frideric Handel (1685-1759) Suite from The Water Music, arr. Joseph Foley 10’ I. Prelude IV. Coro II. Lentement V. Hornpipe III. Bouree

Fisher Tull (1934-1994) Exhibition 10’ I. Lament IV. Ballad II. Frolic V. Finale III. Waltz Gustav Holst (1874-1934) Second Suite in F, arr. Joseph Foley 12’ I. March III. Song of the Blacksmith II. Song without Words IV. Fantasia on the Dargason

-INTERMISSION-

Edvard Grieg (1843-1907) Suite for Brass 9’ I. Sarabande III. Lullaby II. Bridal Song IV. Wedding Day in Troldhaugen

Michael Kamen (1948-2003) Brass Quintet 4’

Leonard Bernstein (1918-1990) Three Dance Episodes from On the Town, arr. Joseph Foley 13’ I. The Great Lover II. Lonely Town III. Times Square 1944

In case of rain, the performance will be held at St. Gregory the Great Church, 360 Cowesett Rd. Warwick, RI

Bring chairs or blankets & maybe a picnic

2019 Music on the Hill Pg 13 Program Notes for “Lawn Concert”

Continued on the next page

Samuel Scheidt (1587-1654) Canzona Bergamasca

Samuel Scheidt was the fi rst major German composer for the organ and represents the style that developed with the Reformation. Cut off from Rome and Italian styles, musicians in the newly Protestant areas developed dif-ferently. Scheidt’s instrumental music includes fugues, suites of dances, and fantasias.

Andrea Gabrieli (1533-1585) Venetian Brass Ricercar del Duodecimi Toni

An Italian composer and organist of the late Renaissance, Andrea Gabrieli was the uncle of the more well-known Giovanni Gabrieli. He was the fi rst internationally-renowned member of the Venetian School of com-posers, infl uential in spreading the Venetian style. Organist at St. Mark’s Cathedral from 1566 until his death in 1585, he developed his grand antiphonal, polychoral style, which partially defi ned the beginning of the Baroque musical era.

Giovanni Gabrieli (1557-1612) Canzona per Sonare No. 2

One of the most infl uential musicians of his time, Giovanni Gabrieli represents the culmination of Venetian School style. He became principal organist and composer for St. Mark’s Cathedral after his uncle’s death and added a prestigious similar post at the Scuola Grande di San Rocco. His students included Hans Leo Hassler and Heinrich Schutz, and his composition was infl uenced both by his uncle and by Monteverdi. Canzona per Sonare was published in 1608.

George Frideric Handel (1685-1759) Suite from The Water Music

George Frideric Handel was a German composer who spent most of his career in London. Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Messiah, Water Music, and Music for the Royal Fireworks remaining popular. He was infl uenced both by the Italian Baroque and the middle-German polyphonic choral traditions. He died in 1759, a respected and rich man, and was buried in Westminster Abbey. One of his four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every British corona-tion since.

Fisher Tull (1934-1994) Exhibition

American composer, arranger, educator and trumpeter Fisher Tull lived his whole life in Texas. His catalog of compositions includes over 80 published works for orchestra, band, chorus, and chamber ensemble, but he is known particularly for his works for concert band, brass, and percussion ensemble. His style ranges from neo-classical to experimental. His diverse compositions offer rhythmically vibrant melodies, sonorities reminiscent of Bartok and Hindemith, and Baroque counterpoint.


Gustav Holst (1874-1934) Second Suite in F An English composer best known for his orchestral suite The Planets, Gustav Holst composed in a range of genres. His distinctive compositional style was the product of many infl uences, including Richard Wagner, Richard Strauss, Maurice Ravel and the English folksong revival of the early 20th century. Holst studied under Charles Villiers Stanford. He played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. He served as musical director at Morley College, and pioneered music education for women at St. Paul’s Girls’ School. In his later years, his uncompromising, per-sonal style struck many as too austere, but he was a signifi cant infl uence on younger English composers such as Michael Tippett and Benjamin Britten.

Edvard Grieg (1843-1907) Suite for Brass One of the leading Romantic composers, Edvard Grieg brought Norwegian music to international conscious-ness by using his country’s folk music in his compositions, helping to develop a national identity, as Sibelius and Smetana did in Finland and Bohemia, respectively. His incidental music for Peer Gynt is perhaps the best known of his rich and varied collection of compositions.

Michael Kamen (1948-2003) Brass Quintet

Oscar-nominated composer, conductor, and arranger Michael Kamen studied oboe at Juilliard while concur-rently playing in a jug band. His New York Rock & Roll Ensemble’s fusion of classical and pop so impressed Leonard Bernstein that he invited the group to appear at one of his Young People’s Concerts with the New York Philharmonic. His Hollywood career includes Terry Gilliam’s Brazil, Lethal Weapon (with Eric Clapton) and Die Hard, and their many sequels. In 2000, he premiered The New Moon in the Old Moon’s Arms, a sym-phony commissioned by Leonard Slatkin and the National Symphony Orchestra.

Leonard Bernstein (1918-1990) Three Dance Episodes from On the Town

In June 1944, Variety announced, “...a group of youngsters have gotten together to stage a musical production. On the Town, skedded for Broadway this fall will be written, produced and staged by 23- to 25-year-olds—headed by Leonard Bernstein, who recently has forged to the front of the ranks of young symphonic composers and conductors.” In 1943, Bernstein had become the youngest person to conduct a New York Philharmonic subscription concert. That same fall, Jerome Robbins approached him with an idea for a ballet: three sailors on 24-hour shore-leave in New York City. Fancy Free premiered in 1944 and was quickly expanded to the full-length musical On the Town, with a book by Bernstein’s friends Betty Comden and Adolph Green. On the Town was an instant hit. The classic 1949 MGM movie replaced almost all of Bernstein’s score.


French Champagne


Monday, June 3, 2019 7:00 pm First Baptist Church 30 Peirce St, East Greenwich, RI

This concert is funded in part by Gerard and Carol Pellegrino

Camille Saint-Saëns (1835-1921) Fantasie for Violin and Harp, Op. 124 15' Gregory Cardi, violin; Rachel Miller, harp Francis Poulenc (1899-1963) Cavatine et Ballabile from Sonate pour Violincelle et Piano, FP 143 11' Trevor Handy, cello; Bonnie Anderson, piano

Henri Tomasi (1901-1971) Triptyque 4’ I. Scherzo II. Largo III. Saltarelle Joseph Foley, trumpet; Bonnie Anderson, piano

Claude Debussy (1862-1918 Sonata for Flute, Viola and Harp 18' I. Pastorale II. Interlude III. Allegro moderato ma risoluto Janet Arms, flute; Rita Porfiris, viola; Rachel Miller, harp

-INTERMISSION-

Camille Saint-Saëns (1875-1937) The Swan 3'Maurice Ravel (1875-1937) Piece en forme de Habanera 4' Elisa Kohanski, cello; Rachel Miller, harp

Henri Senée (1853-1909) Concertino 13' I. Introduction II. Romance III. Ballet Joseph Foley, trumpet; Bonnie Anderson, piano

Claude Debussy (1862-1918) Danse Sacrée et Danse Profane 11' Rachel Miller, harp; Anton Miller & Kristen Pellegrino, violins; Rita Porfiris, viola; Elisa Kohanski, cello; John M. Pellegrino, bass



Program Notes for “French Champagne” Camille Saint-Saëns (1835-1921) Fantasie for Violin and Harp, Op. 124

Camille Saint-Saëns was a musical prodigy, making his debut at the age of 10. He attended the Paris Conserva-tory before launching into a traditional career as a church organist. However, he eventually made enough money as a composer to enable him to leave his organist posts and travel the world, composing in the US as well as various spots in Europe. Saint-Saëns taught at the École de Musique Classique et Religieuse in Paris. Though he remained there for less than fi ve years, his short but meaningful tenure was extremely infl uential in the develop-ment of French music. His students included Gabriel Fauré, who in turn taught Maurice Ravel, and both were heavily infl uenced by Saint-Saëns, whom they revered.

Among a number of his lesser-known works, Saint-Saëns’ Fantasie for Violin and Harp shines. Written in 1907, the work certainly holds colorful depth and an intriguing narrative throughout. While many composers often treat the harp as an accompaniment to a melodic instrument, Saint-Saëns weaves melodic line and harmonic material continuously, as violin and harp are in equal conversation. The piece travels through seven parts; a meandering introduction hints at phrases to come, while following sections deem each instrument virtuosic, all the while showcasing Saint-Saëns’ knack for lush lyricism. Perhaps most notable is the section in 5/4: the harp introduces an ominous motive, repeated quietly and persistently, as the violin moves around it in a seductive theme. Teetering between restraint and unbridled passion, the 5/4 fi nally collapses into the ambient motives from before, where at last, both harp and violin come to fi nally rest.

Francis Poulenc (1899-1963) Sonate pour Violincelle et Piano, FP 143

Francis Poulenc was a French composer strongly infl uenced by his fellow Frenchmen Chabrier, Debussy, Satie, and especially Stravinsky. In the 1920s, he adopted a neo-classic approach, maintaining many features of traditional harmony. Aesthetically, he was often irreverent and fl ippant, and his melodies were probably infl uenced by what he heard in the Parisian music halls of the day. Poulenc is best known for his art songs, but he also wrote a lot of chamber music and keyboard music. He fi rst sketched the Cavatine and Ballabile move-ments of his cello sonata in 1940, but did not complete the entire four-movement sonata until 1948. The piece is dedicated to the great French cellist Pierre Fournier, who helped educate Poulenc on the technical aspects of the cello during the piece’s composition. Music on the Hill Artistic Director John M. Pellegrino chose the gorgeous, song-like Cavatine and the fun, quirky Ballabile movements, which are the two middle movements of this so-nata, because they fi t so perfectly into tonight’s French Champagne program.

Henri Tomasi (1901-1971) Triptyque

Composer Henri Tomasi was born in Marseille, France, and began music school when he was 7 years old. As a boy, Tomasi was not happy being a musician, or at least being the type of musician he felt his father was forc-ing him to become, complaining of being forced to perform “like a trained animal” for wealthy families. Al-though he dreamed of escape and often skipped class, Tomasi was nonetheless awarded his school’s 1916 prize in harmony. This award allowed him to attend the Paris Conservatory, although World War I delayed his start there by a few years. As he killed time waiting to venture off to Paris, he performed piano in hotels, brothels, and movie theaters. These pre-Paris years allowed Henri to hone his compositional skills while improvising background music. In 1927, Tomasi was awarded the Prix de Rome for composition as well as fi rst prize in conducting. By the 1930s, he had established himself in Europe as a composer and as a conductor. After World War II ended, he became the principal conductor for the Opéra de Monte-Carlo. Tomasi’s Triptyque for trumpet and piano was written in 1957. It was at this time that Tomasi was forced to abandon conducting due to failing health, which included hearing loss.

Pg 18 2019 Music on the Hill Claude Debussy (1862-1918) Sonata for Flute, Viola and Harp

Before 1915, Debussy used almost exclusively titles with poetic associations (the only exception is his String Quartet of 1893). In 1915, already ill with cancer, Debussy planned a series of six sonatas for various instru-ments, using the title “Sonata” for the fi rst time. The writing in these works is less lush than in much of his earli-er work, as Debussy joined Stravinsky in ushering in an era of a new classicism, or neoclassicism. He completed only three of the sonatas—one for cello and piano, this one, and one for violin and piano—before his death in 1918. Though differing in style from much of his earlier work, this sonata still displays Debussy’s incredible ear for tone and color.

Camille Saint-Saëns (1835-1921) The Swan

Originally composed for cello and two pianos, The Swan now exists in many arrangements, including the cello and harp arrangement you will hear this evening. This G major piece is in 6/4 time, with a tempo marking of “Andantino grazioso.” The slow cello melody is accompanied by the harp in almost constant broken chords. This piece is the 13th movement of Saint-Saëns’ orchestral work Carnival of the Animals.

Maurice Ravel (1875-1937) Piece en forme de Habanera

Out of the success of Bizet’s Carmen and Chabrier’s España came a wave of Spanish-inspired French music. Although Ravel’s reputation was a bit rebellious, he too succumbed to the trend and wrote several Spanish-infl uenced works, most notably his Bolero. In 1907, while he was writing his opera L’Heure espagnole, Ravel penned a delicious little etude for voice without words: Piece en forme de Habanera. Originally for voice and piano, the work has been transcribed innumerably for various instruments. Set to a slow dance in duple time, the lower register (played by harp here) keeps time simmering while the cello weaves a seductive, deceivingly ef-fortless melody.

Henri Senée (1853-1909) Concertino

Henri Senee was a composer, conductor and cornetist who spent a signifi cant portion of his career as a con-ductor in military bands. Senee’s Concertino was written for cornet à pistons in B fl at in the early 1900s. The composition exists in two versions, one with piano accompaniment and another with orchestra. To the modern listener, the Concertino may sound somewhat old-fashioned, but it has become a staple of the trumpet solo rep-ertoire and is a delightful trip back in time. Its rather short, three-movement structure is very similar to a tradi-tional concerto but is perfectly suited for a recital or chamber music concert.

Claude Debussy (1862-1918) Danse Sacrée et Danse Profane

Debussy’s ethereal Danses were commissioned in 1904 by the Pleyel Company, to celebrate the reveal of their latest innovation, the chromatic harp. Up until this point, the harp had been a chromatically limited instrument; thus, the unveiling of such a harp was a monumental accomplishment. Sim ultaneously, Pleyel commissioned Ravel to write a celebratory piece for the chromatic harp— and so began a “war” of sorts between Debussy and Ravel, to write the best show piece for the harp. The resulting two works have become glorious staples in the standard harp repertoire. Debussy’s Danse Sacrée opens with peaceful, contemplative chords, setting the tone for the sanctity of the movement. Debussy’s frequent use of fi fths is heard throughout. Danse Sacrée closes wistfully, and out of it, Danse Profane emerges— the somber air moving to a lilting and playful waltz. This Danse is not titled “Profane” because of assumed crassness— rather, it is merely non-religious in nature. Indeed, this movement fl owers in lush harmonies and sparkling arpeggios. As the Danse closes in grand fi nale, sweeping D-Major arpeggios cascade joyously!


Meet and Greet the Musicians following the Concert

Wednesday, June 5, 2019 7:00 pm

Now That’s Italian!

Program subject to change

Tomaso Albinoni (1671-1751) Adagio 5’ Anne Marie Gabriele, oboe; Terry Lindsay, organ

Ennio Morricone (b. 1928) Gabriel’s Oboe 3’ Anne Marie Gabriele, oboe; Anton Miller & Kristen Pellegrino, violins; Rita Porfi ris, viola; Elisa Kohanski, cello; John M. Pellegrino, bass

Gioacchino Rossini (1792-1868) Sonata No. 3 in C Major 14’ I. Allegro II. Andante III. Moderato Anton Miller & Gregory Cardi, violins; Trevor Handy, cello; John M. Pellegrino, bass

Giacomo Puccini (1858-1924) 15’ I. E l’uccellino IV. Sogno d’or II. Sole e amore V. O mio babbino caro III. Storiella d’amore VI. Chi il bel sogno di Doretta Diana McVey, soprano; Bonnie Anderson, piano

Gioacchino Rossini (1792-1868) Prelude, Theme and Variations 11’ Leslie Norton, French horn; Bonnie Anderson, piano

Marcel Bitsch (1921-2011) Four Variations on a Theme by Domenico Scarlatti 7’ Joseph Foley, trumpet; Bonnie Anderson, piano

Immaculate Conception Catholic Church 237 Garden Hills Dr, Cranston, RI

This concert is funded in part by Sue and Ken Loiaconoin honor of John Pellegrino



Program Notes for “Now That’s Italian!” Tomaso Albinoni (1671-1751) Adagio

This Adagio, attributed to Tomaso Albinoni, has become one of the most recognizable moments in music. In-corporated into video games, TV programs and movies, the piece may elicit an “oh yeah” reaction from its audi-ences upon hearing the fi rst few measures of its stately and sorrowful music. Published in 1958 by the Italian musicologist Remzo Giazotto (1910-1988), the soaring melody is incredibly passionate considering it is from the Baroque era. Giazotto is the biographer of both Albinoni and Vivaldi, and he has claimed that he completed this work from an unfi nished score that he found in the Saxon State Library in Dresden. (When Dresden was bombed during World War II, the library’s enormous collection was preserved in underground safes.) Accord-ing to Giazotto, only the bass line was scored. Many have suggested that the piece is really Giazotto’s own, but recently, there was confi rmation of the existence of a bass line, and the Dresden library’s stamp was on this notation. The haunting melody of this Adagio in G minor has a vibrant life of its own, regardless of when and where it was written.

Ennio Morricone (b. 1928) Gabriel’s Oboe

Italian composer, conductor, orchestrator and former trumpet player Ennio Morricone composed Gabriel’s Oboe as the main theme for the 1986 fi lm The Mission. The theme has since been arranged and performed fre-quently by artists such as Yo-Yo Ma, Holly Gornik and Brynjar Hoff. Vocalist Sarah Brightman begged Mor-ricone to allow her to add lyrics to the theme to create her own song, “Nella Fantasia,” and in 2010, Morricone encouraged soprano Hayley Westenra to write English lyrics for “Gabriel’s Oboe” on her album Paradiso. Mor-ricone won a Golden Globe for Best Original Score for The Mission and was nominated for an Academy Award for Best Original Score.

Morricone was born into a musical family in Rome in 1928. His fi rst teacher, his father Mario Morricone, taught him how to read music and how to play several instruments. Driven by his love for the trumpet, Ennio entered the National Academy of St. Cecilia on the trumpet in 1940, at age 12. At that time he enrolled in a four-year harmony program, but was able to complete this program in six months! Morricone focused on the trumpet, composition, and choral music during his time at the school. After playing the trumpet in jazz bands in the 1940s, Morricone became a studio arranger for RCA Victor in the 1950s. It was at this time that he started ghost composing for fi lm and theatre. Throughout his long and lucrative career, he has composed music for artists from Paul Anka to Andrea Bocceli. In the ‘60s and ‘70s, Morricone became internationally famous for compos-ing music for Westerns. His score to The Good, the Bad and the Ugly is still considered one of the most infl uen-tial soundtracks in history. With an estimated 10 million copies sold, the score of Once Upon a Time in the West is one of the highest-selling fi lm scores on the planet.

In the fi lm The Mission, Gabriel’s Oboe is most prominently used when the protagonist, the Jesuit Father Ga-briel, walks up to a waterfall and starts playing his oboe. His aim is to become friends with the natives via his music, so he can expand his missionary work in the New World. Viewers of the fi lm may recall this scene, but if not, perhaps this beautiful Italian music will encourage you to set a night aside for some movie-watching.


Gioachino Rossini (1792-1868) Sonata No. 3 in C Major

Gioachino Rossini is well-known as an outstandingly successful opera composer. As a young man, he was a fi ne singer and learned the harpsichord, horn and cello as well. Rossini was born into a family of musicians in a small town on the Adriatic coast of Italy. His father, Giuseppe, was a French horn player as well as an inspector of slaughterhouses. His mother, Anna, was a vocalist and the daughter of the local baker. He wrote 38 operas between 1810 and 1829, the best-known of which are probably Il barbiere di Siviglia (The Barber of Seville) and Guillaume Tell (William Tell). Rossini’s success allowed him to abandon the pressures of the opera at age 38, giving him 39 years of retirement. It is less well-known that Rossini also wrote a few instrumental works. The quartet that you will hear this evening is one out of a collection of six. The composer used song-like melo-dies, but his main interest was in virtuosity. Rossini’s Sonata No. 3 in C Major was composed in 1808, when the composer was 16 (the same age that Mozart wrote his Divertimento K. 136, which will be performed tomorrow, June 6). This young work features tuneful melodies that are easily passed around the ensemble of violins, cello and bass. (What, no viola?) At the end of his stellar compositional career, Rossini departed Italy for France and England. He was by far the richest and most famous composer in all of Europe.

Giacomo Puccini (1858-1924) “E l’uccellino,” “Sole e amore,” “Storiella d’amore,” “Sogno d’or,” “O mio babbino caro,” and “Chi il bel sogno di Doretta”

Giacomo Puccini is today known almost exclusively for his operas, which are among the most popular in the standard repertory. Puccini was born in Lucca, Italy, in December of 1858. Since the 1730s, his family had been a major part of the musical life in Lucca and had provided fi ve generations of composers and organists to the San Martino Cathedral. Many took for granted that Giacomo would keep this legacy alive, succeeding his father in the position fi rst held by his great-great grandfather. But in 1864, Puccini’s father died when his son was only fi ve years old, thus jeopardizing the lineage. The youngster was initially disinterested in music as a career and wasn’t a very serious student, so for a time it appeared that the Puccini musical dynasty might end with Giacomo’s father. However, Giacomo’s mother Albina found him a tutor at the local music school who worked well with Giacomo, and at the age of fourteen, Puccini became the church organist and started composing. He found his true calling in 1876, when he walked 20 miles to nearby Pisa. There, Puccini attended a performance of Verdi’s Aida, and his experience at this groundbreaking opera directed him towards a fulfi lling and lucrative career in opera composition.

Gioacchino Rossini (1792-1868) Prelude, Theme and Variations

Rossini composed Prelude, Theme and Variations in 1804 for the natural horn (an instrument with no valves that was the instrument of Rossini’s father). The piece is quite playful for the listener but technically demanding for the soloist. Even with the “ease” of modern-day valves, the piece requires great endurance from the horn player and a super set of skills. The work seems written to emphasize the interplay between the horn and piano, and contains plenty of humorous moments. Dedicated to nineteenth-century hornist Eugene Vivier, this Ital-ian work was known to be performed at parties hosted by Rossini. An extended piano introduction opens, after which the horn states the theme of the prelude. This sustained emotional line rises and then descends with a sense of deep longing. Rossini develops the line, mixing in shorter notes and turns that build intensity. As the melody gains momentum, it eventually takes off with a passage of leaping triplets. The horn theme tries to break away from the piano, stressing a three-against-two rhythmic feel. A cadenza-like moment draws the com-position from the prelude and into the theme.


Marcel Bitsch (1921-2011) Four Variations on a Theme by Domenico Scarlatti

Marcel Bitsch was born in Toulouse and went on to study at the Paris Conservatoire, eventually becoming professor of counterpoint at his alma mater. Bitsch was a voracious composer who composed orchestral works, chamber pieces and numerous etudes and music for wind instruments. Four Variations on a Theme by Do-menico Scarlatti is a signifi cant addition to the Cornet repertoire (although tonight, you’ll be hearing this piece performed on trumpet). Bitsch’s nod to Domenico Scarlatti captures a wide variety of technical components as well as delicious musicality (especially the velvety third variation). Towards the end of his life, Bitsch dedicat-ed much of his work to the analysis of music by Baroque composers. It is quite evident that his inspiration for Four Variations on a Theme by Domenico Scarlatti comes from his interest in this expressive, historical time-frame. This short, fl orid work was written in 1950.

photo courtesy of RI Philharmonic - photographer Ray Larson

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2019 Music on the Hill Pg 25 H



Amadeus Thursday, June 6, 2019 7:00 pm


Immaculate Conception Catholic Church 237 Garden Hills Dr, Cranston, RI

Wolfgang Amadeus Mozart (1756-1791) Divertimento in D Major, K. 136 12’ I. Allegro II. Andante III. Presto Anton Miller & Kristen Pellegrino, violins; Rita Porfi ris, viola; Elisa Kohanski, cello; John M. Pellegrino, bass

Paul Lansky (b. 1944) Etudes and Parodies for Horn, Violin and Piano 14’ I. Round and Round IV. Make It Short II. Tongue Tied V. Been Here Before III. Call Me Gregory Cardi, violin; Leslie Norton, French horn; Bonnie Anderson, piano

Wolfgang Amadeus Mozart (1756-1791) Concert Aria, “Vado, ma dove? Oh Dei” K. 583 4’ “D’Oreste d’Ajace” from Idomeneo, K. 366 4’ “Dove sono” from The Marriage of Figaro, K. 492 6’ Diana McVey, soprano; Bonnie Anderson, piano

-INTERMISSION-

Wolfgang Amadeus Mozart (1756-1791) Divertimento in D Major, K. 251 28’ I. Molto Allegro IV. Menuetto (Tema con variazioni) II. Menuetto V. Rondo III. Andantino VI. Marcia alla francese Anne Marie Gabriele, oboe; Anton Miller & Gregory Cardi, violins; Rita Porfi ris, viola; Trevor Handy, cello; John M. Pellegrino, bass; Leslie Norton & Kevin Owen, French horns

This concert is funded in part by John Pellegrinoin memory of Alice K. Pellegrino

2019 Music on the Hill Pg 27 Program Notes for “Amadeus”

Wolfgang Amadeus Mozart (1756-1791) Divertimento in D Major, K. 136

Mozart was not only one of the greatest composers of the Classical era, but one of the greatest composers of all time. He is not, however, identifi ed with radical harmonic or structural innovations or with the profound types of symbolism heard in some of Bach’s works. Mozart’s top compositions have a natural fl ow and charm to them, with the ability to express humor, joy or sorrow with mastery and conviction. His later operas are bril-liant examples of high art, as are many of his later symphonies and concertos. Even his more juvenile works feature attractive and often masterful music. Mozart was the youngest of seven children. By the age of three, he was playing the clavichord, and by age four was writing short compositions. At the age of fi ve, he gave his fi rst public performance at Salzburg University. Much like Michael Jackson at a young age, Mozart spent his child-hood touring and entertaining all over Europe. Performing and dazzling royalty (and earning a lot of money) was the norm in his childhood.

The Salzburg Symphony No. 1, or Divertimento in D major, K. 136, was composed for string orchestra but is often performed by string quartet or string quintet. This spirited, three-movement composition follows the structure of the Italian Sinfonia and was composed in 1772, when Mozart was midway through his teen years. The opening movement, titled Allegro, sparkles with brilliance and youthful energy. The tender Andante move-ment allows a bit of respite and Italian taste before Mozart sends us frolicking into the fi nale and highpoint of the composition. His most Italian-sounding Presto fi nal movement allows us a smile as we think about what lies ahead compositionally for this genius. At the heading of the original manuscripts for K. 136, 137 and 138 are the words, “di Wolfgango Amadeo Mozart Salisburgo 1772,” penned in Mozart’s handwriting, leading us to believe that he wrote these pieces at home, in Salzburg, after the second of three extended trips to Italy. The additional heading of “Divertimento” was added by another’s hand, possibly his father Leopold or an editor.

Paul Lansky (b. 1944) Etudes and Parodies for Horn, Violin and Piano

Composer Paul Lansky returns to his acoustic roots in Etudes and Parodies for Horn, Violin and Piano, after four decades of focus on digital sound synthesis experimentation. While Lansky is best known for his volumes of works in this genre, he has been collaborating with instrumentalists since the mid-1990s, leading up to his appointment as the inaugural composer-in-residence with the Alabama Symphony for the 2009-2010 season. A horn player himself—and an accomplished one at that, as a former member of the Dorian Woodwind Quin-tet— Lansky, Professor of Composition at Princeton University from 1969-2014, marked his 60th birthday in 2004 with this multi-movement composition. Each movement neatly showcases a facet of the horn’s technical uniqueness with wit and humor, complete with subtle aspects of randomness Lansky learned during his time composing electronic music. The seven movements are unifi ed through stylistic references, representing a journey the trio takes through different so-called “parodies.” This piece won fi rst prize in the 2005 International Horn Society Composition Contest.

Wolfgang Amadeus Mozart (1756-1791) Divertimento in D Major, K. 251

This Divertimento in D Major was written in July of 1776 and can be performed with a rather large ensemble of strings or a smaller chamber group (as you will hear tonight), with a solo oboe and two French horns fi lling out the texture. The fi rst movement is composed in a monothematic sonata form. The trio of the fi rst minuet is for strings only, while the third movement is in rondo form. The fourth movement’s form is composed in a fun mix of minuet and variations, constantly bopping back to the opening theme. The fi nal movement is a rondo where Mozart’s clear ABABA format can be heard.


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Johann Sebastian BachSunday, June 9, 2019 3:00 pm

St. Gregory the Great Catholic Church 360 Cowesett Rd, Warwick, RI

Selections from Goldberg Variations for String Trio, BWV 988 40' Anton Miller, violin; Rita Porfiris, viola; Trevor Handy, cello

-INTERMISSION-

Sonata No. 3 in C Major, BWV 1005 23’ Nicholas Goluses, guitar

Concerto for Oboe and Violin, BWV 1060 16' I. Allegro II. Adagio III. Allegro

Anne Marie Gabriele, oboe; Anton Miller, violin

Gregory Cardi & Kristen Pellegrino, violins; Rita Porfiris, viola; Elisa Kohanski, cello; John M. Pellegrino, bass

This concert is funded in part by an anonymous donor

Johann Sebastian Bach (1685-1750)

2019 Music on the Hill Pg 31 Program notes for “Johann Sebastian Bach”

Johann Sebastian Bach (1685-1750) Selections from Goldberg Variations for String Trio, BWV 988

Bach’s Goldberg Variations were originally composed for solo harpsichord and were fi rst published in 1741. Pianist Glenn Gould brought the Goldberg Variations to greater public attention in 1955 with his best-selling recording of the masterwork, and later ended his recording career with a second version of the large-scale piece, released in 1981. It was this second recording that inspired violinist Dmitry Sitkovetsky to honor Gould by transcribing the variations into the string trio arrangement that you will hear this evening. Music on the Hill Artistic Director John M. Pellegrino was inspired to program this work after hearing the string trio arrangement performed last September at the VIVO Music Festival in Columbus, Ohio. Since the work is lengthy, John has asked tonight’s performers to decide which variations they will share with you. A substantial number of varia-tions will be played, but not the entire work. We hope you enjoy the mastery of Bach’s creation, and of Sitk-ovetsky’s weaving of lines between the three string instruments.

Johann Sebastian Bach (1685-1750) Sonata No. 3 in C Major, BWV 1005

Bach’s Sonata No. 3 in C Major is a massive work with characteristics of the style galant, very much in fash-ion at the time. The opening Adagio was transcribed by Bach for the harpsichord (BWV 968); the Fuga from this movement is a gigantic 354-measure fugue whose subject is based on the Lutheran chorale hymn, “Komm Heilger Geist, Herre Gott.” This work may be the longest existing fugue of Bach’s, and many scholars believe it to have originally existed in the form of a work for the organ. The third movement, Largo, is in the subdominant key F Major and is one of the most tender of all Bach’s pastoral movements. The fi nal movement is a brilliant Allegro Assai which draws this sonata to a triumphant conclusion.

Johann Sebastian Bach (1685-1750) Concerto for Oboe and Violin, BWV 1060

In 1717, J.S. Bach left his position under Duke Wilhelm of Weimar to accept employment under Prince Leop-old at Anhalt-Cothen. Bach’s duties in his new position were to maintain the court orchestra and to be in charge of chamber music. Bach was also assured that his compositional work would be supported in his new position, as Prince Leopold was an able and committed player of the viola da gamba, as well as the violin and keyboard. Indeed, Leopold played regularly in Bach’s orchestra. During this period, Bach composed mainly secular music and very little church music, for his new boss was a Calvinist, and musical instruments were forbidden in most Calvinist worship.

The Concerto for Oboe and Violin is believed to be a reworking of an earlier concerto composed for two harp-sichords, and is sometimes played on two violins. As with most Baroque concertos, the two soloists form the group called the concertino, which is assigned the most technically-challenging material, while the larger group is called the ripieno. Structurally, the piece is an alternation of statements between the ripieno and the concerti-no. The concerto follows the model of the standard Italian Baroque concerto, with a fast, rhythmically-vigorous fi rst movement followed by a slow and song-like second movement, concluding with a quick-paced fi nal move-ment. Other Italian infl uences were stylish in Cothen at the time, and Bach included many of these elements in an effort to please his employer. Bach was a student of Vivaldi, copying his scores as part of his education, and integrating bits of these Italian components into his own style.


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In 1974 Priscilla Rigg established Music on the Hill as a concert series at St. Luke’s Episcopal Church in East Greenwich, RI. In 2007 Priscilla handed over the artistic reins to John M. Pellegrino, who converted Music on the Hill into an annual music festival that takes place in June. Since its evolution from a presenting organization into a music festival, Music on the Hill has grown each and every year into a fi nancially stable and artistically excellent jewel in the crown of Rhode Island performing arts organizations. To help Music on the Hill continue to thrive, please follow John M. Pellegrino’s lead by making it a benefi ciary in your will.

The mission of Music on the Hill is to present an annual, nationally recognized concert series. Music on the Hill brings home professional musicians and their friends who are eager to share their passion for music with a community they love. Music on the Hill inspires future generations with exciting performances featuring cham-ber music and innovative programming in both traditional and non-traditional settings.

Legacy Society Membership is available to all who inform Music on the Hill that they have included the festi-val in their will, or who have made the organization a benefi ciary of any other form of a deferred gift. In 2012, John M. Pellegrino included Music on the Hill as a benefi ciary from two separate, self-directed retirement plans and hopes that you will join him with a similar planned gift. Your commitment to the organization will keep Music on the Hill thrilling audiences for years to come. Thank you.

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Thomas Bucci (1926-2017) Concertante for Viola and Piano Thomas Vincent Bucci, Sr. was a renowned pianist, composer and educator who spent most of his professional life in Portland, Maine. Born in Providence, Rhode Island, on September 7, 1926, he was the son of Italian immigrants. After graduating from Providence schools in 1944, Thomas served in the United States Army and conducted the 40th Division Band at the age of 19. Bucci went on to receive both his undergraduate and Master's degree from the New England Conservatory of Music in Boston. He studied piano with Felix Fox, Anna Lothian, and Howard Goding. In 1951, Thomas and his wife moved to Portland, Maine, where he began a 30-year career as Instrumental Music Supervisor for the Portland School System. He taught courses in electronic music, composition and theory. Thomas also conducted the Portland High School Band and Orchestra. From 1960-1972, he was the Musical Director at Portland Lyric Theatre.




Trio TimeMonday, June 10, 2019 7:00 pm

Holy Apostles Church 800 Pippin Orchard Rd, Cranston, RI

Robert Volkmann (1815-1883) Schlummerlied for Viola, Bass and Piano, Op. 76 5' Rita Porfiris, viola; John M. Pellegrino, bass; Lisa Raposa, piano

Saverio Mercadante (1795-1870) Fantasia su Il giuramento for Horn, Trumpet and Orchestra 10' Joseph Foley, trumpet; Kevin Owen, French horn; Bonnie Anderson, piano

Andre Previn (1929-2019) Vocalise for Soprano, Cello and Piano 5' Diana McVey, soprano; Trevor Handy, cello; Bonnie Anderson, piano

Lowell Liebermann (b. 1961) Trio for Horn, Violin and Piano, Op. 101 16’ Gregory Cardi, violin; Leslie Norton, French horn; Lisa Raposa, piano

-INTERMISSION-

Sergei Prokofiev (1891-1953) Music for Children, Op. 65 10' Rita Porfiris, viola; Elisa Kohanski, cello; John M. Pellegrino, bass

Gerard Schwarz (b. 1947) Trio for Horn, Violin and Piano 15' I. (untitled) II. Recitative and Aria III. Scherzo Anton Miller, violin; Leslie Norton, French horn; Lisa Raposa, piano

J.S. Bach (1685-1750) Selections from Goldberg Variations for String Trio, BWV 988 8' Anton Miller, violin; Rita Porfiris, viola; Trevor Handy, cello

2019 Music on the Hill Pg 39 Program Notes for “Trio Time”

Robert Volkmann (1815-1883) Schlummerlied for Viola, Bass and Piano, Op. 76

Although he never found the fame and recognition of many of his contemporaries, Saxony-born composer Robert Volkmann led a life full of music and variety. In addition to composing, Volkmann worked as a piano teacher, an organist, a choir director, a newspaper reporter, and a professor at the National Academy of Music in Hungary. He spent most of his professional career in Budapest, but a brief stay in Vienna brought him into contact with Johannes Brahms, who would become a lifelong friend.

While originally composed for viola, cello and piano, Volkmann’s Schlummerlied will be performed tonight on viola, bass and piano. This sweet lullaby is richly romantic. Compositionally, the piece builds to a climax before allowing the piano to enjoy a short cadenza, then revisits the themes that were introduced at the start of the work. The lullaby effect softly leads us to a slumber-like conclusion.

Saverio Mercadante (1795-1870) Fantasia su Il giuramento for Horn, Trumpet and Orchestra

Giuseppe Saverio Raffaele Mercadante was born in Altamura, Italy, in 1795. This Italian opera composer moved to Napoli when he was a boy, where he studied music (composition, fl ute and violin) and was eventually hired as the conductor of the orchestral program at the Naples Conservatory. While teaching there, Mercadante improved his compositional output, producing many orchestral works. Eventually, he challenged himself to expand his reach into the operatic realm and was one of the most successful opera composers of his time. The opera Il guiramento was written in 1831 and marks a turning point in Mercadante’s compositional development. In this opera, Mercadante focuses less on the vocal lines and more on creating a balance between those lines and the orchestral parts. The sung parts in this opera are much simpler than in most operas, which allows the orches-tral parts to shine.

Most of Mercadante’s music offers its listeners a very full sound, even those written for small ensembles. He seems to have always found a way to make his music feel very rich with texture. Although his name is rarely mentioned today, his contributions to the music composition world include advancement of opera structure and orchestration techniques, as well as modernizing melodic styles. He became the director of the Naples Conser-vatory in 1840 and, unfortunately, was completely blind by the year 1863. In 1870, Naples would become his fi nal resting place.

Andre Previn (1929-2019) Vocalise for Soprano, Cello and Piano

Andre Previn was born in Berlin on April 6, 1929. The German-American pianist, composer, and conductor sits among the most revered musicians of our lifetime. Previn departed Germany in 1938, traveling to Paris and eventually deciding to call Los Angeles home in 1940. He began his American musical career orchestrating Hollywood movie scores. His conducting skills brought him to a prestigious international career, including positions as Music Director of the Pittsburgh Symphony Orchestra, the London Symphony Orchestra and Los Angeles Philharmonic. And not everyone recalls that Previn has also toured and recorded extensively as a jazz pianist! The trio you are going to hear was composed 24 years ago, in 24 hours! That’s correct, Mr. Previn wrote this Vocalise on July 18, 1995, during his time at the Tanglewood Music Festival. Sylvia McNair, Yo-Yo Ma and Previn himself recorded the piece at 6:00 the next morning! The orchestral version was premiered in March of 1996, by soprano Barbara Bonney and the Boston Symphony Orchestra. Forgoing words, Previn’s deeply moving Vocalise exhibits the rich tradition of Romantic lyric writing in the modern era. This short, haunting work sings and sighs on all accounts, expressing what words cannot. Andre Previn passed away at home on February 28, 2019.


Lowell Liebermann (b. 1961) Trio for Horn, Violin and Piano, Op. 101

Lowell Liebermann’s Trio for Horn, Violin and Piano, Op. 101, was commissioned in 1997 by Vanderbilt University’s Blair School of Music, for Leslie Norton. It is a continuous work without delineation of move-ments. All three instruments have distinctively challenging parts, with the horn resting routinely in its higher, more tenuous register, often voiced above the violin. This is representative of Liebermann’s works, which are known for their technical demand and audience accessibility. Lowell Liebermann has become one of the most frequently performed and commissioned composers in America. He is best known for his chamber music and piano compositions. This particular work was completed in 2007, and fi rst performed on April 14, 2008, at the Steve and Judy Turner Recital Hall of the Blair School of Music in Nashville, Tennessee, by Leslie Norton (horn), Carolyn Huebl (violin) and Mark Wait (piano).

Sergei Prokofiev (1891-1953) Music for Children, Op. 65 (Notes by Roland Kato, reprinted with permission)

Sergei Prokofi ev was born in the Ukrainian village of Sontsovka on April 23, 1891. When Prokofi ev was fi ve years old, his mother would write down his small piano pieces. “At six,” he tells us in his autobiography, “I myself wrote down a waltz, march and a rondo. I composed a march for four hands when I was seven.” At the age of eight, he began writing a children’s opera, The Giant, and after that the opera On the Lonely Islands, which attracted the attention of Taneyev, who entrusted little Sergei’s musical training to his pupil Glière. In 1904, his talents were honed at the St. Petersburg Conservatory, where he studied conducting, piano and composition. Upon graduation in 1914, he won the Rubinstein Medal for his performance of Rubinstein’s First Piano Concerto (1850).

Music for Children (1935-36) was written at a time in Prokofi ev’s life when he had grown very tired of restric-tions placed upon him by the Union of Soviet Composers. The administration of musical affairs throughout the country was in effect subject to government control. He briefl y chose to compose lighter “non-political” short pieces to entertain and teach young musicians. As well as the gems included in the present collection and Peter and the Wolf, these pieces were a direct result of more progressive and informed thinking concerning music education for children. Prokofi ev wisely wrote music which respects the healthy imagination of children by allowing them to react to the music in a fresh and unrestricted fashion. These pieces, though simple, are prod-ucts of Prokofi ev’s mature period. By the time Music for Children was written, he had already written many compositions that have become important additions to the repertoire. Works such as the Scythian Suite (1915), Classical Symphony (1916-17), his opera The Love of Three Oranges (1919), the Romeo and Juliet ballet music (1935), and Peter and the Wolf (1936), are but a few of the favorites which have maintained their originality and appeal over the years. His versatility seemingly endless, Prokofi ev was a composer who has had few equals in the varied world of musical composition.

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Gerard Schwarz (b. 1947) Trio for Horn, Violin and Piano

The Trio for Violin, Horn and Piano by Gerard Schwarz was composed in 2010 and premiered in the same year in Seattle, Washington, by the Seattle Chamber Music Society. The work centers around the styles of Jewish composers in the 20th Century, as it evokes their musical tradition to describe the hopeful stories of refugees who came to America during the Holocaust. The work is described by MusicWeb Interna-tional as “ingeniously constructed within its thoroughly accessible romantic idiom,” which is showcased from the shofar (ram’s horn) call at its opening all the way to its Bernstein-esque hemiolic feel in the fi nale. The second movement brings voices to the instruments, as they converse in the “Recitative and Aria,” and three arguing characters learn to sing in harmony. This work provides the perform-ers with ample tasks, as though the composer believes there is never too much fun to be had.

J.S. Bach (1685-1750) Selections from Goldberg Variations for String Trio, BMV 988

Bach’s Goldberg Variations were originally composed for solo harpsichord and were fi rst pub-lished in 1741. Pianist Glenn Gould brought the Goldberg Variations to greater public attention in 1955 with his best-selling recording of the masterwork, and later ended his recording career with a second version of the large-scale piece, released in 1981. It was this second recording that inspired violinist Dmitry Sitkovetsky to honor Gould by transcribing the variations into the string trio ar-rangement that you will hear this evening. Music on the Hill Artistic Director John M. Pellegrino was inspired to program this work after hearing the string trio arrangement performed last Septem-ber at the VIVO Music Festival in Columbus, Ohio. Since the work is lengthy, John has asked to-night’s performers to decide which variations they will share with you. We hope you enjoy the mastery of Bach’s creation, and of Sitkovetsky’s weaving of lines between the three string instru-ments.

Pg 42 2019 Music on the Hill Four Hands

Dunn’s Corners Community Church 221 Post Road, Westerly, RI


Wednesday, June 12, 2019 7:00 pm

Francis Poulenc (1899-1963) Sonata for Piano Four Hands 6' I. Prélude: Modéré II. Rustique: Naïf et lent III. Final: Très vite Millar Piano Duo

Krzysztof Penderecki (b. 1933) Ciaconna In Memoriam Giovanni Paolo II for Violin and Viola 7' Miller-Porfiris Duo

Samuel Barber (1910-1981) Souvenirs, Op. 28 18' I. Waltz IV. Two-step II. Schottische V. Hesitation Tango III. Pas de deux VI. Galop Millar Piano Duo

-INTERMISSION-

Bright Sheng (b. 1955) Angel Fire 8' Miller-Porfiris Duo

George Gershwin (1898-1937) Embraceable You, arr. Paul Chihara 3' Miller-Porfiris Duo

George Gershwin (1898-1937) Rhapsody in Blue, arr. Henry Levine 18' Millar Piano Duo

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2019 Music on the Hill Pg 43 Program Notes for “Four Hands”


Francis Poulenc (1899-1963) Sonata for Four Hands

Francis Poulenc composed the Sonata for Piano Four Hands about a century ago (1918) and revised the work in 1939. He dedicated the work to Simone Tilliard and performed the premiere with French pianist and Les Six favorite Marcelle Meyer. At six minutes in length, it is one of the most succinct and witty pieces of its kind. The piece opens with a pulsating rhythm in the middle of the keyboard by the “secondo” player, upon which “primo” makes a dramatic left-handed leap into the bass register. In the gentler passages that follow, the hands uncross and a piano solo provides a moment of relaxation. Like an aristocrat who loses his temper, however, this charming music quickly turns stormy, and the crashing chords from the beginning return. The second movement, docile and rather slow, bears the qualities of a children’s folk tune. Finally, a fast and mo-toric third movement provides the excitement of a chase with earlier material ingeniously incorporated. The whole piece cools off with the fi nal “jazzy” chord.

Krzysztof Penderecki (b. 1933) Ciaconna In Memoriam Giovanni Paolo II for Violin and Viola

Krzysztof Penderecki transcribed his Chaconne In Memoriam Giovanni Paolo II for violin and viola in 2009, and it was premiered in Dubrovnik, Croatia. The original string orchestra version of the Chaconne was writ-ten in 2005 as the concluding movement to Penderecki’s Polish Requiem. It is an incredibly powerful work and showcases the composer’s genuine gift for musical expressivity. As Penderecki himself wrote, “a com-poser must be a good psychologist and know exactly what works and when to use it.”

Samuel Barber (1910-1981) Souvenirs, Op. 28

Samuel Barber fi rst composed Souvenirs, Op. 28 for one piano, four hands in the early 1950s. Whimsical and tuneful, the dances caught the attention of New York City Ballet director Lincoln Kirstein, and Barber was soon after commissioned to orchestrate the works for ballet. The pieces tend toward the quick side, with the exception of the poignant Pas de deux occurring towards the middle of the work. Harmonically lush and spread over the full range of the piano, the four-hand version itself requires a considerable degree of chore-ography. Barber writes: “One might imagine a divertissement in a setting reminiscent of the Palm Court of the Hotel Plaza in New York, the year about 1914, epoch of the fi rst tangos; Souvenirs - remembered with affection, not in irony or with tongue in the cheek, but in amused tenderness.”

Bright Sheng (b. 1955) Angel Fire

(Notes by Bright Sheng) Angel Fire Duo for Violin and Viola was written in 2014. It was commissioned by Music from Angel Fire with the support of the Bruce E. Howden, Jr. American Composers Project and Friends of the Festival. The premiere was given by Ida Kavafi an, Violin, and Steven Tenenbom, Viola, on Wednesday, August 20, 2014, at Angel Fire Community Center, New Mexico.

The inspiration of the work largely came from knowing that the work would be premiered by the wife-and-husband team of Ida and Steven. Even (or especially) in a love duo, a couple has to listen to each other all the time, just like in a good relationship. Yet there are also tensions and frictions which need to be resolved. Ultimately, the two must sing together and at the same time express themselves individually: just like in a good relationship.

Except for the third movement which was based on a Chinese folk song from Shandong Province, musically the work was freely-composed, in which I hope my multi-cultural bearing would somehow seep through.

The work is dedicated to Pam, my wife.


George Gershwin (1898-1937) Embraceable You

“Embraceable You” is a popular jazz song with music by George Gershwin and lyrics by Ira Gershwin. The song was written in 1928 for an unpublished operetta named East Is West. It was published in 1930 and included in the Broadway musical Girl Crazy, where Ginger Rogers performed it in a song and dance routine choreo-graphed by Fred Astaire. It has been arranged countless times for many combinations of instruments; this ver-sion was arranged by Paul Chihara, who along with being on the composition faculty at UCLA and NYU, has composed over 100 fi lm and television scores.

George Gershwin (1898-1937) Rhapsody in Blue

Ever since its illustrious debut in 1924, Rhapsody in Blue has held a beloved place on concerts throughout the world. Its transcendent popularity has led to the production of countless arrangements and many may remember hearing the closing music in the United Airlines advertising campaign, “Fly the Friendly Skies.” The fi rst con-cert took place in the former Aeolian Hall in New York on a program titled “An Experiment in Modern Music,” with bandleader Paul Whiteman at the podium and George Gershwin at the piano. The arrangement for piano duet was created faithfully by Henry Levine, who himself worked with the composer. Several moments exist in which the two players must seamlessly transfer long scalar passages from one end of the piano to the other. The visual element, in combination with the inherent syncopations and clear inspiration of jazz, makes this version equally delightful to see as it is to hear.


Gregory Cardi was born in Rhode Island, started violin at age 6, and made his solo debut with orchestra by age 10. After attending Walnut Hill School, Mr. Cardi appeared at Aspen Music Festival, Tangle-wood Music Center, and New York String Orchestra Seminar. A passionate orchestral musician, Mr. Cardi has served as concertmaster of New World Symphony, Pacifi c Music Festival and Tanglewood Music Center Orchestras, and concertmaster of the new Juilliard ensemble. His chamber and solo engagements have taken him to Carnegie Hall, Lincoln Center’s Alice Tully Hall, and Tanglewood’s Seiji Ozawa Hall. An aspiring conductor, Mr. Cardi has conducted New World Symphony, Pierre Monteux Festival Orchestra, Eastern Music Festival Orchestra, and

Nashville Sinfonietta. He is studying with Professor Donald Schleicher at University of Illinois, where he is mu-sic director of Illini Strings. Mr. Cardi received his Bachelor of Music from Colburn School under the tutelage of Robert Lipsett, and his Master of Music at Juilliard studying with Catherine Cho and David Chan. He was faculty at Iberacademy in Medellin, Colombia, and YES Academy in Zouk Mosbeth, Lebanon. He returns to Iraq and Lebanon this summer to teach and conduct. He plays on a Paul Siefried bow on generous loan from the Maestro Foundation.

Meet the Festival PerformersArtistic Director: John M. PellegrinoJohn M. Pellegrino is Principal Bass of ProMusica Chamber Orchestra and Peninsula Music Festival, Assistant

Principal Bass of Columbus Symphony Orchestra, and a member of Grand Teton Music Festival. He performs, tours and records with many of this country’s leading orchestras. In 2007 he was named Artistic Director of Music on the Hill. In the 1980s, John earned performance degrees from both the Manhattan School of Music and the Juilliard School. Currently John serves on the faculty of Capital University in Columbus, OH. In 2008, John was the recipient of the Ohio Private/Studio Teacher of the Year award given by the Ohio String Teachers Association. His students have won competitions held by the International Society of Bassists, Columbus Symphony Orchestra, Aspen Music Festival, Ohio String Teachers Association, Interlochen Arts Camp and the Philadelphia

Orchestra, as well as positions in major American orchestras. John was born and raised in Warwick, RI, and owes much to his family of music educators/performers, private teachers, the public school music program in Warwick and to the Rhode Island Philharmonic Youth Orchestra.

Violin


Anton Miller made his Carnegie Hall concerto debut in 1992, and has appeared throughout the United States and abroad as a soloist, chamber musician, recitalist and pedagogue. He has performed over fifty violin concertos with a number of orchestras on four continents. His most recent solo release on Naxos features the Kurt Weill Concerto for Violin and Wind Ensemble. Anton is on the violin and chamber music faculty at the Hartt School; he previously has been on the faculty of the Oberlin Conservatory, Lawrence University, Swarthmore College, and New York University. He and his wife Rita Porfiris are the members of the critically acclaimed violin and viola ensemble, Miller-Porfiris Duo. Anton completed his Master of Music degree at The Juilliard School studying violin with renowned pedagogue Dorothy DeLay and chamber music with Felix Galimir and members

of the Juilliard Quartet. He received his Bachelor of Music Degree from Indiana University as a student of Franco Gulli.


Rita Porfiris has performed in major concert halls and music festivals across the globe as a chamber musician, orchestral musician, and soloist. Currently Associate Professor of Viola and Director of Chamber Music at The Hartt School, she has also been on the faculty of New York University, University of Houston Moores School of Music, Florida International University, and the Harlem School for the Arts in New York. She has given master classes, lectures and clinics worldwide. Ms. Por-fi ris is a member of the Hartt String Quartet and the Miller-Porfi ris Duo. She received Austria’s Prix Mercure, was a prize winner in the Fischoff Chamber Music Competition and the Primrose International Viola Competition, and a laureate of the Paolo Borciani International Quartet Com-petition. In her previous career as an orchestral musician, 15 years of which were spent with the

Houston Symphony, she worked under some of the most recognized conductors of the 20th and 21st centuries: Leonard Bernstein, Sergiu Celibidache, Kurt Masur, Michael Tilson Thomas, and Christoph Eschenbach. Ms. Porfi ris received her BM and MM in Viola Performance from The Juilliard School, studying with William Lincer. Other teachers and mentors included Paul Doktor, Norbert Brainin and Harvey Shapiro. www.ritaporfi ris.com

Viola

CelloTrevor Handy enjoys an active career in Los Angeles as principal cellist of Santa Barbara Symphony Orchestra,

member of Los Angeles Chamber Orchestra and Hollywood studio musician. He performs with LA Opera, at festivals, on chamber music series, and teaches at Westmont College. He toured Europe with Los Angeles Chamber Orchestra in 2008, and China, Japan and Hong Kong with Juilliard Orchestra in 1987. In 1994 he participated in Sir George Solti’s Orchestral Training In-stitute at Carnegie Hall. Following studies, he helped to form the Griffon String Quartet in New York City, which was awarded the grand prize at the 1991 Fischoff National Chamber Music Competition. He has been a member of the Columbus, Honolulu, Jacksonville, and New Haven Symphonies, studied and played baroque cello professionally while a student, and taught solfege

at Juilliard’s Pre-College division. Born and raised in Boston, he made his solo debut with the Boston Symphony Orchestra at age 14 and received his B.M. and M.M. from The Juilliard School, where he studied with Leonard Rose, Channing Robbins, ]oel Krosnick and Lorne Munroe. Summers were spent at Aspen, Tanglewood, Yehudi Menuhin’s academy in Gstaad, and Lausanne Academie de Musique under the tutelage of Maurice Gendron.

Dr. Kristen Pellegrino is an Associate Professor of Music at the University of Texas at San Antonio and is cur-rently President-Elect of American String Teachers Association (ASTA). Her degrees are from the University of Michigan (Ph.D. in music education and M.M. in violin performance/chamber music performance) and the Eastman School of Music (B.M. in music education and applied violin). Kristen was awarded ASTA’s String Researcher Award (2016) and AERA’s Outstanding Early Career Paper Award in Music Education (2014). In addition to 27 scholarly publications (published or in press), Kristen has co-edited (and co-authored) Oxford Handbook of Preservice Music Teacher Education in the United States and is authoring A Workbook for Teaching Begin-ning Strings: Developing a Curriculum and a Year’s Worth of Lesson Plans. Kristen’s background

in music education includes eight years of public school string teaching at the elementary and high school levels (seven of which were in the Warwick Public Schools) and collegiate teaching experience, including Rhode Island College and colleges in Michigan and Virginia. Before teaching full-time, she performed in the Chagall String Quartet through Chamber Music America’s Rural Residencies Grants. She graduated from Toll Gate High School.

Violin cont.



Elisa Kohanski enjoys a diverse performing career, as cello soloist, chamber musician and orchestral player, championing unique artistic collaborations. She has performed with the Miami String Quartet, Olivia Newton John, Robert Shaw, Gustavo Dudamel, Garrison Keillor, Phil Keaggy and Harry Connick, Jr., and in concert halls around the world including Carn-egie Hall; Royal Albert Hall; Schlossfestspiele in Heidelberg; and Stefaniensaal in Graz, Austria. She is Principal Cellist of Pittsburgh Ballet Theatre and Wheeling Symphony, a member of Pittsburgh Opera, performs with Pittsburgh Symphony, and has played with

River Oaks Chamber Orchestra in Houston and Columbus Symphony. She is a founding member of Trio Nova Mundi and IonSound Project. Elisa can be heard on Trio Nova Mundi’s Canticum, IonSound’s CD by Jeremy Beck, and others including Giacinto Scelsi: Orchestral Works 1, and Daphne Alderson’s Joan of Arc and 16. She is adjunct faculty at Grove City College and in recent summers has taught and performed at festivals in Italy, Germany and Bosnia. She earned her Bachelor’s from Eastman School of Music and her Master’s from Carnegie Mellon. A native Rhode Islander, Ms. Kohanski has performed on an iceberg in the Arctic and visited her seventh continent, Antarctica, where she performed to an audience of people and penguins.

Bass John M. Pellegrino See Artistic Director

VoiceDiana McVey is an artist whose consummate skills as both singer and actress have made her highly visible in op-

era, oratorio, and as soloist with symphony orchestras. She is known for her riveting and moving portrayals of Countess Madeleine in Capriccio, Contessa in Le Nozze di Figaro and Lucia in Lucia Di Lammermoor. She has sung leading roles with Florentine Opera, Opera Theater of Pittsburgh, Opera Omaha, Opera Dubai, Opera Tampa, Opera Columbus, Lake George Opera Festival, Op-era Naples, Light Opera Oklahoma, Ocean State Lyric Opera, Salt Marsh Opera Company, RI Philharmonic and Opera Providence, among others. Recent engagements include Countess Mad-eleine in Capriccio with Opera Theater of Pittsburgh, Adina in L’Elisir d’amore and Contessa in

Le Nozze di Figaro with Florentine Opera, Brahms’s Ein deutsches Requiem, Puccini’s La Bohème, and Verdi’s Requiem with Helena Symphony, Contessa in Le Nozze di Figaro with Opera Idaho, Die Zauberflöte with Opera Omaha, Faure’s Requiem, Mozart’s Requiem, and Vivaldi’s Gloria at Carnegie Hall, Vaughan Williams’s Dona Nobis Pacem with RI Civic Chorale & Orchestra, and Brahms’s Ein deutsches Requiem with Great Falls Sym-phony. Upcoming engagements include A Night in Italy gala with Helena Symphony, and Strauss’s Vier Letzte Lieder and Vaughan Wi

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