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Sun. Apr. 7, 2024 2p.m.

Terrace Theater

Program

  • Ying Fu, violin

  • Dayna Hepler, violin

  • Daniel Foster, viola

  • Ruth Wicker, viola

  • David Hardy, cello

  • Robert Oppelt, bass

  • Paul Cigan, clarinet

  • Lambert Orkis, piano

  • Jiyoung Oh, piano

Carlos Simon
(b. 1986)
Elegy: A Cry from the Grave
Samuel Barber
(1910–1981)
Sonata in C minor, Op. 6 for cello and piano
 

Intermission

Derek Douglas Carter
(b. 1994)
Breonna’s Lullaby*
Franz Schubert
(1906–1975)
Piano Quintet in A major, D. 667, “Trout”

*This work is part of The Cartography Project

Patrons are requested to silence cell phones and other electronic devices during performances.

The taking of photographs and the use of recording equipment are not allowed in this venue.
Program order and artists are subject to change.

Terms and Conditions

All events and artists subject to change without prior notice.

Meet the Artists

Program Notes

© 2024 Dr. Richard E Rodda

Carlos Simon: Elegy: A Cry from the Grave

Carlos Simon was named Kennedy Center Composer-in-Residence in April 2021. In January it was announced that Simon would continue in that position through the 2026-2027 season. Simon’s music was first heard at Kennedy Center in April 2018, when then Resident Composer Mason Bates included the string quartet An Elegy: A Cry from the Grave (2015), honoring the lives of shooting victims Trayvon Martin, Michael Brown, and Eric Garner, in his JFK Jukebox Series. The following year, Washington National Opera, as part of its American Opera Initiative, commissioned a one-act opera from Simon, and his Night Trip, with a libretto by Sandra Seaton, was premiered in January 2020. During his residency, Simon is composing and presenting music for the National Symphony Orchestra and Washington National Opera, acting as an ambassador for new music, and participating in educational, social impact, community engagement, and major institutional initiatives.

Samuel Barber: Sonata in C minor, Op. 6 for cello and piano

In 1924, at the tender age of fourteen, Samuel Barber entered the inaugural class enrolled at Philadelphia’s Curtis Institute of Music. He first studied piano (with Isabelle Vengerova), and in successive years added lessons in composition (Rosario Scalero), singing (Emilio de Gogorza) and conducting (Fritz Reiner), eliciting the highest praise from his instructors for his musical gifts and his keen intelligence. In 1928, after winning the Bearns Prize for his Violin Sonata, Barber began the practice of regular travel to Europe for music study and general cultural education. He usually spent the summers with his classmate Gian Carlo Menotti and the Menotti family in the village of Cadegliano on the Italian side of Lake Lugano, which Barber described in a letter to his parents: “Hidden away in mountains of extreme natural beauty, almost unpastured, and overlooking a magnificent valley with parts of three lakes, dividing new mountain-ranges which in turn form a background for the vistas of Switzerland—hidden away here, little known, not caring to be known, is this little settlement of quaint villas, of all styles, of diverse degrees of luxury.... There are exquisite formal gardens, immaculately kept.”

Derek Douglas Carter: Breonna’s Lullaby

Derek Douglas Carter, like many of today’s most gifted young musicians, is multi-talented: composer, conductor, teacher, tech guru, concert organizer, handbell ensemble director, collaborative artist. Carter was born in Long Beach in 1994 and earned a bachelor’s degree in composition and low brass instruments at Illinois State University before completing master’s degrees in composition and conducting at the University of Louisville. In addition to his original compositions, he has also collaborated with musicians, poets, directors and choreographers to create experimental pieces that “often incorporate text and speech in concert settings,” according to his web site, “as well as theatrical elements in solo and small chamber pieces. In each piece, there is a focus on the abstract, ineffable and dreamlike nature of communication, emphasizing the role of a living human performing the work as well as the musically noisy sounds they make.” Carter’s music, for solo instruments, chamber ensembles, orchestra and “electroacoustic/installation/fixed media,” has been heard across the country and in Canada and Europe. He has also worked with the Fulcrum Point New Music Project in Chicago, helped direct the Redbird Ringers Handbell Ensemble at Illinois State University, and served as manager of the Computer Music Studios at the University of Louisville.

Franz Schubert: Piano Quintet in A major, D. 667, “Trout”

Early in July 1819, Franz Schubert left the heat and dust of Vienna for a walking tour of Upper Austria with his friend, the baritone Johann Michael Vogl. The destination of the journey was Steyr, a small town in the foothills of the Austrian Alps south of Linz and some eighty miles west of Vienna, where Vogl was born and to which he returned every summer. Schubert enjoyed the venture greatly, writing home to his brother, Ferdinand, that the countryside was “inconceivably beautiful.” In Steyr, Vogl introduced the composer to the village’s chief patron of the arts, Sylvester Paumgartner, a wealthy amateur cellist and an ardent admirer of Schubert’s music. Paumgartner’s home was the site of frequent local musical events—private musical parties were held in the first floor music room as well as in a large salon upstairs, decorated with musical emblems and portraits of composers, that also housed his considerable collection of instruments and scores. Albert Stadler, in his reminiscences of Schubert, reported that Paumgartner asked the composer for a new piece for his soirées, and stipulated that the instrumentation be the same as that of Hummel’s Grande Quintour of 1802 (piano, violin, viola, cello, and bass). The work, he insisted, must also include a movement based on one of his favorite songs, Schubert’s own Die Forelle (“The Trout”) of 1817. Schubert, undoubtedly flattered, welcomed the opportunity, and started sketching the work immediately. He completed the piece soon after returning to Vienna in mid-September, and sent the score to Paumgartner as soon as it was finished. There are no further records of the “Trout” Quintet until 1829, a year after the composer’s death, when Ferdinand sold his brother’s manuscript to the publisher Josef Czerny, who promptly issued the score with this statement: “We deem it our duty to draw the musical public’s attention to this work by the unforgettable composer.”

Staff

Staff for the National Symphony Orchestra

*Kennedy Center staff who support the NSO

Administration

Executive Director Jean Davidson

Executive Assistant Sabryn McDonald

Executive Team

Vice President, Artistic Planning Nigel Boon

Director of Orchestra Personnel Karyn Garvin

Vice President of Marketing Derek A. Johnson*

Vice President, Financial Planning & Analysis Shuda Li*

Director of Finance & Administration Louise Niepoetter

Chief Development Officer Eric Stillman

Director of Music Education Warren G. Williams, III*

Artistic

Assistant Manager, Artistic Planning & Administration  Emma Biggert

Senior Producing Director Justin Ellis

Artistic Assistant Administrator Lucia Lostumbo

Artistic Assistant Nampoina Randrianarivelo

Community Engagement

Manager of Community Engagement Xavier Joseph

Development

Major Gift Officer, NSO Rebin Ali

Senior Manager, Foundation & Government Giving Selena Anguiano*

Special Events Manager Barin Boudreaux*

Assistant Manager, NSO Board & Leadership Campaigns Kate Baker

Manager, Foundation & Government Giving Lauren Breen*

Director of Operations & Stewardship, NSO Jean Campo

Director, Development Systems & Strategies Jenny Flemingloss*

Assistant Manager, Foundation & Government Giving Emiko Fukuda*

Manager, Corporate Relations Nicole Galagan*

Director, Planned Giving Matthew Gardner*

Assistant, NSO Development Helena Hadlock

Assitant Manager, NSO Individual Giving Reema Kattan

Assistant, Stewardship Jordan Lapsley*

Director, Foundation & Government Giving Maryvonne Neptune*

Senior Manager, Corporate Relations Crystal Padley*

Vice President, Corporate Engagment Ellen Palmer*

Assistant Manager, NSO Individual Giving Laney Pleasanton

Manager, NSO Individual Giving Maria Servodidio

Director, Prospect Development, Intelligence, & Analytics Kellyn Smith*

Manager, Stewardship Nora St. Arnold*

Assistant Manager, Foundation & Government Giving Lauren Walker*

Education

Manager of Music Education, Programming and Productions Emily Heckel*

Manager, Career and Development Programs Stephanie Baker*

Human Resources

Director, Total Rewards Tony Amato*

Talent Acquisition Manager Chanel Kemp*

Senior Manager, HRIS & Benefits Aushja (Shay) Mitchell*

HRIS Coordinator Lisa Motti*

Benefits Coordinator Ericka Parham*

Senior Business Partner John Sanford*

Director, HR Operations Mafona Shea*

Marketing & Advertising

Marketing Manager, NSO, Fortas, and New Music Lindsay Sheridan*

Assistant Marketing Manager, NSO, Fortas, and New MusicAbby Berman*

Senior Director, Creative and Brand StrategyScott Bushnell*

Manager, Advertising DesignFreeman Robinson*

Senior Copywriter & Assistant Manager, Advertising CommunicationsLily Maroni

Assistant Manager, Social MediaKyle Russo

Advertising Production & Special Projects Assistant ManagerElizabeth Stoltz*

Director, Sales & Ticketing ServiceDerek Younger*

Orchestra Operations & Concert Production

Assistant Manager, Orchestra Operations Brooke Bartolome

Media & OPAS Support Coordinator Joseph Benitez

Assistant Stage Manager N. Christian Bottorff

Senior Manager, Production & Operations Krysta Cihi

Production Manager Daryl Donley

Production Coordinator Abby Johnson

Stage Manager David Langrell

Public Relations

Senior Press Representative David Hsieh*

Public Relations Coordinator, Classical Kate Wyman*

Kennedy Center Executive Leadership

President, John F. Kennedy Center for the Performing ArtsDeborah F. Rutter

Vice President, Public RelationsEileen Andrews

Chief Information Officer Ralph Bellandi

Interim Vice President of Human Resources LaTa'sha M. Bowens

Senior Vice President, MarketingKimberly J. Cooper

Executive Director, National Symphony OrchestraJean Davidson

Senior Vice President, Artistic PlanningMonica Holt

Chief Financial OfficerStacey Johnson

Vice President, EducationJordan LaSalle

Vice President, Government Relations and ProtocolLaurie McKay

Senior Vice President, DevelopmentLeslie Miller

General Director, Washington National OperaTimothy O’Leary

Vice President, FacilitiesMatt Floca

Executive Vice President & General CounselAsh Zachariah

Staff for the Terrace Theater

Theater Manager Xiomara Mercado*

Head Usher Randy Howes

Production Manager Rich Ching

Master Technicians Dustin Dunsmore and Susan Kelleher

Box Office Treasurer  Ron Payne

atpamatpam

*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

iatse 868

The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.

iatse 22   iatse 772   iatse 798

The technicians at the Kennedy Center are represented by Local #22, Local #772,  and Local #798 I.A.T.S.E., AFL-CIO-CLC, the professional union of theatrical technicians.

Program

  • Ying Fu, violin

  • Dayna Hepler, violin

  • Daniel Foster, viola

  • Ruth Wicker, viola

  • David Hardy, cello

  • Robert Oppelt, bass

  • Paul Cigan, clarinet

  • Lambert Orkis, piano

  • Jiyoung Oh, piano

Carlos Simon
(b. 1986)
Elegy: A Cry from the Grave
Samuel Barber
(1910–1981)
Sonata in C minor, Op. 6 for cello and piano
 

Intermission

Derek Douglas Carter
(b. 1994)
Breonna’s Lullaby*
Franz Schubert
(1906–1975)
Piano Quintet in A major, D. 667, “Trout”

*This work is part of The Cartography Project

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