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2017-2018 Season / Masterworks / The Planets
All performances at 7:30pm at Crouse Hinds Concert Theater

LAWRENCE LOH | conductor


RACHMANINOFF: Rhapsody on a Theme of Paganini, op.43
HOLST: Planets

From the mighty red planet Mars to the cinematic Jupiter, Holst's The Planets has inspired sci-fi movie music for generations - most famously, John Williams's, and his The Imperial March from Star Wars. Versatile pianist, Melissa Marse makes her first appearance with Symphoria to perform Rachmaninoff’s Rhapsody on a Theme of Paganini.



The Bond, Schoeneck & King Pre-Concert Talk will be held in the Banner Room on the lower level of the Civic Center, beginning at 6:30p.m.


SPECIAL:   All veterans and active service members are entitled to receive 50% off the purchase price for this performance.   Use code USV17 when checking out.


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The Planets

7:30pm | Crouse Hinds Concert Theater
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Our featured work tonight is The Planets (1914-1916) by British composer Gustav Holst (1874–1934). If there’s any work on the season that needs no introduction, it’s probably this one. After all, since its first public performance roughly a century ago, it has been one of the most popular works in the repertoire, played not only by virtually all orchestras but also adapted for band and taken up, in whole or in part, by a variety of jazz and rock groups as well. (It’s also been a great influence on film composers, most obviously John Williams, whose Star Wars music draws much of its nourishment from Holst). And even if you’ve never heard the work before, it’s so immersive in its impact that, as soon as you start to listen, you’re caught up.

True, there’s a programmatic meaning behind it. Each of the seven movements represents a different planet (all the planets except for Earth), and each takes its spirit from an astrological connection. But you hardly need to know that the opening movement represents “Mars, The Bringer of War” to feel the terrifying menace of the First World War. Nor do you need to know that the fourth movement represents “Jupiter, The Bringer of Jollity” to be uplifted (in fact, the noble big tune at its center has been adapted as a hymn). The work’s magnificent richness of color, its unrivalled variety (few other works cover such a range of moods), and its canny dramatic strokes (especially its eerie end) all make textual explanation nearly irrelevant.

The concert opens with a similarly celestial piece, Rainbow Body by the American composer Christopher Theofanidis (b. 1967). Written in 2000, it’s been so widely performed and so warmly embraced by listeners that it has become, in conductor Larry Loh’s words, a “modern classic.” The composer tells us that the work has a double inspiration. First, there’s his fascination with the music by the medieval philosopher and composer Hildegard von Bingen (1098–1179): the work is based on the chant “Ave Maria, o auctrix vite,” which appears clearly several times in the piece and which more subtly generates the musical material elsewhere. (To make it easier to hear, we’ll precede the Rainbow Body with a performance of the chant itself.) Second, and more directly relevant to the Holst, there’s what the composer calls “the Tibetan Buddhist idea of ‘Rainbow Body,’ which is that when an enlightened being dies physically, his or her body is absorbed directly back into the universe as energy, as light.” As with The Planets, though, you don’t need much background to appreciate Rainbow Body, which shares Holst’s dramatic immediacy and orchestral brilliance (Larry points, among other things, to the way Theofanidis uses trombones to suggest “deep space”).

Our centerpiece, the Rhapsody on a Theme of Paganini by Sergei Rachmaninoff (1873–1943), is the one work on the program without a cosmic connection. But it does have the same kind of perennial popularity that The Planets does; and it does, like Rainbow Body, build on pre-existing musical material. In this case, the composer, arguably the greatest pianist of the 20th century, offers up an homage to the greatest violinist of the 19th, Nicolò Paganini (1782-1840), using the familiar 24th Caprice as his starting point. (Rachmaninoff’s work can also, less directly, be seen as an homage to the greatest pianist of the 19th century, Franz Liszt, who also recast Paganini’s virtuosic violin music for piano).

Born in Russia, Rachmaninoff emigrated after the Russian Revolution, living briefly in Europe before settling in the United States in 1918. He continued his successful career as a pianist, but his output as a composer dropped considerably. Other than a series of transcriptions and arrangements, he wrote only six works in the last 25 years of his life. It’s hard to be sure what caused the slowdown; it was certainly not any loss of compositional skill, since for many listeners, his American works are among the most finely crafted that he ever wrote. In any case, most of his late music—perhaps viewed as “old-fashioned” by a public molded in part by the Jazz Age—was slow to catch on, and even today it doesn’t have the popular cachet of his Russian output. The one exception is the Rhapsody, a hit from its first performance in 1934.

Structurally, the work follows a traditional theme-and-variations format—but with a few twists. For instance, after the brief introduction, the work begins not with the theme, but with the first variation—only turning to the theme itself after that. Then, too, besides the “main” theme, there is a secondary theme snaking through the Rhapsody: the “Dies Irae,” the plain-chant

setting of the “day of wrath” from the Latin Requiem Mass. The theme was often used by 19th and 20th century composers; it shows up, for instance, in Berlioz’ Symphonie fantastique and Liszt’s Totentanz (both performed by Symphoria in the last few years). There may be a kind of musical pun going on here. Paganini’s virtuosity was such that he was rumored to be in league with the devil. But beyond that, no composer was as preoccupied with this theme as Rachmaninoff, who turned to it again and again. Here, it shows up first in the piano in the sixth variation, and it nearly takes over the piece as the brass shout it out in the final variation.

Tonight’s soloist, Melissa Marse—who, coincidentally, gave her first “official” performance of the Rhapsody under Larry’s direction several years ago—has a special affection for the theme-and-variation form. “So much in life is about the destination,” she says, “but the variation form is more about enjoying the journey.” And this journey is especially kaleidoscopic. As Melissa puts it, it’s “like spending a day at the amusement park. Just as Rachmaninoff acquaints us with a new scene or mood, it is time to move on—sometimes peacefully, at times ominously, and at other times holding on for dear life!” She also enjoys the way the Rhapsody connects to a broad range of other music—including popular music. “I may be a classical pianist,” she says, “but I am very much entrenched in 21st century pop culture, movies, and music. Therefore, I find myself constantly reinventing these variations as I play them. I hear everything from Harry Potter to Swan Lake, and while most of my past teachers would cringe with disagreement, perhaps even a bit of Barbra Streisand!” Does that connection to our time make the piece simple or superficial? Absolutely not, she says. “Through sheer virtuosity, lyricism, and pure innovation, this set of variations continues to inform and entertain both the soloist and listener. I hope you find it as fulfilling and exciting as I do!”


Peter J. Rabinowitz

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Artist Information:

Melissa Marse

Pianist Melissa Marse performs extensively worldwide and in American venues including Alice Tully Hall, Merkin Hall, Pierpont Morgan Library, Carnegie Hall, Steinway Hall, and the Gardner Museum. Her Carnegie Weill debut recital (with the Lincoln Piano trio) was presented by the late Isaac Stern in 2001. Additionally, she has been returning guest artist for CarnegieKids, and was music director, coach, and pianist for the Metropolitan Opera’s Growing Up With Opera. She collaborates with members of the New York Philharmonic, Hong Kong Philharmonic, London Symphony, Berlin Philharmonic, and Boston Symphony, and for three years has played in the Mark O’Connor Piano Trio.

Melissa is on the Steinway Artists Roster. As a soloist, she's played under the baton of conductors including James Conlon, John Debney, James DePriest, Lawrence Loh, Timothy Muffit, the late Lawrence Leighton Smith, Yuri Temirkanov, Craig Hella Johnson, and Michael Tilson Thomas. Other musicians with whom she has worked include Vladimir Feltsman, Peter Frankl, Rosanne Cash, Irma Vallecillo, Aldo Parisot, and the Tokyo String Quartet. Radio appearances include NPR’s Performance Today, WNYC, WKBH, Texas public radio, and public radio in Japan and the Slovak republic. Festival appearances include the Pacific Music Festival, Breckenridge Music Festival, Juilliard Focus Festival, Aspen Music Festival, Victoria Bach Festival, ProMusicis Foundation Concerts, and the Isaac Stern Chamber Music Workshop. Orchestra appearances include symphonies in Austin, Victoria, Fort Worth, Vancouver, Baton Rouge, and Breckenridge in addition to various film music studio orchestras in Los Angeles.

Ms. Marse was a vocal soloist for New Music New Haven, and she sings professionally with the Grammy winning ensemble Conspirare. Additionally, she is a founding artist member of America’s Dream Chamber Artists and founding Artistic director of the Houston Chamber Music Society.

Melissa was the recipient of the Certificate of Distinction for her teaching at Harvard University. In addition to adjudicating competitions and presenting master classes, past academic appointments include Texas State University, Mannes Art Song Institute, and a teaching fellowship at Yale. Most recently, she served as the head of the keyboard department at Houston Baptist University from 2006-2011.

After studying with her mother since age 2 1/2, formal musical training began at age 8 with Betty Mallard at The University of Texas at Austin, where she later obtained an undergraduate degree. Subsequently, she obtained the Master of Music in Piano from Yale University, where her teachers were Claude Frank and Boris Berman. She then pursued Professional Studies at The Juilliard School with Brian Zeger and the late Samuel Sanders before obtaining the Doctorate of Music in Collaborative Arts from New England Conservatory.

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