New Orchestra of Washington presents
The Great Winds
Friday, December 15 | 6:00 PM
Evermay Estate
1623 28th Street, NW, Washington, DC 20007
NOW gratefully acknowledges S&R Evermay for sponsoring this concert.
Program
LOUISE FARRENC (1804–1875) Sextet in c minor, Op. 40
Allegro
Andante sostenuto
Allegro vivace
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Louise Farrenc’s sextet for wind quintet and piano is a lovely, lyrical work from 1852, packed with warm, appealing melodies albeit of a rather Victorian sentiment. In the 1840/50's Louise Farrenc devoted herself intensively to composing chamber music. The sextet op. 40 written in 1851–52, of which this is the first publication, excels because of its unusual instrumentation and the originality of the thematical treating. Level of difficulty: medium, piano virtuouso.
Luise Farrenc must be the first composer to have written for the combination—some 90 years before the better known Poulenc Sextet. She writes well for each instrument, including sparkling piano writing and some bold flourishes for the horn. The sensuous serenade-like slow movement contrasts warmly with the dramatic outer movements. Diane Ambache in: Harpsichord and Fortepiano Vol 16 Nr. 1, 2011
Farrenc characterizes each of her wind instruments with flair. She is particularly fond of letting the horn have its moments, with bold flourishes and a magical few moments in the finale when the horn holds firm as the music pivots off into unknown regions. There is a sensuous, Mozartian wind serenade flavour to the start of the slow movement, which also shows that she knew her Beethoven. In the outer movements Farrenc alternates a firm grasp of thematic development with a pianistic sparkle reminiscent of Hummel's concertos.
—Notes from Flute4U
FRANCIS POULENC (1899–1963) Sextour (Sextet), FP 100
Allegro vivace
Divertissement: andantino
Finale: prestissimo
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The Sextet has earned a place in Poulenc's canon as one of his most popular works, and in the right interpretive hands the work exudes French wit as well as a degree of emotional depth. Poulenc wrote the three-movement work in 1932, scoring it for flute, clarinet, oboe, bassoon, horn, and piano; he revised it in 1939. The piece offers a mix of elegant, deceptively simple motives, rhythmic vitality, and playful harmonic turns in a virtuosic framework.
In three movements—Allegro Vivace, Divertissement, and Finale—the sextet lasts just over 15 minutes in performance. The first movement opens with a fast, toccata-like statement that is obviously indebted toStravinsky's neo-Classicism. The second movement, marked Andantino, begins with an oboe melody that is passed off to other instruments and developed before returning to the oboe at the conclusion. This symmetry is matched by a slow-fast-slow classical structure. The prestissimo Finale is a modified rondo in which rhythmic and lyrical sections are present in equal measure, with an intense conclusion. The Sextet was first performed in Paris in December 1940.
—Notes by Brian Wise, AllMusic
Meet the Artists
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Conor Nelson gave his New York recital debut at Carnegie Hall’s Weill Recital Hall. Solo engagements include performances with the Minnesota Orchestra, the Toronto Symphony Orchestra, and numerous others. Commanding an international reputation as an educator, performer, and recording artist, Conor is currently the Associate Professor of Flute at UW-Madison. He previously taught at Bowling Green State University and Oklahoma State University and has given master classes at over 150 colleges and universities. He received degrees from the Manhattan School of Music, Yale University, and Stony Brook University, where he was the winner of the school-wide concerto competitions at all three institutions. He has also recorded for the New Focus (NYC), Albany, Toccata Classics (London), Blue Griffin, and Paladino Music (Vienna) labels. He is currently the Principal Flutist of the New Orchestra of Washington. His teachers include Carol Wincenc, Ransom Wilson, Linda Chesis and Susan Hoeppner. Dr. Nelson is an artist for Powell Flutes.
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Professor Stephen Key is an in-demand oboist and pedagogue. Currently, he holds the position of Oboe Professor at Shenandoah Conservatory while playing Principal Oboe with the New Orchestra of Washington and the Shenandoah Valley Bach Festival. Hailed for his “gorgeous performance[s]; rich, warm tone... and terrific, notable solo [playing]” (Oberon's Grove, NYC), Key plays regularly with the Kennedy Center Opera House Orchestra, including as solo English Hornist. Stephen frequents as Guest Principal with the Maryland Symphony and has also performed with the National Symphony Orchestra, Austin Symphony, New World Symphony, Chamber Orchestra of San Antonio, and many, many more. Additionally, Professor Key now serves as faculty/performer for the much beloved Chamber Music Conference of the East, and has coached and performed chamber music and solos, throughout the United States, Europe, and Russia.
Key believes deeply in the value of classical music education; maintaining a private studio of middle and high school students, as well as coaching wind sectionals for the American Youth Philharmonic Orchestras. Also a composer, his music and arrangements have been performed across the country.
Stephen was a member of the National Symphony Orchestra Youth Fellowship Program, and studied at the Oberlin Conservatory and the University of Texas at Austin. Born in Oklahoma, he is a proud member of the Choctaw Nation of Oklahoma, and lives with his husband, Robert Schroyer, and their cat, Jasper, in Fairfax, VA.
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Clarinetist Garrick Zoeter's passionate and exciting way with the clarinet has been acknowledged around the world. The Clarinet recently described his playing as "remarkable, his tone is beautiful and he shows complete mastery of all the technical demands and effects that are required of this piece, His artistry and virtuosity are compelling. This is one of the finest clarinet performances I have reviewed."
A native of Alexandria, Va., Mr. Zoeter received his bachelor’s degree from the Juilliard School and his master’s degree from Yale University. He has won numerous competitions as a soloist including the 1991 International Clarinet Society International Clarinet Competition, as well as prizes in chamber music – the Grand Prize in the 1998 Fischoff, Coleman, and Yellow Springs chamber music competitions, the silver medal in the 1997 Osaka International Chamber Music Competition and first prize in the 2002 Concert Artists Guild competition.
Mr. Zoeter is the founding member of the acclaimed multi-award-winning clarinet, violin, cello, piano quartet Antares. From 1997-2013 with Antares, he annually gave performances around the United States at such prestigious venues as The Kennedy Center, La Jolla Chamber Music Society, Aspen Music Festival, Strathmore, Ensemble Music Society of Indianapolis, Carnegie Recital Hall, Market Square Concerts, The Library of Congress, The Los Angeles Museum of Modern Art, and Cincinnati Chamber Music Society.
Mr. Zoeter is also a frequent performer with such diverse groups as Trio Solisti, The Audubon String Quartet, The Ensemble for the Romantic Century, the Paragon Ragtime Orchestra, the University of Buffalo's Slee Sinfonietta, The Post Classical Ensemble, the Pressenda Chamber Players, the Monadnock Music Festival, and the New Orchestra of Washington. Recent performances have included Donald Martino’s Triple Concerto in Buffalo, NY, and chamber music appearances in Strasbourg, France, and Medellin, Columbia, as well as an appearance at The Cactus Pear Music Festival in San Antonio, TX. and the Bennington Chamber Music Conference in Vermont.
A committed teacher as well as performer, Mr. Zoeter serves as the Anna Lee Van Buren Professor of Clarinet at the Shenandoah Conservatory of Shenandoah University. His students from Shenandoah include numerous competition winners and can be found performing in professional ensembles such as the President’s Own Marine Band, teaching in university and public schools positions, and serving as music therapists throughout the country and abroad. In the summers he serves on the faculty of the Chamber Music and Composers Forum of the East at Colgate University.
Come visit him at his YouTube channel: https://www.youtube.com/user/SUclarinets
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Erich Heckscher is currently Principal Bassoon with the National Philharmonic Orchestra and the Maryland Symphony Orchestra. For the 2011–2012 season he served as Acting Second Bassoon with the National Symphony Orchestra, including a South American tour. He served as guest Principal Bassoon with the Indianapolis Symphony Orchestra in 2000, and was previously Principal Bassoon with the Houston Grand Opera Orchestra and Second Bassoon with the Houston Ballet and Alabama Symphony Orchestras. He has also performed with the Dallas Symphony, the Charleston Symphony, the Atlanta Opera, the Tulsa Opera and the Des Moines Metro Opera orchestras. Erich holds degrees from the Eastman School of Music, where he studied with K. David Van Hoesen and John Hunt, and Southern Methodist University, where he studied with Wilfred Roberts. He is Principal Bassoon of the Britt Festival Orchestra in Jacksonville, OR, and has participated in festivals in Breckenridge, Chautauqua, Durango and Sarasota.
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Praised by the New York Times for her "consistent, strong" and "smooth and full" horn playing, Wei-Ping is the second horn of the Kennedy Center Opera House Orchestra / Washington National Opera Orchestra. A native of Taoyuan, Taiwan, she began playing the horn at the age of nine and continued her studies at the Idyllwild Arts Academy under Kurt Snyder. She received her bachelor's degree from the Manhattan School of Music as a student of Jerome Ashby, and her Master of Music degree from the Juilliard School under the tutelage of Julie Landsman. She is the first and only horn player in Juilliard School history to be awarded the Artist Diploma.
Wei-Ping held the fourth horn position in the Kennedy Center Opera House Orchestra / Washington National Opera Orchestra from 2014 through 2017, and was acting assistant principal horn for the San Diego Symphony from 2007 to 2011. She has performed with a variety of orchestras and chamber groups, including the National Symphony Orchestra, the Cleveland orchestra, Orpheus Chamber Orchestra, Orchestra of St. Luke's, American Symphony Orchestra, the Knights, Wind Soloists of New York, and Genghis Barbie. As a chamber musician, she spent many summers at the Marlboro Music Festival and performs on "Musicians from Marlboro" tours. She has appeared as a guest artist at the Chesapeake Music Festival, Mt. Desert Festival of Chamber Music, Artosphere Music Festival, and Lake Champlain Music Festival. Wei-Ping was featured as a soloist, performing the Gliere Concerto, with the Copenhagen Philharmonic Orchestra.
An avid educator, Wei-Ping has taught on the horn faculty of the Peabody Conservatory of Johns Hopkins University since 2018. She has also taught on the horn faculty for NYO2 (National Youth Orchestra 2). When not playing the horn, Wei-Ping enjoys cooking, baking, crafting, and last but definitely not least, flying trapeze! Most recently, she has also upgraded to become a mom!
Wei-Ping will be teaching at NYO2 in the summer of 2024!
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Hailed by The Washington Post as “A pianist’s pianist”, Ryo Yanagitani has established himself as one of Canada’s shining artists. Ryo has made concerto appearances with orchestras around the world including the Baltimore Symphony Orchestra, Vancouver Symphony Orchestra, the Montreal Metropolitan Orchestra, San Antonio Symphony, Minnesota Orchestra, Hartford Symphony Orchestra, the Moroccan Symphony Orchestra, and the Tokyo Kioi Symphonietta. His performances have taken him to such venues as the Kennedy Center, The National Gallery of Art, Library of Congress, Carnegie Hall, Suntory Hall in Tokyo, and Salle Cortot in Paris among others. He has released two solo albums dedicated to works by Chopin and Debussy, as well as collaboration album with the cellist Dai Miyata in Japan.
He directed the highly acclaimed Evermay Concert Series in Georgetown and held the position of Artistic Director at the Ryuji Ueno Foundation in Washington DC, an organization that supports highly talented individuals in the field of the performing arts.
New Orchestra of Washington
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Reimagining what have been the limited definitions of “classical music,” the New Orchestra of Washington (NOW) welcomes audiences into a transformative musical experience that lessens the distance between our identities and compels listeners to feel something in the sound.
We create what we call “great music without labels.” It represents the robust cultural and ethnic diversity in metropolitan Washington, DC, where we’re intentional about making orchestral music beautiful and accessible to people from all backgrounds. Our hallmark is small, intimate performances that put audiences at the heart center of musicians who pour the best of themselves and their cultures into immersive concerts that leave attendees inspired.
NOW’s mission is to make transformative musical experiences available and accessible to all people. We are guided by six values—collaboration, representation, education, access, technology and experimentation (CREATE)—to foster innovative, inclusive programming; nurture enriching partnerships; and infuse the global flavors of all music. We lead with love for the experiential music we create and, most important, the people we want to absorb it.
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Officers
Dianne Peterson, Chair
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Paul Connor, TreasurerBoard Members
Morris Deutsch
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Louise Harkavy
Neeta Helms
Joan Lewis
Tom Patton
Ryuji Ueno
Sinclair Vincent
Sarah Wilson
Grace Cho, ex-officio
Alejandro Hernandez-Valdez, ex-officio -
Alejandro Hernandez-Valdez, Artistic Director
Grace Cho, Executive Director
Abby Carlson, Manager of Operations
Richard Spero, Education and Community Coordinator
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Friends of NOW
The Friends of NOW is a vital group of supporters who empower and enable NOW to build a world where transformative musical experiences are accessible and available to All People.
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Anonymous
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NOW gratefully acknowledges the support of our 2023–2024 season sponsors:
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