Kalistos Chamber Orchestra
 exeter glasses

Philips Exeter Residency
February 17-18, 2003 
Kalistos Chamber Orchestra will be in residency giving masterclasses, joint rehearsals with student instrumentalists and giving a concert at Philips Exeter Academy.  The program will include the following pieces:

Jeffery Cotton Elegy
Ralph Vaughn Williams Five Variants of "Dives and Lazarus" for harp and string orchestra

Gabriela Frank Leyendas : An Andean Walkabout
                      mvts 4 and 6
P.I. Tchaikovsky's Souvenir de Florence

Kalistos Chamber Orchestra,

7 p.m., Phillips Church, Tan Lane in Exeter
A Gilbert Series Concert - The concert is open to the public, free of charge.

Our Next Concert
Tuesday, 18th February -featuring a joint collaboration between students of Phillips Exeter Academy and Kalistos Chamber Orchestra

This concert was on
Tuesday, February 18, 2003, 7 pm
at Phillips Church, Tan Lane on the grounds of Phillips Exeter Academy
for directions please click on the address
Tan Lane, Phillips Exeter
for more info call
800-896-7340 or email info@kalistos.org

The concert is free and open to the Public.  This concert is possible via a generous grant from the Gilbert Series

Program notes

Jeffery Cotton's Elegy  [please click for composer's own website]

Ralph Vaughan Williams
Five Variants of "Dives and Lazarus
Born at Down Ampney, 12 October 1872; Died in London, 26 August 1958

Ralph Vaughan Williams was one of England's major musical figures for over fifty years; on an international level he ranked as one of the great symphonists of the twentieth century. Vaughan Williams is one of the rare composers who never had to worry about money. Descended on his mother's side from the Darwin and Wedgwood families, he had an independent income that easily met his needs. Released from the necessity of adhering to commercial expectations he was able to pursue his own compositional path.

The inspiration for the Five Variants of "Dives and Lazarus" originated in 1893 when Vaughan Williams came across that folksong/carol in English County Songs, published by Lucy Broadwood and Fuller Maitland that same year. It was the beginning of a lifelong fascination with that tune. He used it as theme in the Festival Te Deum in F major, written for the coronation of King George VI in 1937, and did two different choral settings. He included it as one of the Twelve Traditional Christmas Carols from Herefordshire that he arranged for solo voice and piano or mixed chorus in 1920, and it is one of the Nine Carols arranged for unaccompanied male chorus in 1942.

Five Variants of "Dives and Lazarus," for strings and harp, was written at the request of Sir Adrian Boult, who was invited to present a program of British music at the New York World's Fair. Vaughan Williams composed an introduction that leads in to his own harmonization of the song. The five variations which follow are a mixture of Vaughan Williams's own creative impulse and alternate versions of the tune which he had collected himself from traditional singers. Sir Adrian Boult conducted the first performance of the new work with the New York Philharmonic on 10 June 1939. At the composer's request, Five Variants of "Dives and Lazarus" was one of the musical selections performed at his memorial service in Westminster Abbey on 19 September 1958.
Program Notes by Bruce Gbur
Copyright 2002

Gabriela Lena Frank
Leyendas: An Andean Walkabout [1999/2002] mvts 4 & 6
(excerpts originally for string quartet, arranged for string orchestra)

Leyendas: An Andean Walkabout draws inspiration from the idea of mestizaje as envisioned by the Peruvian writer José María Arguedas, whereby cultures coexist without the subjugation of one by the other. As such, this piece mixes elements from the western classical and Andean folk music traditions. "Toyos"  depicts one of the most recognizable instruments of the Andes, the panpipe.  The largest kind is the breathy toyo  which requires great stamina and lung power, and is typically played in parallel fourths.  "Tarqueada" is a forceful and fast number featuring the tarka, a heavy wooden duct flute that is blown harshly in order to split the tone.  Tarka ensembles typically play in casually tuned 4ths, 5ths, and octaves.  "Himno de Zampoñas" features a particular type of panpipe ensemble that divides up melodies through a technique known as hocketing.  The characteristic sound of the zampoña panpipe is that of a fundamental tone blown flatly so that overtones ring out on top. "Chasqui" depicts a legendary figure from the Inca times the chasqui runner, who sprinted great distances to deliver messages between towns separated from one another by the Andean peaks.  The chasqui needed to travel light.  Hence, I take artistic license to imagine his choice of instruments to be the charango, a high-pitched cousin of the guitar, and the lightweight bamboo quena flute, both of which are featured in this movement. "Canto de Velorio" portrays another well-known Andean personality, a professional crying woman known as velorio.  Hired to render funeral rituals even sadder, the velorio is accompanied here by a second velorio and an additional chorus of mourning women (coro de mujeres). The chant Dies Irae is quoted as a reflection of the velorio's penchant for blending verses from Quechua Indian folklore and western religious rites.  "Coqueteos"  is a flirtatious love song sung by gallant men known as romanceros.  As such, it is direct in its harmonic expression, bold, and festive.  The romanceros sang in harmony with one another against a backdrop of guitars which I think of as a vendaval de guitarras ("storm of guitars").
-Program notes by Gabriela Lena Frank

P.I. Tchaikovsky Souvenir de Florence Op. 70

It is interesting how some things experienced in childhood affect our perception for many years to come. Of the few things that I remember from my years at elementary school one stands out, perhaps because it proves its validity time after time. Our teacher showed us a reproduction of Leonardo da Vinci's "Mona Lisa" and said: "Now you all can move around the classroom, but keep looking at her, and you'll notice that Mona Lisa's eyes follow you wherever you go." After we had a jolly time enjoying this never-before-allowed freedom of movement during a lesson and indeed amusing ourselves with Mona Lisa's ability to "watch" us (Communist Party leaders, looking at us from the portraits on the walls, could not do that), order in the classroom was re-established, and the teacher asked us to give our own reasons and explanations for Mona Lisa's smile. Another round of jolly moments, as our interpretations were all so different. She summarized the subject with something like this: "One piece of great art makes all people feel the same, another piece of great art makes people feel a variety of emotions, but one thing is constant: great art always makes people feel."

If not for this lesson, perhaps today I would indulge myself in poking fun at some musicologists for describing Souvenir de Florence as, for instance "suffused with an atmosphere not often associated with this composer, of a calm geniality". Calm geniality? Well, perhaps indeed for some. (An old joke: Texas man, looking at Niagara Falls: "Our plumber could fix this leak in a couple of hours."). For me, this is one of the most turbulently passionate works in all music literature! Written in the winter of 1890, shortly after returning from Italy where Tchaikovsky had been working on his opera "The Queen of Spades", it was perhaps indeed intended to be a light detour from the dark drama of the opera. It did go this way, however. Tchaikovsky had complained to his brother, Modest, that he felt under great strain working on it. Yet he was very pleased with the results - until he heard it performed. Greatly dissatisfied, he completely rewrote two movements - it was at this time that the title "Souvenir de Florence" was added. Unlike "Capriccio Italien", composed some ten years earlier and full of Italian quotations, this work is decidedly Russian, with only the gorgeous bel-canto in the second movement suggesting a possible link to the title. Italy was a place where Tchaikovsky spent some of the happiest moments of his life which, perhaps, could be a key to the naming of the piece. The first performance of the revised version took place in 1892, led by the great Russian violinist and pedagogue Leopold Auer (teacher of Heifetz, Milstein and Zimbalist, among others), and had great success.

Tchaikovsky saw a great challenge in writing this work - a sextet for two violins, two violas and two cellos - in such a way as to give prominence to each voice. He succeeded magnificently. Performances of this work in string orchestra version are very common nowadays, and, strangely enough, multiplication of performing forces does not complicate, but rather helps in achieving the proper balance and allowing every voice to be heard. (There is actually a simple, albeit very technical, explanation of this phenomenon.)
-program notes by Misha Rachlevsky


Forged from the fires of musical passion, Kalistos has emerged as the newest Chamber Orchestra to beat its heart in harmonic motion.  Coalescing from many nations and backgrounds, the members bring fresh insight to traditional repertoire and a keen glance at the cutting edge.  Beyond just a musical choice for an evening, Kalistos is a force bringing energy to education and other community programs.
 Come witness the beauty and the tension.
 Come feel the energy and the passion.    
 Come join the community of Kalistos.   

bio of our musicians

Sasha Callahan
Andrew Eng
Lelia Iancovici
Adda Kridler
Nikola Takov
Viktoria Tchertchian
Shieh-Jian Tsai

Heidi Broshinsky*
Bradley Ottesen*
Dimitar Petkov

Nicole Cariglia*
Leo Eguchi
Nick Upton*

Brian Perry


Chris Younghoon Kim

*denotes guest artist


Our past concerts

May 19, 2002

September 27, 2002 

November 1, 2002

March 14, 2003

Phillips Exeter Residency
February 17-18, 2003

Dean College Concert
February 22, 2003

Bios of Musicians

Pictures to our Exeter Residency



 Origin of Kalistos:
Callisto   n.
Greek Mythology. A nymph, beloved of Zeus and hated by Hera. Hera changed her into a bear, and Zeus then placed her in the sky as the constellation Ursa Major. One of the four brightest satellites of Jupiter and the eighth in distance from the planet. Originally sighted by Galileo, it is the largest planetary satellite.
Contact Kalistos via
email: info@kalistos.org
web: http://www.kalistos.org
phone: 800.896.7340