About the Chamber Music Society of Central Virginia
About the Chamber Music Society of Central Virginia
Reading Shakespeare Our Artists Streaming during December 2020 Brandon Carter actor Brandon Carter actor James Wilson cello Filmed on location in Virginia at the American Shakespeare Center s Blackfriars Playhouse in Staunton and the Branch Museum of Architecture and Design in Richmond Brandon Carter is an American actor originally from Heathsville Virginia A Penn State and Longwood University graduate Carter has played in roles from Shakespeare to Morisseau working in major regional OffBroadway and international theatres Mr Carter is a proud member of the Actor s Equity Association and is currently a Resident Company Member at The American Shakespeare Center in Staunton Virginia James Wilson cello After Reading Shakespeare Lear Katharine Titania and Oberon Caliban Portia Why Hear st thou Music Sadly Our Minutes Hasten to their End Remembrance of Things Past Ned Rorem b 1923
Reading Shakespeare Our Artists Streaming during December 2020 Brandon Carter actor Brandon Carter actor James Wilson cello Filmed on location in Virginia at the American Shakespeare Center s Blackfriars Playhouse in Staunton and the Branch Museum of Architecture and Design in Richmond Brandon Carter is an American actor originally from Heathsville Virginia A Penn State and Longwood University graduate Carter has played in roles from Shakespeare to Morisseau working in major regional OffBroadway and international theatres Mr Carter is a proud member of the Actor s Equity Association and is currently a Resident Company Member at The American Shakespeare Center in Staunton Virginia James Wilson cello After Reading Shakespeare Lear Katharine Titania and Oberon Caliban Portia Why Hear st thou Music Sadly Our Minutes Hasten to their End Remembrance of Things Past Ned Rorem b 1923
Program Notes Written in 1980 by the esteemed American composer Ned Rorem After Reading Shakespeare is a major work for solo cello Comprised of contrasting movements of various lengths the suite is organized through the inspiration of playwright and poet William Shakespeare For each movement of the suite Rorem provides a title and a brief quote from a work from the iconic writer These can be from a dramatic monologue a sonnet and in one case a stage direction In his preface to the score Rorem writes The individual titles were not xed notions around which I framed the music they emerged as titles for non vocal pieces so often do during the composition Yes I was rereading Shakespeare yet the experience did not so much inspire the music itself as provide a cohesive program upon which the music might be formalized and thus intellectually grasped by the listener Renowned as one of the most talented and proli c writers of American art song Rorem imbues this piece with a high level of lyricism deliberately exploiting the singing nature of the cello Listening the some of the movements we can easily imagine lyrics to pair with the melodies In his preface Rorem also writes why must strings share the limelight when they can be complete in themselves Indeed as with the solo suites by Bach and Benjamin Britten this piece forms a comprehensive catalogue of what a cello can accomplish ery technique heartbreaking emotions grace and power Note today s performance includes the rst eight of this works original nine movements 1 Lear King Lear Act V Scene 3 Thou It come no more Never never never never never The dramatic scene in which the character of King Lear dies in madness and regret is brought to life in this intense and relentless piece The repeated word never is translated into music through a falling half step as in the rst two notes of the piece and the brutal repeated two note motifs heard occasionally throughout The constant repetition of musical material and fragmentation of melodies create a sense of chaos and breathlessness Even the musical instructions found throughout the piece push the player to extremes Slow like a cry Fast unrelentingly frantic Warm and rich crude again whispered 2 Katharine Henry V Act V Scene 2 We are the makers of manners Kate Katharine the docile French nanc of Henry V who speaks in broken English in the play is the titular character of this movement Brief and melodious this is a deliberate contrast from the raw emotion heard in the movement before As an instruction for the player Rorem writes Plain and cheerful
Program Notes Written in 1980 by the esteemed American composer Ned Rorem After Reading Shakespeare is a major work for solo cello Comprised of contrasting movements of various lengths the suite is organized through the inspiration of playwright and poet William Shakespeare For each movement of the suite Rorem provides a title and a brief quote from a work from the iconic writer These can be from a dramatic monologue a sonnet and in one case a stage direction In his preface to the score Rorem writes The individual titles were not xed notions around which I framed the music they emerged as titles for non vocal pieces so often do during the composition Yes I was rereading Shakespeare yet the experience did not so much inspire the music itself as provide a cohesive program upon which the music might be formalized and thus intellectually grasped by the listener Renowned as one of the most talented and proli c writers of American art song Rorem imbues this piece with a high level of lyricism deliberately exploiting the singing nature of the cello Listening the some of the movements we can easily imagine lyrics to pair with the melodies In his preface Rorem also writes why must strings share the limelight when they can be complete in themselves Indeed as with the solo suites by Bach and Benjamin Britten this piece forms a comprehensive catalogue of what a cello can accomplish ery technique heartbreaking emotions grace and power Note today s performance includes the rst eight of this works original nine movements 1 Lear King Lear Act V Scene 3 Thou It come no more Never never never never never The dramatic scene in which the character of King Lear dies in madness and regret is brought to life in this intense and relentless piece The repeated word never is translated into music through a falling half step as in the rst two notes of the piece and the brutal repeated two note motifs heard occasionally throughout The constant repetition of musical material and fragmentation of melodies create a sense of chaos and breathlessness Even the musical instructions found throughout the piece push the player to extremes Slow like a cry Fast unrelentingly frantic Warm and rich crude again whispered 2 Katharine Henry V Act V Scene 2 We are the makers of manners Kate Katharine the docile French nanc of Henry V who speaks in broken English in the play is the titular character of this movement Brief and melodious this is a deliberate contrast from the raw emotion heard in the movement before As an instruction for the player Rorem writes Plain and cheerful
Program Notes cont 3 Titania and Oberon Rorem s music is brilliantly translated into the cello with the melodious lines coursing through the instrument s low and high registers A Midsummers Night s Dream Act II Scene 1 Enter from one side Oberon with his train from the other Titania with hers This piece technically portrays the king and queen of the fairies by contrasting the two types of ways one can make sounds on the cello Oberon through plucked sounds and Titania through bowed sounds In his instructions to the player Rorem writes Like questions and answers the pizzicato always nagging hot pushing forward the arco always cool immutable removed Rorem goes a step further and requires the cellist to pluck and bow at the same time creating a dramatic scene Throughout the piece we can hear the two characteristic sounds in dialogue with one another except at the very last moments here they magically resolve and disappear capturing the fantastical world of Shakespeare s most magical play 4 Caliban The Tempest Act I Scene 2 all the charms Of Sycorax toads beetles bats light on you Caliban s bitter curse from The Tempest takes the form of a hectic disturbing piece that builds melodic fragments from single cells into complex chains Cleverly organized the piece is in the form of an inverted palindrome at a point halfway through the music is written in reverse and upside down It is a brilliant way to portray a nasty plague that descends onto the listener and then goes away 5 Portia The Merchant of Venice Act IV Scene 1 The quality of mercy is not strained It droppeth as a gentle rain from heaven Another gentle interlude after a period of intensity this piece is in a rocking 6 8 meter marked Gracefully Again the song like quality of 6 Why Hear st Thou Music Sadly Sonnet 8 Music to hear why hear st thou music sadly Marked Calm this is the slowest movement of the suite Rorem uses a continuous thread of melodic material that repeats while slyly transforming from one harmonic key to another The effect is gently emotive 7 Our Minutes Hasten to their End Sonnet 60 Like as the waves make towards the pebbled shore So do our minutes hasten to their end The relentless cruel march of time is portrayed through a perpetual stream of jittery repeated notes The melodic material is looped throughout creating wave like effects that crash and ebb Rorem requires the player to move the bow away and toward the bridge of the instrument creating extreme sounds that range from the harshly metallic to the faintly whispering 8 Remembrance of Things Past Sonnet 30 When to the sessions of sweet silent thought I summon up remembrance of things past Lyrically intense and highlighting the singing abilities of the cello this movement is a magni cent showpiece in its own right It is also quite dif cult technically utilizing a range from the lowest possible note on the cello to those at the very upper register It is a brilliant way to communicate the range of emotions found in one of Shakespeare s nest Sonnets A mix of nostalgia regret thankfulness is conveyed in this one piece
Program Notes cont 3 Titania and Oberon Rorem s music is brilliantly translated into the cello with the melodious lines coursing through the instrument s low and high registers A Midsummers Night s Dream Act II Scene 1 Enter from one side Oberon with his train from the other Titania with hers This piece technically portrays the king and queen of the fairies by contrasting the two types of ways one can make sounds on the cello Oberon through plucked sounds and Titania through bowed sounds In his instructions to the player Rorem writes Like questions and answers the pizzicato always nagging hot pushing forward the arco always cool immutable removed Rorem goes a step further and requires the cellist to pluck and bow at the same time creating a dramatic scene Throughout the piece we can hear the two characteristic sounds in dialogue with one another except at the very last moments here they magically resolve and disappear capturing the fantastical world of Shakespeare s most magical play 4 Caliban The Tempest Act I Scene 2 all the charms Of Sycorax toads beetles bats light on you Caliban s bitter curse from The Tempest takes the form of a hectic disturbing piece that builds melodic fragments from single cells into complex chains Cleverly organized the piece is in the form of an inverted palindrome at a point halfway through the music is written in reverse and upside down It is a brilliant way to portray a nasty plague that descends onto the listener and then goes away 5 Portia The Merchant of Venice Act IV Scene 1 The quality of mercy is not strained It droppeth as a gentle rain from heaven Another gentle interlude after a period of intensity this piece is in a rocking 6 8 meter marked Gracefully Again the song like quality of 6 Why Hear st Thou Music Sadly Sonnet 8 Music to hear why hear st thou music sadly Marked Calm this is the slowest movement of the suite Rorem uses a continuous thread of melodic material that repeats while slyly transforming from one harmonic key to another The effect is gently emotive 7 Our Minutes Hasten to their End Sonnet 60 Like as the waves make towards the pebbled shore So do our minutes hasten to their end The relentless cruel march of time is portrayed through a perpetual stream of jittery repeated notes The melodic material is looped throughout creating wave like effects that crash and ebb Rorem requires the player to move the bow away and toward the bridge of the instrument creating extreme sounds that range from the harshly metallic to the faintly whispering 8 Remembrance of Things Past Sonnet 30 When to the sessions of sweet silent thought I summon up remembrance of things past Lyrically intense and highlighting the singing abilities of the cello this movement is a magni cent showpiece in its own right It is also quite dif cult technically utilizing a range from the lowest possible note on the cello to those at the very upper register It is a brilliant way to communicate the range of emotions found in one of Shakespeare s nest Sonnets A mix of nostalgia regret thankfulness is conveyed in this one piece
The Chamber Music Society of Central Virginia would like to thank the following individuals and foundations who have made contributions since our 2019 20 season Starred names re ect gifts given to support our 2020 21 concert season received after the start of the current scal year July 1 2020 until December 4th 2020 Donors up to 99 Anonymous Gift Martin and Kathleen Gary David and Shin Min Block Anne Gordon Harrison Eugenia H Borum Denis G Klisz Diana Damschroder Joan Lose David Depp Patricia Parks Christine Ertell Richard Fine and Sara Ferguson Booktopics Megan Fries Laura DeLuca James Wilson Patricia Pearsall in memory of Hal Carle Patricia Parks David E Latane Brian Wilson Phyllis Entin Members 100 249 Anonymous Gift 3 Michael Kelly Phoebe F Antrim Heyn and Sandy Kjerulf Reverend Dennis A Andersen Joann King John B H Caldwell Gita Massey Robert Clewell Marion Nelson Alan W Dow II Jack and Tricia Pearsall Marilyn T Erickson Mathis Kirby Powelson Ann Franke Robert and Mary Ellen Sharon Fuller Wadsworth Beverly Geissler George Watkins Ralph and Jocelyne Graner Marsden Williams Harry Kaplowitz Yellow Cello Music Sally R Youngs Barbara Charlotte Anderson Ellen Sayles Patrons 250 499 Rick Fox and Owen Sharman Fran Freimarck Brooks and Lauren Nelson Craig Ponte Perry and Ernest Wilson Artist Sponsors 500 999 Mary Boodell and Evan Davis Rosa Bosher Peter Gilbert and Ann Reavey Elizabeth King Phyllis McCafferty Lois M Wilson Crabtree Ridgeway Foundation c o Elizabeth Lowsley Williams Michael and Molly Wray Eileen Schulman Community Engagement Sponsors 1000 2499 Coille Limited Partnership Friends of the Public Library Robert P Kyle George B Wilson Gisela John In honor of Hans Ullrich Scharnberg Concert Sponsors 2500 and up Anonymous Gift 2 Jennifer A Cable Special Thanks to The Branch Museum and American Shakespeare Center for recording space Derek Fowler of Fowler Productions and Selah Scott for audio and video recording Francis Favis and Alan Retamozo for audio video editing All of our donors and volunteers for their un ending support
The Chamber Music Society of Central Virginia would like to thank the following individuals and foundations who have made contributions since our 2019 20 season Starred names re ect gifts given to support our 2020 21 concert season received after the start of the current scal year July 1 2020 until December 4th 2020 Donors up to 99 Anonymous Gift Martin and Kathleen Gary David and Shin Min Block Anne Gordon Harrison Eugenia H Borum Denis G Klisz Diana Damschroder Joan Lose David Depp Patricia Parks Christine Ertell Richard Fine and Sara Ferguson Booktopics Megan Fries Laura DeLuca James Wilson Patricia Pearsall in memory of Hal Carle Patricia Parks David E Latane Brian Wilson Phyllis Entin Members 100 249 Anonymous Gift 3 Michael Kelly Phoebe F Antrim Heyn and Sandy Kjerulf Reverend Dennis A Andersen Joann King John B H Caldwell Gita Massey Robert Clewell Marion Nelson Alan W Dow II Jack and Tricia Pearsall Marilyn T Erickson Mathis Kirby Powelson Ann Franke Robert and Mary Ellen Sharon Fuller Wadsworth Beverly Geissler George Watkins Ralph and Jocelyne Graner Marsden Williams Harry Kaplowitz Yellow Cello Music Sally R Youngs Barbara Charlotte Anderson Ellen Sayles Patrons 250 499 Rick Fox and Owen Sharman Fran Freimarck Brooks and Lauren Nelson Craig Ponte Perry and Ernest Wilson Artist Sponsors 500 999 Mary Boodell and Evan Davis Rosa Bosher Peter Gilbert and Ann Reavey Elizabeth King Phyllis McCafferty Lois M Wilson Crabtree Ridgeway Foundation c o Elizabeth Lowsley Williams Michael and Molly Wray Eileen Schulman Community Engagement Sponsors 1000 2499 Coille Limited Partnership Friends of the Public Library Robert P Kyle George B Wilson Gisela John In honor of Hans Ullrich Scharnberg Concert Sponsors 2500 and up Anonymous Gift 2 Jennifer A Cable Special Thanks to The Branch Museum and American Shakespeare Center for recording space Derek Fowler of Fowler Productions and Selah Scott for audio and video recording Francis Favis and Alan Retamozo for audio video editing All of our donors and volunteers for their un ending support
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