Prelude to a New World

PRELUDE TO A
NEW WORLD

OCTOBER 9 I 7:00 PM
PVSOC.ORG
413.773.3664



FROM THE BOARD

KARA PETERMAN

Dear friends,

Thank you for joining us as we embark on our
83rd season, a season that continues to
redefine what it means to make music
together and provide music for our
community.

Last year we explored several formats of
remote rehearsal and performance, and were
astounded by how immersive the experience
can be for the musicians and for our audience.

We adapted to our circumstances, and we learned. The PVS is a more
resilient organization because of it.

We breathed a collective sigh of relief when we resumed in-person
rehearsals in September, but we are far from a return to normal. We are
navigating orchestra rehearsals with winds and brass spaced 10 feet apart
from each other, every flavor of face mask and bell cover, and a new
rehearsal space at the Northampton Community Arts Trust's 33 Hawley
building that allows us to spread out. We are also relearning how to sing in
a chorus, now masked and six feet apart. To quote the signage around my
own workplace, “It’s weird, but it works.”

We begin this season bringing concert recordings to our audiences
through our exciting new partnership with Northampton Open Media. We
will stream our concerts online to reach a broad audience. Later in the year,
our concerts will be broadcast on public access TV throughout Western
Massachusetts to bring free classical music performance to families and
classrooms across the region. Please consider supporting our efforts in
accessible community arts programming by joining the Continuo Society,
a highly impactful way of providing financial support.

Thank you for your support.

An die Musik
Hosted by Lucy & Lary
Wednesdays 8-9am

[email protected]

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FROM THE MUSIC DIRECTOR

TIANHUI NG

Dear Friends,
We are so excited to be able to welcome you to
the PVS’s 2021-2022 season and to be able to
perform for you again! While we are proud of
the innovative programming that the PVS was
able to bring during the last year, we have
been craving the opportunity to gather and
make music together as we had been doing
for more than 80 years.
We already see that the season ahead will
present new challenges and opportunities; our
83rd season has been constructed to give us
the ability to present wonderful and inclusive musical experiences while
keeping everyone as safe as we can. We will begin by sharing music online
and via local television with concert recordings made in partnership with
Legrandice Audio and Northampton Open Media.
This October, we will play Liszt’s epic work Les préludes and Dvořák’s “New
World” Symphony, bringing optimism for the brave new world to which we
look forward. Our November program is more reflective, savoring
Schubert’s “Great” C Major Symphony and Mary D. Watkins’s evocative Soul
of Remembrance, with an infusion of lightheartedness in the playful music
of Rossini’s The Barber of Seville. In December, we are excited to add to our
beloved holiday traditions with commissioned works from local composer
Jerry Noble and Puerto Rican composer Iván Enrique Rodríguez.
We hope to be returned to our concert halls this spring for live
performances, and to bring to you a new cello concerto from internationally
celebrated composer Andrés Martín, featuring Amos Yang, assistant
principal cellist of the San Francisco Symphony in March. To close our 83rd
season, we will honor the memories of all of our loved ones who have
passed away or experienced great loss during the past two years, with a
performance of Brahms’ A German Requiem paired with the premiere of a
new work from MIT-based composer Elena Ruehr.
As we rediscover a new rhythm of life, I know that we are all looking
forward to reconnecting in person and through music. Making music
together is a gift that we are so eager to share with everyone again. May we
all stay in good health and meet again soon!





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BUILDING COMMUNITY
THROUGH MUSIC SINCE 1939

PRELUDE TO A NEW WORLD

Saturday, October 9 • 7:00 pm

pre-concert talk with David Schneider • 6:15 pm

FRANZ LISZT Les préludes
Symphonic Poem No. 3 (1856)
(1811-1886)

ANTONIN DVOŘÁK Symphony No. 9 in E minor,
Op. 95 (“From the New World”)
(1841-1904) (1893)

PIONEER VALLEY SYMPHONY ORCHESTRA
TIANHUI NG MUSIC DIRECTOR

ANTHONY FERREIRA ASSISTANT CONDUCTOR
DAVID E. SCHNEIDER RESIDENT MUSICOLOGIST
NORTHAMPTON OPEN MEDIA VIDEO PRODUCTION
LEGRANDICE AUDIO AUDIO ENGINEER

This concert was filmed in the Workroom at 33 Hawley in
Northampton, Massachusetts, with thanks to A.P.E.@Hawley.



VIOLIN I VIOLONCELLO HORN
Janet Van Blerkom Philip Hart Heizer Jean Jeffries
Paul Hadley
concertmaster principal Christine Mortensen
Diana Peelle Laurie Israel Timothy Burns
John Wcislo Susan Young
Elaine Holdsworth Noah Lawes TRUMPET
Ronald Weiss Daniel Brandon Karen Atherton
Mark Mason Robin Luberoff Melissa Griffin
Mari Gottdiener Nancy Pond
Myra Ross Su Auerbach TROMBONE
Dennis Townsend Kate Walker Ben Smar
Scott Pemrick
VIOLIN II BASS Kristoffer Danielsen
Cecilia R. Berger Patricia Cahn
TUBA
principal principal Becca Danielsen
Nancy Ramsey Sue Keller
Brian Whetstone Kathleen Mahoney TIMPANI
Maya Guzman Leibowitz David Glassberg Daniel Albert
Margie Kierstead Lauren Ostberg
Carol Baker PERCUSSION
Barbara Freed FLUTE Rocío Mora
Meredith Roll Quitno Jan Puchalski Andrew Armstrong
Maureen Carney Nancy Shinn Maddy Dethloff
Marilyn Richards Hope Rogers
HARP
VIOLA OBOE Sorana Scarlat
Mandi Jo Hanneke Larry Masterson
Abigail Haines
principal
Mikayla A. Reine CLARINET In memoriam
Bryan Armington Kara Peterman

Peter Haas Kathryn Scott
Robert McGuigan Elizabeth Bowdan (1939-2021)
Jeff Ramsey BASSOON violin
Ellen S. Dickinson Alex Meade

Roger F. Clapp
Jeri Bannister (1941-2021)
trombone



PROGRAM NOTES

DAVID SCHNEIDER

F. Liszt (1811–1886): Les préludes, Symphonic Poem No. 3 (1856)

Franz Liszt, a pianist of mythic abilities, retired from the life of the touring
virtuoso at the age of thirty-five and settled into his position as
Kapellmeister at the court in Weimar where he conducted the court
orchestra and focused on orchestral composition from 1848 to 1861. Among
the compositions he wrote in Weimar is Les préludes, the first orchestral
work he dubbed a “symphonic poem” (symphonishe Dichtung). Liszt used
the term to describe his one-movement “programmatic” works for
orchestra in which he aspired to express abstract, poetic ideas in music. The
poems Liszt cites as the “programs” of these works generally serve only as
loose inspirations as his music rarely corresponds to the poem’s narrative
sequence or imagery.

Les préludes takes its name from a 375-line poem by Alphonse de
Lamartine (1790–1869), but Liszt’s connection of the poem to his work post-
dates the bulk of its composition. Originally intended as an overture to a
work for male chorus and piano, then re-conceived as a free-standing
concert overture, Liszt considered it to bear a relationship to Lamartine’s
words only when he was putting the final touches on his score. For the
premiere of the work, which Liszt conducted in 1854, his romantic partner
Princess Carolyne Sayn-Wittgenstein fashioned the following program,
loosely inspired by Lamartine:

What else is our life but a series of preludes to that unknown Hymn,
the first and solemn note of which is intoned by Death?
Love is the glowing dawn of all existence; but in whose fate are the
first delights of happiness not interrupted by some storm, the mortal
blast of which dissipates its fine illusions; the fatal lightning of which
consumes its altar; and where is the cruelly wounded soul that, on
issuing from one of these tempests, does not endeavor to rest his
recollection in the calm serenity of life in the countryside?
Nevertheless, man hardly gives himself up for long to the enjoyment
of the beneficent stillness that at first he has shared in Nature’s
bosom, and when “the trumpet sounds the alarm,” he hastens to the
dangerous post, whatever the war may be, which calls him to its
ranks, in order to recover at last in combat the full consciousness of
himself and the entire possession of his energy.

Sayn-Wittgenstein’s prose sketch appears to

have been created with the music in mind, for

it corresponds to the main topics of Liszt’s

work: questioning/destiny, love, the

countryside, and warfare. These themes, with

the exception of destiny, easily map onto the

conventional musical topics of the lyrical

(love), pastoral (storm and countryside), and

martial (war). Indeed, with the introduction

that includes questioning gestures analogous

to the lines with which Sayn-Wittgenstein

begins the program, this is precisely the

sequence of topics the music sets forth. Here I

give an English translation of Liszt’s tempo

and character markings in the order they

appear in the score with the musical/poetic Carolyne von Sayn-Wittgenstein
c. 1847
topics they suggest in square brackets:

Moderately slow [questioning]—Majestic [destiny]—The same tempo (but
different character) [love]—Fast and tempestuous [storm]—Moderately slow
pastorale [countryside]—Martial and fast [battle]—Slow and majestic
[victory]

The novelty of Les préludes lies not in these
topics, all of which can be found in Beethoven’s
symphonies, but in Liszt’s decision to tie the
sections together with one three-note motive.
The use of one motive transformed into
musical sections of contrasting characters
suggests that life’s experiences are different
manifestations of one essential truth. Yet what
Liszt believed held his symphonic poem
together was not its technical but its poetic
cohesion, created by music’s ability to rise
above the picturesque into the sphere of the
philosophical.

Franz Liszt
c. 1858

Julia Bady

Pianist, Piano Instructor
Certified Taubman Technique Instructor

35 Oak Hill Acres, Greenfield, MA 01301
[email protected]
413-774-0102
www.juliabadypianist.com

Adjunct Faculty and Certified Associate of the Golandsky Piano Institute
www.golandskyinstitute.com
Member of the Valley Piano Teachers' Association
www.vpta.info

A. Dvořák (1841–1904): Symphony No. 9 in E minor, Op. 95 (“From the
New World”) (1893)

The story of Antonín Dvořák’s “New World Symphony” begins with Jeanette
Myers Thurber (1850–1946), an American woman who studied at the Paris
Conservatory as a teenager and returned to the United States to marry a
millionaire businessman at the age of 19 in 1869. Her deep understanding
of music, the money to which she had access from her family, and the
connections to philanthropists such as Andrew Carnegie made her one of
the first and most important patrons of classical music in the United
States. Thurber’s experience at a state-funded conservatory in Europe led
her to advocate for government support of music education at home.
Unable to achieve her goal of a state-funded American conservatory, she
established the institution herself, founding the National Conservatory of
Music of America in New York City in 1885. In contrast to many of the
leading members of New York’s high society in her day, Thurber did not
believe that education in classical music should be the exclusive domain of
white men of high social standing—her conservatory would be open to
talented students of all races, genders, and socio-economic backgrounds.

In 1890, Thurber shifted focus of her conservatory Jeanette Meyers Thurber
away from training opera singers to fostering an
American national style of composition that
would hold its own against the national styles of
Europe (e.g., French, German, Italian, and
Russian). Thurber approached the Czech
composer Antonín Dvořák to be the school’s
second director, enticing him with an annual
salary equivalent to $450,000 in today’s dollars.
Dvořák was an excellent choice for furthering
Thurber’s goals. Not only was he among the
most admired living composers, but he had
achieved his position by creating a Czech
national style inspired by the folk music of his

native Bohemia. Unsurprisingly, his formula for an American national style
was based on his experience in Europe. American composers, he argued,
should take their native folk music—the music of African Americans and
Native Americans—and integrate elements of this music into the prevailing
forms of classical music. Dvořák’s ideas about an American national style
were, initially, purely theoretical—he formed them before he came to know
any African American or Native American music.

Harry Burleigh Dvořák would not get to know any Native
American music until after he finished
composing the “New World,” and there is no
evidence that the actual sounds of this music
influenced him. His image of Native Americans
was informed by Henry Wadsworth Longfellow’s
romanticized view in his epic poem The Song of
Hiawatha (1855), which the composer had read in
Czech translation. There is strong evidence,
however, that spirituals sung by his composition
student Harry Burleigh (1866–1949), an African
American man attending the National
Conservatory on scholarship, influenced Dvořák
while composing the work. Indeed, the main

theme of the slow movement captures the feeling of nostalgia common to
many spirituals so well that another of Dvořák’s composition students,
William Arms Fisher (1861–1948), crafted a text idiomatic of spirituals for the
melody and published it as “Goin’ Home” in 1922.

Although Dvořák composed his Ninth Symphony in the United States, and
some aspects of it may have been inspired by Hiawatha, it is unclear to
what extent he considered it an authentically American work since his idea
was that American composers, not foreign visitors such as himself, should
forge the American national style. The subtitle, “From the New World,” was
born of a last-minute scribble on the score that he delivered to the New
York Philharmonic for copying the parts for the symphony’s premiere.
Although commentators have noted that elements of Dvořák’s symphony
often assumed to be specifically American (e.g., pentatonic melodies and
front accented short-long patterns often called “Scotch snaps”) are also
characteristic of Czech folk music, the work’s subtitle has so captured the
imagination of listeners and critics that the Symphony has come to be
considered a locus classicus for American symphonic music.

In addition to being one of the most beloved works in the orchestral canon,
the legacy of Dvořák’s "New World" includes a number of masterful
symphonies by African American composers who took Dvořák’s advice and
incorporated black vernacular musical idioms into their works. These
composers include Florence Price (1887–1953), William Grant Still (1895–
1978), William L. Dawson (1899–1990), whose symphonies garnered critical



praise and performances by top American orchestras in the 1930s, but later
fell into obscurity. One of the most exciting developments in classical
music in recent years has been the renewed interest in these works.
Although Dvořák spent just two-and-a-half years in the United States, the
reverberations of his presence have lasted for generations.

The Music
1. Adagio—Allegro Molto
2. Largo
3. Scherzo. Molto vivace
4. Allegro con fuoco

The first movement begins tentatively with a Antonín Dvořák
lamenting motive in the cellos that quickly
builds into a dramatic outburst of the first
theme—a bouncy rising and falling figure in the
horns answered by a jaunty polka-like rhythm in

the clarinets and bassoons. After dramatic treatment of this material, the
texture gradually thins and gives way to a second theme played in unison
by the flute and oboe. Another stormy passage follows, which in turn
gradually calms down into the first flute playing the movement’s third
theme in its low range. The entire sequence of material including the
movement’s three themes repeats verbatim and is then elaborated. When
the low-range flute theme returns in the recapitulation, Dvořák scores it for
the second flute, one of the very few exposed solos for second flute in the
standard repertoire.

Because of its spiritual-like main theme first played by the English horn,
the second movement is the emotional heart of the work. Particularly
magical is the way Dvořák introduces the theme with a hymn-like passage
in the brass and low woodwinds. This passage takes us from the key of the
first movement to the distantly related main key of the second movement,
a key relationship often used by nineteenth-century composers to move
into mythical realms. Musicological research has revealed that Dvořák’s
English-horn theme may have been inspired not only by Harry Burleigh’s
singing, but also by Longfellow’s description of the landscape depicted
during Hiawatha’s homeward journey in the tenth chapter of the epic. In
this section Dvořák instructs the strings to play con sordino, that is, with
mutes that veil the sound and contribute to the sense of an idealized
pastoral scene seen from afar.

Contrast comes, as it does so often in this symphony, with the flute and
oboe introducing a melody over agitated tremolos (trembling) in the
strings. The “chirping” in the woodwinds that follows has been interpreted
as a reflection of the reference to birdsong in the final lines of Hiawatha
chapter 10. The return to the main melody at the end of the movement is all
the sweeter for the odd juxtapositions in the movement’s contrasting
middle section.

In the third movement, which Dvořák once mentioned depicted an Indian
dance, he follows Beethoven by writing a brilliant, often aggressive scherzo
—indeed, the opening of the movement makes an explicit reference to the
scherzo movement of Beethoven’s Ninth Symphony. As is the tradition in
movements of this type, Dvořák alternates the mood of the first section,
characterized by incisive rhythms and short staccato articulations, with
contrasting sections. The first such contrast consists of a gentler, more
flowing melody introduced by the flute and oboe and echoed by two
clarinets. The second contrasting section has the atmosphere of a light
Bohemian peasant dance. It can be identified by the accompaniment of soft
rolls on the triangle and trills in the violins that give it a festive mien. After
several alternations of these sections, the music turns oddly dark in
preparation of the return main theme of the first movement, which appears
in the horns against a backdrop of the material of the scherzo.

The main topic of the fourth movement is triumph after struggle, first
represented by a victory march in the trumpets after a thrilling introduction
in the strings that inspired the opening of John Williams’s score to the 1975
thriller Jaws. A second contrasting theme played by the solo clarinet
suggests the yearning of romantic love. Much of the movement alternates
iterations of the march theme with music from the first three movements of
the symphony—the woodwinds whisper the English-horn theme from the
second movement in a gentle pianissimo, while the brass alter the
character of the English-horn theme almost beyond recognition by
bellowing it fortissimo. Fragments of the scherzo theme and the first theme
from the first movement also make appearances. The victory march ends
the symphony in triumph. The winds, however, sustain the last chord and
fade out after the rest of the orchestra cuts off—an afterglow that allows us
to contemplate the distance travelled since the first lamenting gestures of
the cellos at the work’s opening.

© 2021 David E. Schneider. All rights reserved. David E. Schneider is the
Georges Lurcy Professor of Music History and Theory at Amherst College.





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TIANHUI NG

MUSIC DIRECTOR

The American Prize-winning conductor
Tianhui Ng has been the Music Director of
the Pioneer Valley Symphony since the
2018-2019 season. Tian is also the Music
Director of the Mount Holyoke College
Symphony Orchestra (USA) and the Victory
Players (USA).

An advocate of new music, he is especially trusted for his work in
introducing audiences to new and less familiar music. He has assisted
in and premiered new works by Pulitzer and Rome Prize winners and
many young composers. His 2014 premiere of Mary D. Watkins’s Civil
Rights opera, Dark River, was critically acclaimed in the United States.
He later adapted this piece to a community singalong format which
he premiered with the Pioneer Valley Symphony in July 2020.

Tian’s irrepressible musical spirit first expressed itself when he
conducted a choir of kindergarten children in his native Singapore at
the age of five. A pianist, singer and trombonist, he later studied
composition and early music at the University of Birmingham (UK)
where he discovered his love for Stravinsky and contemporary music.
Returning home, he helped found one of the first contemporary music
ensembles in the country, and was soon composing for animation,
dance, film, chorus, and orchestra. It was during this time that he
discovered his affinity for inter-disciplinary work and created the
groundbreaking site-specific community-based arts festival, NOMAD,
with which he has won awards from the Singapore National Arts
Council. His works have since been heard in diverse settings such as
the Hong Kong Film Festival, Animation World Magazine (USA), and
Apsara Asia Dance (Singapore). Tian continued his education at the
Yale School of Music (USA) where he helped to start a new tradition
with the music of his graduation recital reflecting on war and conflict.

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We offer our deepest thanks to the individuals, businesses, and foundations
who financially supported the Pioneer Valley Symphony during our 82nd
season. Your trust, support, and encouragement inspires us and makes the
music possible. To learn more about giving, visit pvsoc.org/donate or contact
us at 413.773.3664 or [email protected].

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BUILDING COMMUNITY
THROUGH MUSIC SINCE 1939

ARTISTIC STAFF

TIANHUI NG MUSIC DIRECTOR
ANTHONY FERREIRA ASSISTANT CONDUCTOR
E. WAYNE ABERCROMBIE INTERIM CHORUS DIRECTOR
CHORUS ACCOMPANIST
GRANT MOSS YOUTH ORCHESTRA DIRECTOR
STEVEN BATHORY-PEELER

PRODUCTION CONTRIBUTORS

DAVID E. SCHNEIDER RESIDENT MUSICOLOGIST
JAMES LEGRAND LEGRANDICE AUDIO
DAVID NEWLAND NORTHAMPTON OPEN MEDIA

& P. AL WILLIAMS



OPERATIONS STAFF

KAREN COLE USHER COORDINATOR
CASEY GILMAN ADMINISTRATIVE ASSISTANT
MARGIE KIERSTEAD ORCHESTRA PERSONNEL MANAGER
TUYET LINH LAFLEUR PRODUCTION ASSISTANT


& EDUCATION PROGRAM COORDINATOR
ROBIN LUBEROFF ORCHESTRA LIBRARIAN
YOUTH ORCHESTRA ASSISTANT
EMESE NEMETH EXECUTIVE DIRECTOR
JANNA WALTERS-GIDSEG

BOARD OF DIRECTORS

KRISTIN DONOHUE PRESIDENT
KARA PETERMAN VICE PRESIDENT
PETER KRAVETZ TREASURER
CLERK
ANDREA MCDERMOTT
MAUREEN CARNEY DIRECTOR EMERITUS
DEBBIE FELTON
AARON LAKOTA
ALEX MEADE
AMY PATT
JOHN THOMAS
RON WEISS
TERRY RUGGLES