AN INSIDE LOOK AT “ROMEO AND JULIET”

Romeo and Juliet – the classic tale of two star-crossed lovers whose passionate love ends in tragedy is a story of two families in a never-ending feud that has gone on for so long that neither remembers the original cause. It is also a story of youth and innocence confronted with the realities of life; and a story of sacrifice and death.

Have you ever loved some one so much that you just couldn’t imagine life without them? That you would rather take your own life, than to linger here on earth without them by your side? This is the love that Romeo and Juliet had for each other. Yes, it was young love. Perhaps in our older, wiser minds, we think they would have gotten over each other. Or we rationalize that the families would have eventually given in and allowed them to be together, but that is not how the story goes. There is no easy, happy ending for Romeo and Juliet, only tragedy and death. Yet, we are continually drawn to this story because it speaks of a love that was more powerful than death; a type of love that we all hope to have in our own lives. A love that is pure and overflowing, accepting and not judgmental.

The Romeo and Juliet plot is based on an Italian tale, translated into verse as “The Tragical History of Romeus and Juliet” by Arthur Brooke in 1562, and retold in prose in “Palace of Pleasure” by William Painter in 1582. Shakespeare borrowed heavily from both. When Shakespeare wrote his play “Romeo and Juliet” in around 1595, I doubt that he ever imagined that it would become one of the most famous plays ever written. Every child studies this work in school, and almost all of us can recite the basic plot by heart. Over the centuries, writers, artists, and composers have been inspired by this famous story and many have created their own versions.

On Saturday, March 20th, the Norwalk Symphony will explore this theme of “Romeo and Juliet”. Over the years, so many great composers have set this story to music that I found it very difficult to narrow the selections down to a length that would properly fit on a concert. In the end, I choose the three that I love: Serge Prokofiev, with his beautifully romantic ballet music for Romeo and Juliet; Tchaikovsky with his powerful Fantasy Overture Romeo and Juliet; and perhaps the most famous version – modernized and reset in New York City – Leonard Bernstein’s “West Side Story.”

During the concert we will explore the similarities and differences between the composers as they each set this story to music. Highlighted selections will include:
The Montagues and the Capulets; the famous balcony love scene; the fight scene where Tybalt dies; the staged death of Juliet; and of course, the real death of Romeo followed by the death of Juliet.

Joining us for this concert will be the famous actor Avery Brooks (he played the Captain on the television show Deep Space Nine) and the actress Gretchen Hall ( The Courtesan, Shakespeare on the Sound production) giving us highlights of the story with the music.

To capture the intense emotions of each of these scenes is a challenge for any composer, and each of the composers represented in this concert have approached it in a different way. When Prokofiev originally wrote his ballet music, there was much controversy over his music and the premiere performance was postponed. This is because he had changed the ending for story and gave it a happy ending – Romeo and Juliet were alive and dancing in the finale. He had his reasons. Mainly, he wanted a happy ending with no deaths because dead people can’t dance. Well this did not go over well with the sponsors of the concert, and so the premiere was cancelled. Later on, the original tragic ending was restored.

Tchaikovsky first approached the concept of a concert overture based upon the story of Romeo and Juliet at the suggestion of the Russian composer Balakirev. Over the years, the piece went through many revisions, many of them at the suggestion of Balakirev. The version we will play is from 1880, the third and final version. With this piece, Tchaikovsky captures the flavor of the story with his dark introduction in the bassoons and clarinets and followed by the heavenly harp passage. His love theme music is beautifully haunting and has been used in many feature films. The sword fight scenes are punctuated with sharp cymbal crashes and furiously fast runs in the strings. Even though the piece was not warmly welcomed at its premiere in 1870, it has now become a favorite of the standard repertoire.

For the final piece on the concert, we bring you a totally different look at Romeo and Juliet. Leonard Bernstein was brought into the famous “West Side Story” project by Jerome Robbins. Here is what he wrote about it in his log of projects: “Jan 6, 1949. Jerry R called today with a noble idea: a modern version of Romeo and Juliet set in the slums at the coincidence of Easter-Passover celebrations. Feelings run high between Jews and Catholics. Former: Capulets; latter: Montagues. Juliet is Jewish. Friar Laurence is a neighborhood druggist. Street brawls, double death – it all fits. But it’s all much less important than the bigger idea of making a musical that tells a tragic story in musical-comedy terms, using only musical-comedy techniques, never falling into the “operatic” trap. Can it succeed? It hasn’t yet in our country. I’m excited. If it can work – it’s the first.”

So with their music, each of these composers had different visions, different goals, and different results, in setting the story of Romeo and Juliet. I hope that you will join us as we compare and contrast these three unique approaches, Saturday, March 20, 2010, 8:00pm at the Norwalk Concert. The pre-concert talk starts at 7:00pm. For ticket information, visit www.NorwalkSymphony.org or phone: 203-847-8844.

I hope to see you at the Symphony!

by Diane Wittry
Music Director and Conductor

Norwalk Symphony Orchestra to Spearhead Food Drive in Fairfield County

Community outreach is taking on a new meaning for The Norwalk Symphony Orchestra as it joins orchestras across the nation in a food drive that will benefit food banks in each locale. Last year was the first ever national effort of this kind to be undertaken by orchestras and of the over 250 symphonies participating, from all of the 50 states, the Norwalk Symphony Orchestra raised the twelfth greatest amount of food.

The program, Orchestras Feeding America, is the second national food drive by America’s symphony orchestras. Norwalk Symphony’s musicians, staff, and volunteers will collect non-perishable food between March 14th and March 20th to benefit Norwalk’s Emergency Shelter and the Food Bank of Lower Fairfield County.

The USDA reports that in 2009, one in five Americans does not know where their next meal is coming from.

“As a non-profit the NSO is here to enhance the cultural assets of our community but also to help serve our residents in all of their needs,” said Audrey Szychulski, Executive Director of the Norwalk Symphony Orchestra. “We hope that those who can will join us by donating to the food drive or by volunteering their time to help with food collections.”

In addition to performing at Norwalk Concert Hall, Norwalk Symphony’s musicians work with local agencies, schools, and libraries in a variety of programs, including educational outreach that is multi-generational.

Foods like dry and canned soup, rice, cereal, peanut butter, tuna, stew and fruit juice are the most needed foods. Patrons who drop off food donations at the Symphony’s Office at One Park Street between 10 am to 2 pm between Monday, March 15 and Friday, March 19 prior to the Symphony’s concert at 8 pm on Saturday, March 20, will receive a 60% off coupon towards the concert. Additional drop off locations can be found on the Symphony’s website, www.norwalksymphony.org.

For more information on the food drive and a list of drop-off locations and volunteer opportunities, please visit the website, www.norwalksymphony.org, or call 203-847-8844.

About The Norwalk Symphony Orchestra
The Norwalk Symphony Orchestra is a fully professional orchestra under the leadership of Conductor Diane Wittry. Approximately 70% of our musicians live and work in Fairfield County. Many of the world's greatest emerging musicians have performed with the Orchestra and its mission of hosting talented young musicians continues today. The NSO performs in the Norwalk Concert Hall at City Hall, 125 East Avenue. For information, visit www.norwalksymphony.org.

About Orchestras Feeding America
Orchestras Feeding America is organized by the League of American Orchestras, which represents the nation’s professional, volunteer, and youth orchestras and Feeding America’s network of more than 200 food banks and 63,000 agencies.

A CONCERT OF “FIRSTS!”

As a musician, one sits in awe of the great composers, Beethoven, Mozart, Brahms, Mendelssohn, Berlioz, Debussy, Stravinsky… the list goes on and on. I remember in school when they had us write those two-line melodies and fugues, how stifled I felt in my creativity thinking. Often, I wondered, how does one compete with the past? Brahms definitely had some of the same thoughts as he struggled with the composition of his first Symphony under the daunting shadow of Beethoven’s 9th Symphony. In fact, Brahms took about 20 years to actually finish his first Symphony. Luckily, my first composition “Mist” did not take that long.

For many years, people had asked me if I composed music, and I had always told them “No.” You see, at my young age, I didn’t really feel that I had anything to say - and I certainly did not have anything to say that hadn’t already been said before. But as the years went by, and as I studied and conducted more and more pieces, I began to have musical ideas of my own. I wanted to capture emotions into sound; I wanted to make people feel and experience things; I wanted to take them on a musical journey. But that is not the real reason why I wrote my first piece “Mist”. No, you see, I needed a project idea for a proposal so that I could go to an artist’s retreat in Italy. The opportunity to spend two weeks in a beautiful villa on the Island of Elba (with a fabulous Italian cook) was the driving motivation for me to become a composer. Besides, if one could consider John Cage’s compositions as “music” then surely absolutely anything I would write would be justifiable and accepted.

So, I bought the music software program called “Sibelius;” packed up the portable keyboard and the computer. Threw in the manual for good luck and went off to Italy. Well the first day, I sat down, plugged everything in and tried to put “note” to paper. I tried and I tried. I guess it would have helped if I would have actually read the manual on how the software program worked. The notes just kept appearing in all the wrong places. Whether I tried to play them in, or carefully placed them with the mouse, I could not get the system to work properly. Luckily, I had also brought music staff paper. And so by process of elimination, I realized that I was actually an old fashion composer. Pencil to paper was my mode of operation. I found that I really enjoyed seeing the shape of the piece on the page – all those little dots and lines.

As I composed, I was amazed at how the piece took on a life of its own. I don’t really feel like I wrote the piece “Mist.” Rather, it just happened. I heard the music it in my head and then figured out how to write it down. It took me on a journey and continually surprised me when melodies came back on top of each other. Some people think it is rather surprising that I wrote for full symphony orchestra for my first composition, but I have to say that because the orchestra is “my instrument,” I hear music in my head with all the instruments clearly defined. The melodies must be played by that specific instrument and color of sound.
By now, you should be a little bit curious about what my music might sound like. Each composer usually strives for a distinctly unique sound. My unique sound is totally unplanned, and since it is my first piece, we will all have to wait and see what my style develops into. My piece “Mist” however, is haunting and reflective; a little strident and tense in the middle: and then it returns to a reminiscent calm.

The concert of the Norwalk Symphony on Saturday January 30th (8:00pm) is called “A Concert of Firsts.” We will perform the Connecticut Premiere of my first composition “Mist” followed by Pianist Andrew Armstrong’s first performance with the Norwalk Symphony, performing Mendelssohn’s First Piano Concerto. The second half of the program will feature Brahms’ First Symphony that he struggled over for so many years. I hope that for all of you that have never been to hear the Norwalk Symphony that this will be your “First” time. Enrich your life by experiencing something new, and please join us as we explore some wonderful music together. You will be glad that you did.

Diane Wittry
Music Director and Conductor

"Mist" by Wittry - A Connecticut Premier

On the island of Elba, off the coast of Italy, I composed this work as the sun was rising over the ocean in the mornings and gently sifting through the clouds against the lingering fog.

As the piece developed, it took on a shape of its own and gradually became centered around diminished chords and the interval of a tri-tone (diminished 5^th). I remember about a year ago when I was standing in an elevator at a Chicago Symphony rehearsal with Michael Tilson Thomas and some other conductors, and he asked us, “If you could become any “chord” what would it be?” Then he said he would be a flat 15^th chord. We all sort of looked at him (and at each other), not quite knowing what to say, and then we each stumbled with answers. I said, “I would be a diminished chord, because from there, you could go anywhere.” Perhaps that is why subconsciously, my piece “Mist” is centered around multiple diminished chords. I love them for their angst and for their sadness, but also for their flexibility.

My piece is very textural in nature; and yes, it does have a melody of sorts, and yet, this melody comes and goes, and is never quite grasped until the end. Portions of it are repeated and spun out creating layers of sound without the heaviness of form. It is indeed a depiction of mist, where one minute you see things and the next they are gone. As you move through the piece, you find that the trumpet is also an antagonist, creeping in with a haunting cry; a reminder of things unsettled. Throughout the piece, we are quietly searching. We search for a tonal center for stability, and also for a melody that will make us feel fulfilled. Once found, we hold them for an instant, and then like the clouds and like life itself, they are gone. We are warmed by their presence and saddened by their loss.

I hope that you will reflect upon your own memories of life’s quiet moments as we enjoy the world premiere of this new work together. “Mist” is not a piece to be analyzed, but rather a piece to be experienced and absorbed. As you listen, release your mind, embrace your emotions, close your eyes, and allow the mist to creep in.

Diane Wittry

Music Director and Conductor

Program Notes for Handel's Messiah by Arthur Bradford Shippee - A Sneek Peak!

Among the greatest composers of opera and of sacred music, G. F. Handel, 1685-1759, is unsurpassed as a master of both. Handel's is a psychological genius, and we have come to appreciate this better of the operas and oratorios lately, as we have long appreciated it of Messiah. Messiah was an immediate success at its Dublin premiere, 1742, and by 1750 it became a standard in London. Fittingly, Handel last conducted Messiah a week before he died.

Since Handel's music dwells on the words, it is worth pondering Charles Jennens' unusual text. Messiah is mostly about a story, but it doesn't narrate the story. Instead, assuming we know the story, it provides biblical texts that interpret the elements of the narrative to us. A literary critic would call it a "meta-text," not recounting the story, but shaping how we think and feel about the story as we recount it in our minds. This is accomplished through texts drawn predominantly from the Old Testament, especially Isaiah and the Psalms; only three passages from the Gospels are used, which I note below.

The story is about God's overcoming humanity's alienation and sin. Part I is about the promise of salvation, in the prophets and in Christ's mission, and Part II is about its fulfillment, in the victories of Christ and of the church; Part III is about salvation itself. Subject to the work of generations of interpreters, the texts in Messiah are given by Jennens a Christian and national cast, reflecting 18th century Anglican theology. Messiah and Christ both mean the anointed, who is either a priest or a vassal king of the Lord. Jesus as the Lord's anointed was seen as both, sent to purify the priestly sons of Levi and to be the Prince of peace on whose shoulders the government will rest. In Parts I and II, it is all the nations of the world who are in darkness and to whom God comes to restore the light of order and right governance.

In Part I, numbers 1-12 begin with the promise to reform the land and people and to reveal to all flesh the glory of the Lord, renewing the covenant. This will be frightening, however, like a refiner's fire, but it will purify the religion, allowing the sons of Levi to make offerings in righteousness, 6-7. The renewal is effected through the virgin's son, called Emmanuel, i.e., God with us. It is good tidings to Zion to behold the glory of the Lord rising like the sun. Formerly, all Israel and the Gentiles had walked in darkness, 10-11, but now they see a great light, for unto them a Child is born, 12, the Prince of peace.

The second half of Part I, 13-21, beginning with their piping, the Pifa, tells how the shepherds hear the angelic chorus, Glory to God, 14-17 (Luke 2:8-14), and, touching only briefly on his life, how Jesus invites the heavy-laden to come to him, for his yoke is easy, 20-21 (Matthew 11:28-30). Between them is the prophetic assurance, 18, to the collective Daughter of Zion that the King comes who will speak peace unto the Gentiles.

Moving from promise to fulfillment, Part II begins with a Passion meditation, 22-30, on the meaning and sad progress of the Crucifixion. In this new Passover, the Lamb of God (John 1:29) becomes a sacrifice for sin, 22, as he has borne our griefs, 23, and healed us by his stripes, 25, according to the Suffering Servant passages of Isaiah 53. This was, however, done for a people, all who, like sheep, were gone astray, 26, a chorus whose happy character and skipping musical lines themselves stray from the surrounding somber mood, reflecting their ignorance of the truth, for the people could not understand the means by which and purpose for which Christ trusted in God to deliver, 28. But the sacrifice is made and its vindication in the Resurrection and Ascension is celebrated, 33-35.

Part II also tells of the spread of Christianity and the gospel of peace; but this is first met with persecutions, as the nations rage against it, 40. Yet God breaks their power, establishing a Christian realm reflecting God's heavenly world. To this Handel's countrymen responded, Hallelujah, as God shall reign for ever as King of kings, 44. This chorus and the last chorus, Worthy is the Lamb, 53, are both settings of texts from the Revelation to John, the last book of the New Testament.

Parts I and II interpret the sacred history of God's commonwealth; Part III recounts the process of personal salvation. For the first time, the individual's voice speaks: I know that my Redeemer liveth, 45. 46 presents Paul's idea that as the first Adam's sin brought death into human nature, so the New Adam must take death away in his humanity. When the Last Trumpet sounds, all the elect will don incorruptibility, 47-48. For so great a gift, a final chorus of gratitude is raised, 53, that worthy is the Lamb who was slain, to receive honor, glory, and blessing. Amen.

Arthur Bradford Shippee

Program notes for Handel's Messiah by Aurthur Shippee, c2009, for Norwalk Symphony Orchestra and Mendelssohn Choir Performance, December 2009.

IT’S THAT TIME OF YEAR! - "Messiah"

It is a tradition in the United States that you can’t think of the holiday season without thinking of the “Messiah” Oratorio by George Frederic Handel. When this piece was originally performed, it wasn’t really associated with this time of year, but rather with fund-raisers and benefit concerts for charities. The first performances actually took place in April and June of 1742, not in December. The subject matter was quite controversial at that time because it was a religious text that was being used for a theatre performance. The saving grace was that it was usually performed for a charity. When it was first performed in London for the Foundling Hospital, a charity devoted to the care of orphaned young children, it really caught on. After that, it was performed every year as a very successful benefit for the hospital until shortly before Handel died.

The “Messiah” was written very quickly in the span of about 3 weeks (24 days). In its original form it is about 265 pages of music. That is a lot of music to write by hand that quickly. It was a piece that was continually changing and evolving because Handel wrote different arias for many of the performances depending upon who was going to be singing and what their strengths were.

The work is divided into three parts: 1) The Old Testament – Prophecy of the birth; 2) The Passion, with the story of Christ; and 3) the second coming, judgment day, and Revelations. It is rare now to hear all three parts at one time because it makes for a rather long concert (over three hours). Usually, a group will select the most favorite sections, always including the famous “Hallelujah Chorus”. Even today, the entire audience stands when they hear this chorus, based upon that rumor that when the Messiah was first performed for the King of England, he stood up when he heard this rousing melody. At that time, when the King stood, so must everyone else. Now, this tradition of standing is rather convenient because it becomes a little like the 7th inning stretch where everyone gets to move their legs a bit after sitting for a while, sort of like in church, where you always stand up for each of the hymns.

One of the best things about the “Messiah” is that everyone knows it. We know the text, because it is drawn from familiar passages of the bible. We know the melodies because they have been sung by choirs for decades. They have been used as the accompaniment for commercials; they show up in movies; and they are quite memorable unto themselves. Because of this, we have established a national tradition that the holiday season can’t really start unless you have attended at least one Messiah performance.

That being said, I am giving you a wonder opportunity to start your holiday season by attending the “Messiah” performance of the Norwalk Symphony and the Mendelssohn Choir of Connecticut on Saturday, December 19, at 8:00 at the Norwalk Concert Hall (125 East Ave). Come early at 7:00 and you will have a chance to meet all of the wonderful soloists and to ask them questions during the informal pre-concert talk. Our “Messiah” is rousing and powerful. You won’t want to miss this chance to really get “into the holiday spirit”. I hope to see you there!

Diane Wittry
Music Director and Conductor

Help Us as We Celebrate Our 70th Anniversary

The new NSO Blog will focus mainly on the artistic aspects and insights of our organization. As NSO's new Executive Director I will happily leave the artistic aspects to Diane and contently focus on the administrative needs of all of NSO's programs. But, to me donations have a huge impact on what is artistically possible for our organization and, like all of you, I am excited to see what our 70th season will bring.

We'd like to think that we aren't growing older; we are growing wiser. In our wisdom we are focusing on community engaging programs, on how we add to the lives of those in Fairfield County, on how we can accomplish our mission better... The Mission of the Norwalk Symphony Orchestra is to provide friends with the opportunity to explore and discover the joys of orchestral music in an informal fashion. To us that means being accessible. NSO's goal is to offer something to every member of our community. We wish to be the modern orchestra; a place were people gather for exceptional music but also a place where people celebrate, were they create and enhance friendships, enjoy family time together, excitedly talk of future possibilities, an organization that connects in various ways to those who attend, and an organization who listens as our community tells us what is needed and where they are going with us.

And to do all of this we need your support as we celebrate our landmark anniversary and our rebirth in our community.

What does "Share the Sound!" really mean? It is about being a part of something great. It is about taking action in an organization you believe in and cherish. It is about spreading the word and continuing to show your support. It is about knowing you are valued and an active participant, not just a passive listener.

Non-profit organizations exist because of financial support and also because of hard work and committed, active donors and patrons. Your involvement is what makes our organization special and possible. It is why we are able to attract a renowned conductor, why we have so many committed musicians, give so many educational experiences to the residents of our area, why so many people attend our concerts... You can help us not only by making a donation yourself but by telling your friends about our valued organization and encouraging them to become involved.

Your generosity and participation helps deliver powerful and vibrant Symphony programs and ensures an enduring tradition of artistic excellence on stage and off in our community. We recognize and appreciate the many contributions made to the Norwalk Symphony Orchestra each year.

Please feel free to contact the Symphony Office at (203) 847-8844 or info@norwalksymphony.org if you have questions about donations or any of our fine programs.

Thank you in advance for your generous support!

Audrey J. Szychulski
Executive Director