Haesue Lee and Lindsay Garritson
Lindsay Garritson, piano
July 7, 2021
Dame Myra Hess Memorial Concerts
David Schwan, host
Henri Vieuxtemps – Elegy, Op. 30 (8′)
Sergei Prokofiev; arr. Borisovsky – Selections from Romeo and Juliet (21′)
II. The street wakens
III. The young Juliet
IV. Dance of the Knights
V. Balcony Scene
Heitor Villa Lobos; trans. Primrose – Bacanas Brasileiras No. 5 (6′)
I. Aria (Cantilena): Adagio
Lili Boulanger – Nocturne (3′)
Violist Haesue Lee is the first Korean first-prize winner of the 2018 Primrose International Viola Competition. In June 2020, Haesue was invited to perform in the American Viola Society Festival along with distinguished violists Dimitri Murrath and Jennifer Stumm. She has performed as soloist with the Philadelphia Orchestra, the Prince George’s Philharmonic Orchestra, and the Ensemble 212. Haesue’s competition awards include the first prize in the 2018 Primrose International Viola Competition, 2015 Johansen International Competition, the Albert M. Greenfield Competition, Great Mountains Music Festival Concerto Competition, the New York International Music Competition, and the Alex & Buono International String Competition to play at the Weill Hall of Carnegie Hall. Furthermore, Haesue earned many awards in numerous competitions. In the 2015 Stulberg International String Competition, Haesue was awarded a Bronze medal. Haesue has participated in many festivals including the Verbier Festival Academy, Ravinia Steans Institute, the Banff Music Festival- Masterclasses for strings and winds, the Summit Music Festival, and the Great Mountains Music Festival. At the age of nine, she entered the Juilliard Pre-College Program with Toby Appel as her mentor. Since age 13, Haesue has studied with Roberto Díaz and Hsin-Yun Huang at the Curtis Institute of Music.
An award-winning performer, Lindsay has received top prizes at the Montreal International Piano Competition, USASU Bösendorfer International Piano Competition, and the Mozarteum International Chopin Competition (Salzburg). She was invited as one of thirty participants internationally to compete in the 2013 Van Cliburn International Piano Competition, and she was selected as one of six finalists worldwide for the 2014 German Piano Award in Frankfurt, Germany.
An avid chamber musician, Lindsay has performed with Ani Kavafian, Elmar Oliveira, Carter Brey, Ettore Causa, and Ian Rosenbaum, among many others. She is currently a member of the Bergonzi Piano Trio with violinist Scott Flavin and cellist Ross Harbaugh, and their first album of Beethoven and Brahms trios will be released in the summer of 2021. Since 2018, she has been a collaborative pianist for the prestigious Steans Institute at the Ravinia Festival.
Lindsay is a passionate advocate for new music, and her Carnegie Hall solo recital debut in November 2019 featured the world premiere of Carl Vine’s Piano Sonata No. 4, a work written for her. Additionally, her second solo album titled “Aphorisms: Piano Music of Carl Vine” was just released. She has also recorded the complete works for flute and piano by Samuel Zyman (Albany Records, 2020), and premiered works by composers David Ludwig, Nick Omiccioli, and Polina Nazaykinskaya.
Lindsay holds degrees from Principia College (B.A. in Music), Yale School of Music (M.M. and Artist Diploma), and the University of Miami (D.M.A.). Her piano teachers include Santiago Rodriguez, Boris Berman, Luiz de Moura Castro, Choong-Mo Kang, Zena Ilyashov, Emilio Del Rosario, the late Jane Allen, and Jennifer Lim Judd. She currently resides in Jensen Beach, Florida.
Henri Vieuxtemps (1820-1881)
Elegy, Op. 30 (1854)
The Élégy, Op. 30 for viola and piano by the Belgian composer Henry Vieuxtemps is among the works composed during his time as violinist to Tsar Nicholas I in St. Petersburg. As Vieuxtemps recalled in his autobiographical report, he had accepted the position in St. Petersburg at the urgent bidding of Marteusz Wielhorski (1794-1866), a Russian count of Polish origin. Vieuxtemps dedicated the first edition of his Élégy to the count, a patron and talented cellist who later performed publicly with Vieuxtemps as well as with Liszt, Clara Schumann and Anton Rubinstein.
-Marie Cornaz, 2014
Sergei Prokofiev (1891-1953);
arr. Vadim Borisovsky
Selections from Romeo and Juliet (1935)
With Prokofiev’s approval, the gifted Moscow-born violist Vadim Borisovsky transcribed an eight-movement suite of his ballet for viola and piano. Later, he transcribed a further five excerpts, two of which required a second viola, for a total of 13 movements for viola. Considering the complexity and orchestral lushness of Prokofiev’s original score, Borisovsky created a remarkable transcription. Prokofiev’s use of leitmotifs in the original ballet is cleverly portrayed by imaginative use of the viola’s full register, harmonics, and bowing techniques.
-Ted Wilks, 2011
Heitor Villa Lobos (1887-1959); trans. William Primrose
Aria (cantilena): Adagio from Bachianas Brasileiras No. 5 (1938)
The music of Heitor Villa-Lobos almost always reflected his two loves: Brazilian culture and the music of J. S. Bach. Born in Rio de Janiero, he was a proud Brazilian, fascinated by his country’s history and culture.The fifth suite, for solo soprano and an ensemble of eight cellos, is by far the most performed of the set. It was written in 1938 and falls in two movements, the first of which is featured on this program adapted for viola and piano by William Primrose. That “Cantilena,” as Villa-Lobos called it, begins with a vocalise for the soprano (viola), accompanied by the cello ensemble. After presenting the wordless melody, the soprano then sings a brief, declamatory setting of a poem by Ruth Corrêa that describes the moon rising in the sky. A reprise of the vocalise, now with the vocalist instructed to sing the melody “with mouth closed” brings the movement to a haunting, memorable close.
Lili Boulanger (1893-1918)
The story of Marie-Juliette Olga “Lili” Boulanger is the story of a promise unrealized, of a dazzling talent lost to tuberculosis at the age of 24. Her sister Nadia went on to a magnificent career as teacher and mentor to scores of young composers, but for Lili it came to an end before it had scarcely begun. Her output—what little there is of it—bears witness to her superb gifts. The Nocturne is amongst her earliest compositions, a lovely morceau with a distinctly Debussy-like vibe, ethereal and beguiling.
-Scott Foglesong, 2020
Don’t miss Ronaldo Rolim
next week on the
Dame Myra Hess Memorial Concerts!
Wednesday July 14, 12:15pm