NEC Chamber Orchestra: Grieg, Clyne, Dvořák
The NEC Chamber Orchestra was created to provide the students with an opportunity to apply the principals of chamber music in a small orchestral setting. The participants are chosen by audition at the beginning of the academic year and remain together throughout. As the ensemble rehearses and performs without a conductor, leadership responsibilities are rotated for every work performed. This affords the students an opportunity to develop communication skills, take responsibility for musical decisions and broaden their aural and score reading capabilities. Participation in the program also allows them to explore a wide range of the incredibly rich chamber orchestra literature.
This is an in-person event with a public live stream.
- Donald Palma, artistic director
Edvard Grieg | Holberg Suite, op. 40
Praeludium: Allegro vivace
Sarabande: Andane espressivo
Gavotte: Allegretto - Musette: Un poco più mosso
Air: Andanet religioso
Rigaudon: Allegro con brio - Trio
Grieg’s Holberg Suite was commissioned in 1884 for the celebration of the bicentennial of the birth of the “Molière of the North,” writer Ludwig Baron Holberg (1684-1754). Since Holberg was a contemporary of Bach and Handel, Grieg chose to compose his tribute in the form of a French Baroque period suite. He cast six movements in the musical forms of the 18th century and filled them with the spirit of his own time and style. A lively, optimistic Praeludium is followed by a series of dances. The Sarabande, with its peaceful, meditative mood, is followed nicely by a perky, aristocratic Gavotte. A calm, sublime, solemn Air comprises the fourth movement, and a lively folk song tribute to fiddling, a Rigaudon, makes up the last movement of the suite. Originally written for piano, Grieg quickly orchestrated the work for strings, and it is this version of what Grieg referred to as “my powdered-wig piece,” that remains a most frequently performed works for string orchestra.
Anna Clyne | Stride (2020)
Grave - Allegro di molto e con brio
Stride draws inspiration from Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, which is in three movements. I chose a few melodic, rhythmic and harmonic fragments from each movement (exhibited as an appendix to the score) and developed these in the three corresponding sections of Stride. The title is derived from the octave leaps that stride in the left hand in the first movement of Sonata Pathétique. I was immediately drawn to the driving energy of this bass movement and have used it as a tool to propel Stride.
-- Anna Clyne
Antonín Dvořák | Serenade for Strings in E Major, op. 22
Minuet: Allegro con moto - Trio
Finale: Allegro vivace
The year 1875 was extremely productive for the young Dvořák. Recently married and with a young child, a prize from the Austrian State (Brahms was one of the three jurors) afforded him the freedom to compose without financial worries. During this period he composed the String Quartet No. 2, Symphony No.5, Piano Trio No.1, Piano Quartet No.1 and his opera Vanda. In the midst of this creative outpouring he composed his Serenade for string orchestra in just eleven days in May of 1875.
The Serenade is a charming and joyful work infused with the profound happiness and optimism pervading Dvořák’s life at the time. Each of the movements has a unique character, including a lilting waltz, a playful scherzo, a passionate and lyrical larghetto and concluding with a lively folk dance in the style of those heard throughout the villages of his native Bohemia. Dvořák ties it all together by quoting themes from the previous movements and a return to very opening of the Serenade.
Cameron Alan-Lee §
Bowen Chen ‡‡
Hannah Goldstick ‡
Harin Kang §§
Hyun Ji Lee
Liyuan Xie **
Helen Yu *
Corley Friesen-Johnson *
Joy Hsieh ‡
Aadam Ibrahim §
Yuri Ahn ‡
Joan Herget *
Shannon Ross §
Double symbol for principal 2nd violin