The Broadway Presbyterian Church
Music Director Mike Tietz leads the orchestra with violin prodigy Yaegy Park in music of Bach, Beethoven, Milhaud and Poulenc.
Guest conductor Diane Wittry returns with music of Strauss, Brahms and a work of her own.
To view this protected post, enter the password below:
Music of Brahms and Dvorak, returning special guests Diane Wittry and Maxine Neuman, and more. October 25, 2015, February 7, 2016 and May 1, 2016.
The Borough President of Manhattan proclaimed last Sunday as “Broadway Bach Ensemble Appreciation Day,” in honor of our 30th anniversary.
At intermission of our Spring, 2015, concert, original orchestra member Paula Washington spoke of her long friendship with Mike Tietz, the group’s founder; and violist Nancy Dunetz presented him with a framed Proclamation.
Here are a few photos.
Tuesday June 3, 2014 at 7:30pm, The Broadway Bach Ensemble presents a free summer concert of chamber music, featuring musicians from the orchestra.
Ludwig van Beethoven: Piano Trio Op. 1 No. 3
1st Movement: Allegro con Brio
Sylvia Rubin, Violin
Ann Taylor, ‘Cello
Alison Brewster Franzetti, Piano
Wolfgang Amadeus Mozart: Clarinet Quintet K581
1st Movement: Allegro
Robert Snyder, Clarinet
David Obelkevich, Violin I
Harriet Levine, Violin II
Susan Borbay, Viola
Lenny Mims, ‘Cello
Gordon Jacob: Miniature Suite for for Clarinet and Viola
1. March. Alla marcia, giocoso
2. Berceuse. Andante tranquillo
3. Minuet and Trio. Grazioso, poco meno mosso
4. Fugue. Allegro molto
Paula Washington, Viola
Aaron Abramovitz, Clarinet
Felix Mendelssohn: Piano Trio in C minor, Op. 66
1st Movement: Allegro energico e con fuoco
Guy Kettelhack, Violin
Mike Tietz, ‘Cello
Arlene Hajinlian, Piano
Gioacchino Rossini: Quartet for Flute, Violin, Viola and Violoncello No. 1 in G Major
3. Rondo Allegro
David Rosen, Flute
Nina Basescu, Violin
Nancy Dunetz, Viola
Lenny Mims, ‘Cello
Eduard Franck (1817-1893): String Sextet #1 in Eb Major, Op. 41
1st Movement: Allegro
Arun Ravi, Violin I
Louise Moed,Violin II
Tom Frenkel, Viola I
Daniel Hyman,Viola II
Kurt Behnke, ‘Cello
Morton Cohn – Bass
Wolfgang Amadeus Mozart: Ave Verum Corpus
Tom Flaherty: A ‘Cellist’s Variations on Home on the Range
‘Cello Quartet: “A Consonance of ‘Cellos”
The violin concerto was Barber’s first significant commissioned work. Barber began composing the concerto in 1939 while on a trip to Switzerland. Upon the outbreak of World War II, he returned to the United States and completed the concerto later that year. The concerto was premiered by Albert Spalding with the Philadelphia Orchestra in 1941. Ever since then, it has been a staple of the violin concerto repertoire.
Barber provided these program notes for the premiere performance:
The first movement — allegro molto moderato — begins with a lyrical first subject announced at once by the solo violin, without any orchestral introduction. This movement as a whole has perhaps more the character of a sonata than concerto form. The second movement — andante sostenuto — is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody of the beginning. The last movement, a perpetuum mobile, exploits the more brilliant and virtuosic character of the violin.
Béla Bartók (1881-1945) completed the sketches for his viola concerto shortly before his death in New York from leukemia in 1945. He had been commissioned to write the concerto by William Primrose, the great Scottish violist. Bartók wrote to Primrose shortly before his death that the concerto had been fully sketched out and only required a few weeks to be orchestrated, but he died before this work could be completed. At the request of the Bartók family, it fell to Tibor Serly, Bartók’s close friend and colleague, to write the orchestrations and finalize the concerto for publication. It took four years for Serly to finish this task, owing largely to the fragmentary nature of Bartók’s sketches, which were written on 13 unordered pieces of paper. The concerto was premiered by Primrose in 1949. While a number of subsequent revisions have been done (including one by Peter Bartók, the composer’s son), the original Serly version has remained a beloved staple of the viola literature ever since.
The concerto has three movements, played without a break. The opening Moderato begins with a lyrical four-bar theme in the solo viola, accompanied by ‘cello and bass. The theme is taken up by the winds in turn, and appears several times in the course of the movement. A contrasting triplet-based theme appears twice, accompanied by syncopations in the orchestra.
A short declamatory section (lento parlando) and a bassoon solo serve as a bridge to the short second movement. Titled adagio religioso, it is a quiet sustained slow movement, with a short agitated middle section featuring woodwind trills. A sudden solo viola accelerando brings us to a lively allegretto, punctuated by horns and timpani.
The rollicking last movement is based on a Rumanian Scottish-influenced melody appearing in contrast. Brilliant viola bring this work to a satisfying conclusion.