!

For Young MusiciansPiano Extravaganza

Saturday, April 2, 2016,8:00PMVeterans Memorial Auditorium, Culver City

Frank Fetta - Conductor, Piano and Music Director

From the 2015 Parness Concerto CompetitionTristan Paradee-Winner, Junior Division

Caroline Ho-Winner, Intermediate DivisionHyewon Chang-Honorable Mention, Senior Division

P r o g r a m

Manuel de Falla: “The Ritual Fire Dance,” from “El Amor brujo”Frank Fetta-Piano

Ludwig van Beethoven: Piano Concerto, No. 4, Opus 58,

G Major, 1st Movement, Hweyon Chang-Piano

Piano Concerto, No. 5, Opus 73, E-flat Major, 1st Movement, Caroline Ho-Piano

I N T E R M I S S I O N

Robert Schumann Piano Concerto, a-minor, Opus 54. 1st movement, Tristan Paradee-Piano

H o n r a r i u m t o t h e T h r e e Y o u n g M u s i c i a n s

Antonin Dvořák, Czech SuiteI.Praeludium/Pastorale II.Allegro moderato,

III.Minuet (Sousedská) IV.Romanze V.Finale (Furiant)”

Blüthner piano provided by Kasimoff-Blüthner Piano Co. Hollywood, CA"("Tonight's Blüthner appeared in the first "IRONMAN" - film, 2008")

The Iberian Peninsula, cut off from the rest of Europe by the Pyrenees Mountains, the Mediterranean Sea and Atlantic Ocean, artistically became an exotic place for a number of composers, and was a source of artistic inspiration. Italian Domenico Scarlatti, a contemporary of J.S. Bach and Handel, found employment in the Royal Court of Spain. French composers seemed particularly fascinated with Spain. George Bizet’s timeless opera “Carmen,” is set in Spain with the final scene at a bull ring. Claude Debussy and Maurice Ravel both wrote masterworks based on images of Spain. They are images, and not re-creations, as none of these composers stayed in Spain for any length of time, sometimes no more than half-a-day. But somehow the region fired their

Manuel de Falla, Nov. 23, 1876-Nov. 14, 1946

imaginations of an exotic place, of dry heat, bull fights, perfumed scented nights and alluring rhythms.

Of the three notable Spanish composers of his time, Isaac Albéniz and Enrique Granados, de Falla is considered the greatest talent. He was born in Cádiz, with his mother giving him his first piano lessons. His interesest in his native Spanish music was furthered along in his studies with Felipe Pedrell.

His move to Paris in 1907 was Impressionist inspired and inspiring. Perhaps Debussy and Ravel’s Iberian curiosities were piqued, and their Spanish imaginations solidified into works by Spaniard Manuel de Falla. From Debussy there is “Iberia” from “Images” (1905-12) and Ravel, “Rhapsodie espagnole” (1907) and “Bolero (1928). In turn, de Falla was greatly influenced by the Impressionist Movement of Debussy and Ravel.

In the 1920’s the neoclassicism of Stravinsky guided de Falla’s works. He retired in 1926, living in Mallorca, and then moving to Argentina in 1936. Perhaps due to the reign of the Fascists Franciso Franco he never returned to Spain, and spent his final years in the Argentine desert.

His wide ranging style has works as a Spanish Nationalist-Albéniz and Granados, an Impressionist-Debussy and Ravel, and neoclassicist-Stravinsky. His best known works are his two ballets, “El Amor brujo”/“Love, the Magician,” (1915-17), and “El Sombrero de tres picos”/“The Three Cornered Hat,” (1917-19), and the harpsichord/piano concerto, “Noches en los jardines de Espana”/“Nights in a Garden in Spain,”(1915).

A beautiful young woman, Candelas, is passionately loved by the handsome and gallant Carmelo. Candelas is prevented from returning Carmelo’s love by the ghost of a gypsy whom she once loved. To break this spell, Carmelo persuades Lucia, a friend of Candelas, to be a decoy to the ghost while he

convinces Candelas of his love for her. Candelas and Carmelo kiss, and the spell is broken.

________________

Like the other forms he worked in: sonata form in the piano sonatas, the string quartets, and chamber music works, Beethoven took the concerto to previously unthought of heights of expression and structure. Until his deafness cut short his performing as pianist, the piano was his public face, and the concertos were the most public expressions. Like his other works, he continued to push ever further on the boundaries of the Classical style sonata form of his revered predecessors Haydn and Mozart. 

He was born in Bonn, Germany, into a musical family. His grandfather and father were court musicians. He exhibited early musical promise and his father had ideas of presenting him like another Mozart. But the disciplines needed to take the young Beethoven on the road to the musical capitals of Europe, like Leopold Mozart did with his son, did not happen. The father was an alcoholic who would wake the young boy in the middle of the night to force him to practice, and if the practicing did not meet the father’s expectations, a blow could be delivered to the young boy. Beethoven’s father’s hard drinking and unfit living led the teenage Beethoven to seek court custody of the family, which was granted.

Beethoven’s musical promise was noticed in cultural center Bonn, which led to a stipend from the Elector of Bonn to travel to Vienna for further study. He briefly met and played piano for Mozart in Vienna, and hoped to study with him. Mozart was very impressed with the young Beethoven’s improvisations, and told his associates to keep an eye, and ear out for the young man who made such a memorable noise. But when he received news of the death of his mother, Beethoven cut short his studies returned to his native Bonn. By the time Beethoven returned to Vienna, Mozart was dead. Beethoven studied briefly with Haydn, the composer who firmly established the sonata form (exposition/development/recapitulation), and with his string quartets and symphonies laid the path for other generations of composers to work in those genres. Beethoven in particular owed much to Haydn though he was reluctant to give due acknowledgement to Haydn. However, comparisons of Haydn’s works composed before Beethoven’s show that the younger man freely borrowed from Haydn harmonies, turns of phrases and models of form and structure. 

Beethoven permanently moved back to Vienna 1792 and lived there for the rest of his life.

Beethoven was a pianist of strong, hard technique, sometimes breaking strings in a new type of keyboard, the piano-forte. During this time the piano was

“The Ritual Fire Dance,” from “El Amor brujo” Frank Fetta-Piano

Ludvig van Beethoven December 17, 1770 - March 26, 1827

going through revolutionary improvements, and Beethoven was always keen to try out the newest model in the piano-crazy Vienna. Piano maker Broadwood of London would send Beethoven his newest, most improved models to see how they would hold-up against Beethoven’s relentless poundings.

His improvisations amazed all, including Mozart. The playing was a direct communication of his relentlessly searching soul and need to push out the boundaries of music further and further, and of his anguish in his gradual loss of hearing. Always leaning towards antisocial, if during one of his performances in small setting of friends or patrons, of his written works or improvisations, if he felt he was not being appreciated or was interrupted, he would stop playing and leave in a huff.

As his deafness increased, he relied more and more on the piano to sculpt his works. Towards the end, his deafness was so complete that Beethoven would hold a pencil or wooden dowel in his mouth and press the other end onto the piano. The vibrations from the piano strings would travel through the wooden dowel

through his teeth and into his head so he could then faintly hear what he was playing.

His life journey is heard in the symphonies in particular. He is the emerging firebrand of his early symphonies. There is the groundbreaking structural and musical content of the 3rd, the “Eroica,” composed the year after he wrote the Heiligenstadt Testament in which he confronts his approaching deafness and decides on Life-for-his-Art rather than Death. In the 5th Symphony the “Fate Knocks on the Door” motif reflects the continuing struggle with his deafness. He pays homage to his refuge-Nature-in the 6th with the

"Pastoral." In the 7th, Beethoven is looking both inside spiritually and outward to the stars and planets. The fists are not clenched at the heavens, but are open in the acceptance of his fate, leading to spiritual realms. Then there is the overwhelming power and the brotherhood of man in the 9th Symphony, a symphony so monumental that its performances are still special occasions. 

Romantic composer Robert Schumann, who when lucid and not thrown into the instability of his mental illness, very keenly observed about Beethoven, "Love him, love him truly, but do not forget that he reached poetic freedom after thorough study, years on end, and praise his restless moral power. Do not seek to extract the unusual, go back to the roots of creation, demonstrate his genius not through his last symphony (…), you can do this just as well through his first symphony."

Towards the end, his deafness further insulated him from the world, and he went deeper and deeper into his music. He would walk through Vienna seemingly oblivious to the world around him. He would frequent his refuge, Nature, in the woods around Vienna. Beethoven would wear the same suit of clothes until they became severely ragged. His hygiene suffered at times. His drinking could become excessive. Friends would visit Beethoven in one of his many apartments, he moved relentlessly throughout Vienna, and secretly remove his old, tattered clothes with new ones. Beethoven would not mention these kind gestures, but would nevertheless wear the new clothes until they too became too tattered for suitable wearing. In one of his worst states of lost-in-his- music, wearing tattered clothes and drinking, Beethoven was arrested as a vagrant, and jailed by the Viennese police. His friends got him released only after pleading with the police that that vagrant was indeed the greet Beethoven. Towards his end, Beethoven was revered and celebrated by Music Lovers and the Viennese, though he had trouble acknowledging it. After the premiere of the 9th Symphony, orchestra musicians had to turn Beethoven around who as facing the orchestra to look at the audience who were in rapturous applause. He could not hear them. At this funeral, thousands of Viennese turned out for the procession.

Music saved Beethoven from his darkest hours when he confronted his deafness. And the piano in particular was his avenue toward his musical salvation. The five piano concertos remain at the pinnacle of concertos, and must be approached with great reverence, and tremendous technique. They are not flashy, though they are virtuosic. They are crowd pleasing, though the audience needs to follow Beethoven down his paths of exploration of the spirit, and this is not always an easy task. The piano concertos are works which pianists, orchestras and audiences approach with reverence and the rewards are there at the end.

The time-span between concertos Nos. 4 and 5 encompass tremendous growth in Beethoven moving the Classical Period sonata form further and further to larger and looser boundaries than ever before imagined. The works of this period are his confrontation of his worsening deafness, and the emotions of that confrontation, his fight against it, and his eventual acceptance.

Beethoven’s composing habits were to write copious notes which then evolved into the final work, but he could be working at the same time on various composition in varying degrees of concentration until he would eventually focus on one specific

BeethovenPiano Concertos No. 4, Opus 58 (1805-06), 1st mvt.Hyewon Chang-Piano

work. Other very notable works from the times just before and through the 4th and 5th piano concerto are piano sonatas: the transcendental “Waldstein,” Opus 54 (1804) and the searing and searching “Appasionata,” Opus 78 (1805). The “Razumovsky” String Quartets, Opus 59, Nos. 1-3 (1806). The Symphony No. 5, Opus 67 (1808) with its “fate knocking at the door” opening motif, perhaps some of most famous music known today, and its opposite twin, Symphony No. 6, “Pastoral,” Opus 68 (1808), his ode to his refuge and respite from his struggles, Nature.

Once he bent his concentration to the Piano Concerto No. 4, new vistas opened. The beginning is audacious, and even antisocial. Up to this concerto the standard was the orchestra would perform first, and then the piano would enter, or in the case of J.S. Bach’s harpsichord concertos both orchestra and soloist could start together. Before this concerto there was a dialogue between the orchestra and piano, with the orchestra first stating the themes then the piano restating them. This is standard in the beloved Mozart piano concertos. But here, for the probably the first time in any piano concerto, Beethoven has the piano begin the concerto alone. But to avoid the obviousness of this the piano begins not shouting, but whispering, and for only five short measures.

The orchestra then appears, but in this short five measures Beethoven has modulated from G-Major to the remote key of B-Major. (This is a harmonic progression of thirds, a device often used by Haydn, the composer and teacher from which Beethoven said he learned nothing.) The orchestra plays measures on end. It now is the antisocial one, and has pushed the piano aside. The orchestra restates the opening theme of repeated notes, also found in the opening of the fate filled Symphony No. 5. The orchestra also introduces the contrasting theme. When the piano makes its return, the two, piano and orchestra, then become reacquainted and quite social exchanging ideas, motives, themes and phrases back and forth. But the piano rises past the orchestra as it continuously develops the themes. Mostly the sound remains hushed, true there are outbursts of noise, but they are restrained, not outbursts of anguish found in other music of this period of Beethoven’s life. Indeed, there is a great sense of searching, perhaps for the meaning of his fate, but it is a quiet search, with answers found not in shouts but in quiet contemplation. Beethoven reaches mystical realms, and in this movement there are also moments of utmost, quiet tenderness. The ending is reached through a quiet, sustained crescendo and ends in bright affirmation, as if Beethoven has, at least for the moment, out-run his approaching fate.

The composer was the soloist at the public premiere, in the infamous December 22, 1808, four hour marathon concert in the unheated Theater an der Wien which also had on the bill the premiere of the Symphonies Nos. 5 and 6, and “Chorale Fantasy.” With his increasing deafness Beethoven must have had

difficulties meshing with the orchestra, who eventually refused to rehearse with the composer present. Overall the concert was not a success, and came close to failure with a soprano quitting just before the concert, and the orchestra stopping completely and then restarting in the “Chorale Fantasy.” After his death, the Fourth Piano Concerto did not find favor with the public but was dormant until Felix Mendelssohn revived the work in 1836.

Beethoven was not immune to the financial needs as a composer, nor were his publishers noted for supporting a composer without music sales. The titles of a number of his works are not Beethoven’s, but his publisher’s to boost sales. A piano sonata in c#-minor is much more attractive when titled “Moonlight Sonata.” The same goes for his Piano Concerto No. 5, “Emperor.” Not Beethoven’s title, but one very apropos for the work.

As opposed to the startling opening of the Fourth Piano Concerto, here the opening is formal, with short, loud chords from the orchestra booming between elongated solos from the piano. These boomings interruptions could be Beethoven’s musical interpretation of his surroundings in Vienna at the time. Napoleon’s army had Vienna under siege, with cannon fodder ripping through the city. Beethoven was still in the city, hiding in basements with other Viennese, trying to protect his already damaged ears, and hoping for survival.

This music from the piano between the booms is passages searching for a theme, and the orchestra eventually delivers a very positive, almost martial one-those Napoleonic troops perhaps. The movement pushes forward, but a quiet theme suddenly, mysteriously appears. Themes come and go, in positive, forward, searching motion.

Then miraculously a stillness comes from the piano. It shakes the order of things and the movement seems ready to go astray to new realms. The orchestra will have none of that, it turns martial, and eventually pulls the piano along. Indeed, the movement’s overall shape seems to be the piano (Beethoven) looking for quiet respite and repose with the orchestra (the outside world) bursting into these reveries to remind it that the outside cannot be so easily vanquished. Beethoven is seeking answers and solace in his special quiet places, but the orchestra keeps on interrupting.

The orchestra acts as the worldly foil, reminding the piano of the turbulences of the world, and shakes the piano out of its hiding. The harmonies travel through

BeethovenPiano Concerto, No. 5, Opus 73, E-flat Major, 1st Mvt.Caroline Ho-Piano

unrelated keys, and switches between major and minor, but overall, this is noble music.

But no matter how much the piano wishes to retreat into quietude, the orchestra forcefully pulls it back to its worldly side. This back and forth, give and take, requires much of the orchestra and of the audience, but particularly of the soloist who with tremendous technique must meet the demands of Beethoven in meeting his shouts and murmurs.

For the ending of the movement Beethoven seems to be sensing this would be his last piano concerto, and he gives it a brash send-off. It is an emperor who must be acknowledged.

The premiere was in Vienna in February, 1812 with Beethoven’s student and close confidant, Carl Czerny, the soloist. The same same of the tortuous piano exercises, and Franz Listz’s teacher.

________________

The swirling emotions and agitations of the tumultuous Romantic Movement were not only in intimate relationships, but in the relationship of the artist to society as well. In search of their personal truths, the Romantic Era artists would blaze their own paths towards what they perceived was a deeper meaning in life by throwing off the constraints of social norms. (This does sound strangely familiar like the 1960 and 70’s.) Perhaps in both senses of personal and artistic romanticism, few were as

Romantic as Schumann. The son of a bookseller, he showed early talents as a pianist and composer along with keen literary interests. All three would be important pursuits in his life. Two other pursuits of his early life were champagne and girl-friends.

After half-hearted attempts to study law, he persuaded his family to allow him to devote himself

to music. In 1830 he began piano studies with one of the most eminent piano teachers in Germany, Freidrich Wieck. In what seems to be the standard practice of the day, he moved into the Wieck home during his studies as a student, and probably to assist Wieck in his teaching duties. However, his pianistic career was cut short due to a hand injury, the result of a mechanical device Schumann used to try to improve his hand’s strength and agility. This tremendous setback came as he also fell madly in love with Wieck's daughter, Clara. She was already an extraordinary pianist who as a teenager had very successfully toured Europe, and was a notable composer. She was nine years younger than Schumann. Herr Wieck strongly objected to the affair.

It was not only the age difference, but Wieck’s observations of Robert, whose prospects as a future husband and son-in-law were circumspect just on Schumann’s character of carousing, flights-of-poetic fancy, and probably showing the beginning stages of mental instability. After the hand injury Schumann would concentrate on his compositions. Now only as a composer, instead of pianist and composer, his future prospects as a husband to Clara were even more unpromising. Despite many tribulations and separations, and three court cases brought by Herr Wieck to stop the relationship, when Clara came of age, they married in 1840. From then on discussions about Robert Schumann must also include Clara Schumann.

In 1835 Schumann founded the musical journal, Neue Zeitshcrift fur Musik (New Writings for Music) which was a ground-breaking publication on music containing his insightful, brilliant and aggressive criticism. In it he created two enduring pseudonyms, Eusebius (lyrical, contemplative) and Florestan (fiery, impetuous).

Schumann was a composer of incredible burst of creativity. In the year of his marriage Schumann composed around 150 songs (Lieder), some equaling the supreme artistry of Schubert's Lieder. His piano pieces broke new ground, moving away from the previous Classical Period models of form and structure guided by Age of Reason and The Enlightenment, and instead took on the fantastic and wonderment. Many of his works remain a cornerstone of the piano repertoire, known for their technical and communication challenges, and they deliver musical rewards. His chamber music contains masterpieces. His four symphonies, which remain popular, are, indeed, inspirational works, closely aligned to his personal life.

However, Schumann's incredible musical output was sporadic, the victim of severe depression and mental instability, the root of which is speculative. It may have been hereditary mental illness, or caused by syphilis, or a combination of both. Bouts of depression and mental instability would cease his creativity, and upon recovery he would compose in a white heat. The symptoms progressed as he aged. At times he would constantly hear the note "A," he suffered from hallucinations, he attempted suicide, and was in-and-out of asylums. The breakdowns became more frequent. Yet through these desperate times of instability in Robert, Clara remained by his side, as a partner and solid source of support which he increasingly leaned on.

Schumann, through his writings, promoted the young composer Johannes Brahms. He called the younger composer, then in his early twenties, as the new Lone Eagle, soaring above the rest to continue the greatness of German music, an

Robert SchumannJune 8,1810-July 29, 1856

heir apparent to Beethoven. For the reserved, very self critical Brahms, these were not words of praise, but were a huge burden of an unsought comparison to a composer he greatly revered. Despite this uncalled for praise, Brahms and Schumann soon took on a deep relationship, or more perhaps a mentorship and apprenticeship. Like Schumann before him at the Wieck household, Brahms then moved into the Schumann household to learn from Schumann, and to try to promote his own career. From this point on, discussions about Robert and Clara Schumann then needed to include Brahms.

This proved providential to the Schumann household. As Robert sank deeper and deeper into mental illness, the young Brahms took on the responsibilities of providing support to the very worried Clara and her seven children. These must have been very trying and exhausting times for the young Brahms. Like her husband Robert, Clara saw the greatness in the young Brahms, and a mutual respect grew between the two. While in the Schumann household, and for the rest of his life, Brahms would bring Clara his works for her highly respected critique. Indeed, Clara, for the rest of her life, would be a guiding light to many musicians with her deep understanding and keen insights into music. Eventually this mutual respect moved to deeper places for Brahms. He developed very deep

emotional attachments to Clara which Brahms seemed to have carried with him for the rest of his life. But by most accounts, this was a relationship of great mutual respect and nothing more.

To support her children, and Robert, Clara became a touring concert pianist with immense renown. She was one of the first independent women touring musicians.

Despite their rather difficult beginnings, judging from their letters and devotion to each other, the relationship between Robert and Clara is one of the truest, most genuine and most deeply felt in music. When talking of Robert Schumann, Clara Wieck Schumann must also be mentioned. Clara remained true to her love, and never married after Robert’s death. Indeed, Clara, after Robert’s death, was one of the most sought after woman in Europe, from Franz Liszt and other musicians, to nobility to bankers.

Clara’s devotion becomes more heroic when considering the increasing frequency of Robert’s terrifying descents into mental illness. Those in caregiving roles know very well the strains and stresses. Hallucinations became more frequent and pronounced, with his last episode a sad sight of Robert stripping himself naked

and running through a small town. Upon his confinement to an asylum, his doctors prevented any visits for nearly two years. When allowed, visitors would find an emaciated Schumann, disheveled, and smoking at a frantic pace. He died in an asylum, cared for to the end by Clara and Johannes Brahms.

Schumann’s mental illness should not be a deterrent to listening to his music, but instead the listener should admire that in the throes of the illness he produced the music he did. While the stereotypical thought of a composer suffering from mental illness might compose music of frantic bewilderment, this is not so. Some of his works contain an unmatched sweetness, tenderness and gentleness. There are works of grandeur. There are works reflective of the loving Romantic, and of his devoted outpourings to Clara. He also retained the artistic Romanticism of turning his back to society and seeking solace in Nature. His piano works for children have lost none of their innocence and charm, and in today’s jaded and cynical age they are works of refuge for the performer and listener. His top level piano works remain the foundation of pianist of the highest order.

Schumann composed only one piano concerto, which is notable considering that the piano was central to his life as a promising pianist. He composed reams of piano music and married one of the eminent pianists of the day. The concerto began as a single movement “Fantasy” in 1841, which he converted to the first movement of the concerto in 1845. The fantastical aspects and structure are more prominent

than a more structured work. The themes almost fall over each other as they cascade through the piano and orchestra.

An explosive beginning with piano and orchestra quickly leads to a languid theme in the oboe, soon taken up in the piano. In the first three minutes the two inner Schumann

characters Florestan (fiery, impetuous) and Eusebius (lyrical, contemplative) are heard. This goes back and with swells and swooning lyricism leading to fiery outbursts. This occurs so quickly, so naturally that despite some lacking in structural strengths these exchanges of character hold the work together.

No sooner does one section end and we try grasp what just occurred, Schumann has moved on to the next character. The themes are repeated with some development, and while the lack of development of themes cause some to consider this a subpar work, Liszt called it a “concerto without piano,” the emotional narrative pulls the listener along. Overall it is Eusebius who hovers over the more powerful

Schumann, Piano Concerto, a-minor, Opus 54. 1st mvt. Tristan Paradee, Piano

and emotional parts of work. It is a concerto of enduring and endearing beauties and deep emotions.

Clara gave the premiere on New Year’s Day, 1846, in Leipzig with their friend Mendelssohn conducting the Gewandhaus Orchestra. (Though one writer has the premiere in Dresden, December 4, 1845.) Clara was its sole champion for years, concertizing with the work. It can be remarked that her performances were her lover letters back to Robert for writing the concerto love letter to her.

________________

The first works of an emerging composer usually follow the prevailing style of the locale and the times. Then, the composer finds their voice within this style, or

creates their own. Dvořák was on both paths. Born into very humble means, through hard work he progressed to principal violist at the Bohemian Provincial Theater orchestra after graduating as an

undistinguished student from the Prague Conservatory. As a violist he performed under Wagner's baton, who was not a direct teacher, but remained a lifelong influence on Dvořák’s music. His early recognition was championed by Brahms, who recognized the genius of Dvořák, and recommended him to his own publisher, Simrock.

At first Dvořák followed the advice of Brahms, but soon conflict arose. Dvořák found Simrock was less than acceptable in business dealings. Moreover, Dvořák was intent to not to establish himself within Vienna, and the "German" style, but to create a music aligned with his native Czech soil. Though immensely grateful to Brahms' help, there were some hard feelings between the two when Brahms objected to Dvořák's insistence to remain in his native Czechoslovakia. The risk was artistic, and financial, with Dvořák separated from the Viennese music power bases. However, he forged his personal style, which along with countryman Semetena created recognizably Czech music, though Dvořák’s music has colorings of Brahmsian lyrical lines, and harmonies; and Wagnerian orchestral color and thematic development.

Once settled in Czech territory his fame increased with the spread of his works throughout Europe and the United States. Previous Czech composers adhered more strictly to the Germanic musical style, and audiences were probably fascinated with the exoticness of Dvořák’s Slavonic tinged music. Also assisting him was his superb craftsmanship and the gift for melodies of such balance and beauty they immediately make an impact on the ears, and then remain in the brain’s music box for some time. He was one of the most prominent and successful composers in Europe, and with a teaching position at the Prague Conservatory was secure financially, able to provide for his family in greater mean than with which he grew up.

By 1891 his fame caught the attention of Jeanette Thurber, president of the American National Conservatory in New York, offering him a position and an annual salary of $15,000, to direct the school and conduct concerts. This salary was about thirty times greater than his salary at the Prague Conservatory. After much give and take in negotiations, Dvořák agreed to terms and arrived in New York September 26, 1892.

Immediately upon his arrival, in sync with today, the active New York press sought out Dvořák , much to his surprise: “They made such a fuss in all the English, German and Czech papers! As soon as I arrived at the hotel journalists from all the newspapers were waiting for me and I had to say something to all of them and, the next day, there were long articles with my photograph printed there as well, discussing my forthcoming appointment in America.”

He worked diligently in his position, and coming from the provinces of Czech, he was very impressed with the city: “the city itself is majestic, superb buildings and wonderful streets, and it is immaculate everywhere.” However, he had difficulties fitting in with New York society life, and to escape New York he visited a Czech community in Spillsville, Iowa, much to his his delight. Neighboring Long Beach was once referred to “Iowa by the sea” with a large populace of the city from Iowa. It is a nice idea that in local SoCal there are Czech and Dvořákian reverberations through Czech heritage.

Dvořák travelled while in the United States. In 1893 he and his family visited the World’s Fair in Chicago, and also travelled to Omaha, St. Paul and Buffalo.

With his renown as a nationalist composer, he was pressed by students and music lovers for advice on what would constitute American nationalist music. Dvořák replied great inspiration was to be found in the spirituals of Black Americans. This was quite extraordinary in its

Antonin DvořákSeptember 8, 1841 - May 1, 1904

prescience, the American art form Jazz was rooted in the Blues, which was rooted in the Spirituals. Jazz emerged in the 1910-20s, after Dvořák’s time in the United States. The influence of spirituals are readily heard in his Symphony No. 9, “From the New World,” composed in the United States and premiered in Carnegie Hall December 16, 1893.

He returned to his native Czech in 1894, and received numerous performances and honors in such capitals as Berlin and London-to which he visited nine times. He travelled to Vienna to pay a visit to the critically ill Brahms and attended his funeral. Dvořák returned to his position at the Prague Conservatory as a much revered composer and teacher. He turned down a second invitation to teach at the American National Conservatory.

Dvořák conducted his works in Prague and throughout Europe, and others throughout Europe conducted his works. He met Gustav Mahler who conducted Dvořák’s “A Hero’s Song.” He met Edvard Grieg who was traveling through Prague.

His last major work is the opera “Armida” of 1904. Early attempts to mount the work were suspended, and then when finally revived by the National Theater at the premiere March 25, he took ill and left before the performance was over. His overall health weakened, and he died May 1. Dvořák’s works achieved great popularity in his lifetime, and have remained so since. This popularity is from his seemingly effortless melodies of remarkable beauty and balance. Brahms remarked that melodies he would struggle over to create flowed out of Dvořák almost as afterthoughts. His technical brilliance shines in the large scale symphonies, full of beautiful melodies and colorful orchestration. His sure hand on forming these large scale works, though seamless in construction, helps to keep these works evergreen.

For many seasoned concert attendees and performers, the music of Dvořák offers a welcome respite with a music of reassurance and strength. This is found not in swooning tunes and soupy harmonies, but in sharp rhythms, bright harmonies, and in a sincereness of expression supported by technical mastery of musical forms.

Dvořák’s disputes with his first publisher sound vaguely familiar to sour business deals of today in movies and music: Some disputes were Simrock Germanizing his first name to “Anton,” stinginess in payments, putting high opus numbers on early works to make

them look old, and their first right of refusal of future works. These dealing put a low opus number on the “Czech Suite” despite that it was composed after the works which caught the attention of Brahms, “The Slavonic Dances,” and the “Three Slavonic Rhapsodies.”

All of the movements are dance-based, including the opening Praeludium/Pastorale. The second movement, Allegro moderato, somewhat recalls bagpipes. The third movement is marked Minuet (Sousedská)-a Bohemian version of the waltz. Some say it is really a Mazurka, but that is debatable. The fourth movement is a slow-paced Romanze full of Dvořákian melody. The brilliant final movement is marked “Finale (Furiant)” A Furiant is a spirited Bohemian dance in ¾ time with strong accents on and off the beat. It was a form often used by Dvořák, and here he directly quotes a Czech folk song, and created some of his pseudo folk songs.

Frank FettaAs the Symphony’s Music Director and

Conductor, Maestro Fetta is responsible for the creative decisions regarding the performance, the artists and its repertoire. Maestro Fetta’s versatility and skills have been widely acclaimed in both symphonic and operatic repertoire. Maestro Fetta received his musical education and training in New York and Los Angeles and fulfills conducting engagements and operatic coaching assignments throughout the United States.From coast to coast, Frank Fetta’s musical talents have been glowingly praised and warmly appreciated.

As a guest conductor, Maestro Fetta is in high demand, and Maestro Fetta has had a number of his performances heard on both radio and cable television. Many of his fans enjoyed his appearance in the Blake Edwards’ film, “Mickie And Maude” starring Dudley Moore and Amy Irving and with the Symphony on the David Letterman Film Festival with Michael J. Fox. He was the music consultant on the film “Song of the Lark” which was seen on the Mobil Masterpiece Theater.

Dvořák, Czech SuiteI.Praeludium/Pastorale II.Allegro moderato, III.Minuet (Sousedská) IV.Romanze V.Finale

In addition to his engagements with the Culver City Symphony and the Marina del Rey Summer Symphony, he is the Conductor and Artistic Advisor to the Redlands Bowl Music Festival, Music Director and Conductor of the Torrance Symphony and Principal Conductor for the Nevada Opera Theatre. Maestro Fetta maintains an active teaching schedule in conducting and in operatic and song literature. He resides in Los Angeles with his artist-inventor wife Susan Henniger.

Hyewon Chang is a native of Seoul, Korea. She went on to attend Toronto's Glenn Gould School of the Royal Conservatory of Music on a full scholarship, where she studied under John Perry and David Louie. She later continued her studies in California under John Perry, again on a full scholarship.

Hyewon is currently a Bachelor of Music degree candidate at the Colburn Conservatory of Music.

She was awarded at the Bradshaw & Buono International Piano Competition, American Protégé Piano Competition, Korea's Segye-Ilbo Music Competition, Young Artist Music Competition and New York International Piano Competition as a finalist. She has performed at Carnegie Hall in New York, and in Los Angeles, Canada, and Italy. Hyewon performed at the birthplace of Franz Joseph Haydn, Rohrau,

Austria. She was selected to perform at an "Artists of Tomorrow" concert with the Brentwood Westwood Symphony Orchestra. Miss Chang has taken master classes with Leon Fleisher, Menahem Pressler, John O'Conor, and Jean-Yves Thibaudet.

Caroline Ho, 17, is in the 11th grade at Santa Monica High School. She has studied piano for 3½ years with Anders Martinson, following earlier studies with Jessi Spikes and Marco Rambaldo.

Caroline has been in the winners circle of m a n y l o c a l , r e g i o n a l a n d s t a t e w i d e competitions. Her top honors include 1st place wins in the Alice Frazier Kitchen Memorial Compet i t ion, in the Brentwood-Westwood "Artists of Tomorrow" Competition, and in the Palisades Young Artist Awards Competition. In addition, Caroline has received the Alfred Newman Memorial Scholarship Award from the

Palisades Symphony, and the Dr. Gordon Ross scholarship from the Westside Committee of the Los Angeles Philharmonic.

Caroline has performed concerti with the Brentwood Westwood Symphony Orchestra and with the Palisades Symphony. Caroline is not only an accomplished pianist, but also a prize-winning cellist and composer. She recently enjoyed the Italian debut of her composition, “Suite for Strings” at a festival in Tuscany and performed as cello soloist with the Palisades Symphony.

Fifteen year old pianist, Tristan Paradee is already being recognized across the country as an exciting up-and-coming young artist.

Currently Tristan is an Official competitor representing the United States in the 2016 Gina Bachauer International Piano competition which will be held on June 23rd-28th.

He won the Young Artists International Piano competition in 2012 in St Paul Minnesota, the Discovery Prize for the Young Musicians Foundation in Los Angeles in 2013, where he performed with Misha Dichter and Glenn Dicterow “Carnival of the Animals” with the Young Musicians Foundation Orchestra at UCLA’s Royce Hall. He was also the winner of the Brentwood Concerto Competition, the Culver City Bach Competition and the Westside Music Foundation’s Robert Turner Concerto Competition between 2010-2015, in Los Angeles California.In May of 2015 Tristan was invited to perform in New York City at the Union club following Violinist Mira Wang and pianist Alessio Bax.

Tristan has collaborated with conductors such as Marlene Pauley, Roger Kalia, Ivan Shulman, Arlette Cardenes and Alvin Mills.

A student of Hans Boepple in San Jose California, he formerly studied with Mary Ann Cummings and Dr Paul Wirth. He currently has studies with Ian Krouse at UCLA for composition and has taken master classes with John Perry, William Nabore, Nelita True, Marina Lomazov and Max Levinson.

Taking an interest in conducting Tristan is studying with Courtney Lewis, who is the assistant conductor of the New York Philharmonic and founder of the Boston symphony. www.TristanParadee.com