NSC June2024 Bell Concertino for Chamber Orchestra

ELIZABETH BELL
Concertino for Chamber Orchestra (1976)
I. Ampolloso
II. Lacrimoso
III. Scorrevole
Max Lifchitz, conductor
The North/South Chamber Orchestra
JUNE 23, 2024
The American Record Guide alluded to Elizabeth Bell as “one of our country’s leading composers” while Fanfare Magazine described her as “a fine composer whose instrumental music is particularly striking.” Her works for voice, solo instruments, chamber ensembles, and orchestra have been performed throughout the US and abroad.
One of the founders of New York Women Composers, Inc., Bell also worked as music critic for the Ithaca Journal in Upstate New York and served for five years on the Board of Governors of the American Composers Alliance.
A native of Cincinnati, OH, Bell (1928-2016) graduated from Wellesley College before attending The Juilliard School where she studied with Vittorio Giannini and Peter Mennin. Her large ensemble work Spectra - written in 1990 to mark North/South Consonance’s 10th season - was awarded the Grand Prize in the 1996 Utah Composers’ Guild Competition.
The preface to the score of the Concertino for Chamber Orchestra carries the following statement by the composer:
“In 1975 I was living in Ithaca, NY where my oldest son was first cellist in his high school orchestra. Naturally I attended all his concerts, maybe a few rehearsals - anyway I had gotten to know the conductor, Robert Spear - and one day he asked me to write a piece for the orchestra. I did, and my three movement Concerto for Orchestra was born.
Having trained as a pianist, I had no experience writing for a school orchestra. Obviously, what I wrote was beyond the skills of the average high school ensemble. The piece had two performances, both somewhat painful for me to hear. (My son had graduated by then, moved on to Oberlin). So, I buried the piece in the back of some drawer and forgot about it.
During the spring of 2014, Max Lifchitz came to my studio for a visit and discovered it. He was looking to program a work of mine in the upcoming North/South season and suggested that it be re-scored for a chamber ensemble consisting of winds, strings and piano. While I was energized about this possibility I made clear I already had too much on my plate and that I wasn’t sure I could find the time to do it on such short notice. Astonishingly, he offered to transcribe the work. I have trouble explaining how good it felt to have someone make such a sacrifice of time and talent for me and my music.
The work in its new incarnation was premiered by the musicians heard on this recording on October 12, 2014. I was pleasantly surprised and honored that both the performers and the enthusiastic audience attending the event thought the music was worth the effort.”
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