Concerts of Thursday, October 11, and Saturday, October 13, 2018, at 8pm. Concerto for Violin and Orchestra No. 5 in A minor, Opus 37 (1861)

Transcription

1 Concerts of Thursday, October 11, and Saturday, October 13, 2018, at 8pm Jun Märkl, Conductor Giora Schmidt, violin Hector Berlioz ( ) Overture to Benvenuto Cellini, Opus 23 (1838) Henri Vieuxtemps ( ) Concerto for Violin and Orchestra No. 5 in A minor, Opus 37 (1861) I. Allegro non troppo; Moderato II. Adagio III. Allegro con fuoco Giora Schmidt, violin Intermission Maurice Ravel ( ) Daphnis et Chloé (1912) I. Première Partie II. Deuxième Partie III. Troisième Partie

2 Notes on the Program by Ken Meltzer Overture to Benvenuto Cellini, Opus 23 (1838) Hector Berlioz was born in La Côte-Saint-André, Isère, France, on December 11, 1803, and died in Paris, France, on March 8, The first performance of Benvenuto Cellini took place at the Opéra in Paris on September 10, 1838, with Françoise-Antoine Habeneck conducting. The Overture to Benvenuto Cellini is scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, four bassoons, four horns, four trumpets, two cornets, three trombones, tuba, timpani, bass drum, cymbals, triangle, and strings. Approximate performance time is eleven minutes. First Classical Subscription Performances: December 17-20, 1970, Sixten Ehrling, Conductor. Most Recent Classical Subscription Performances: September 7-10, 1989, Yoel Levi, Conductor. In 1833, Hector Berlioz read the autobiography of the Italian Renaissance sculptor, goldsmith, architect, writer, and musician, Benvenuto Cellini ( ). Today, Cellini is best known for his statue of Perseus ( ), on display in the Loggia dei Lanzi in Florence. As Berlioz recalled in his Memoirs: I had been greatly struck with certain episodes in the life of Benvenuto Cellini, and was so unlucky as to think they offered an interesting and dramatic subject for an opera. So I begged Léon de Wailly and Auguste Barbier the terrible poet of the Iambes to write me a libretto on the subject. It was not until 1838 that the Paris Opéra finally produced Benvenuto Cellini. The majority of the Opéra s orchestra, singers and management were confused by Berlioz s revolutionary score. In addition, Berlioz now had to face an audience that included composers and artists he had pointedly criticized in his own music reviews. Berlioz recalled that during the September 10, 1838 premiere, the Overture received exaggerated applause, and the rest was hissed with admirable energy and unanimity. It was given three times, however, after which (tenor Gilbert-Louis) Duprez threw up the part of Benvenuto, and the work disappeared from the bills, not to reappear until long afterwards Benvenuto Cellini did enjoy some revivals during Berlioz s lifetime, notably an 1852 staging in Weimar conducted by Franz Liszt. However, Benvenuto Cellini has for the most part remained on the fringes of the operatic repertoire. Later, Berlioz recalled:

3 It is fourteen years since I was thus dragged to execution at the Opéra; and on re-reading my poor score with strict impartiality, I cannot help recognizing it in a variety of ideas, and impetuous verve, and a brilliancy of musical colouring which I shall probably never again achieve, and which deserves a better fate. The Overture to Benvenuto Cellini contains in abundance the positive qualities Berlioz found in his complete score. And indeed, it has enjoyed the better fate the composer wished for his Opera, and remains a staple of the concert repertoire. The Overture begins in stunning fashion with a vaulting figure symbolic of the heroic Cellini. After a brief pause, pizzicato cellos and basses softly intone a theme sung by Pope Clement VII, who offers absolution to the sinners. This serves as accompaniment to the winds presentation of a Harlequin s Carnival serenade. After this lyrical interlude, the opening music returns in varied form. The winds present music from a duet for Cellini and his beloved Teresa. The various themes return and in a majestic coda, the brass intones Pope Clement s melody. After another brief pause, a final orchestral outburst brings the Benvenuto Cellini Overture to a rousing conclusion. Concerto for Violin and Orchestra No. 5 in A minor, Opus 37 (1861) Henri Vieuxtemps was born in Verviers, Belgium, on February 17, 1820, and died in Mustapha, Algiers, Algeria, on June 6, In addition to the solo violin, the Concerto in A minor is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. Approximate performance time is eighteen minutes. First Classical Subscription Performances: April 4-6, 1974, Kyung-Wha Chung, Violin, Michael Palmer, Conductor. Henri Vieuxtemps, one of the finest violinists of the 19 th century, was noted for his pristine technique, beautiful tone, and exemplary musicianship. The eminent Viennese critic, Eduard Hanslick, once wrote: Listening to Vieuxtemps is one of the greatest, most unqualified pleasures music has to offer. His playing is as technically infallible and masterly as it is musically noble, inspired, and compelling. I consider him the first among contemporary violinists. During his career, Vieuxtemps concertized to great acclaim throughout Europe, Russia, and the United States. Vieuxtemps made three trips to America. After the first ( ), Vieuxtemps lamented: I went there too early, I was too classical, and aside from a few connoisseurs, I could not charm and excite the Yankees except with their national theme, Yankee Doodle which made me popular. By the time of his third (and final) American visit in , Vieuxtemps found the situation much improved: I have no doubt that with time given for purification these new people

4 will become a great nation perfectly able to discern, comprehend, and assimilate great art. From 1846 to 1851, Vieuxtemps served as Solo Violinist to the Czar of Russia. Vieuxtemps taught violin at the St. Petersburg Conservatory and did much to advance the cause of chamber music performance in Russia. In 1871, Vieuxtemps became Professor of Violin at the Brussels Conservatory, a position formerly held by his great teacher, Charles de Bériot. Two years later, Vieuxtemps suffered a debilitating stroke. Still, Vieuxtemps continued to teach at the Conservatory until Among his pupils was the legendary Belgian violinist, Eugène Ysaÿe. In 1881, while in Algiers, Henri Vieuxtemps died at the age of 61. Henri Vieuxtemps composed his Concerto No. 5 for Violin and Orchestra in He originally intended the work to serve as a competition piece for the Brussels Conservatory. The Concerto became a favorite of such notable virtuosos as Henryk Wieniawski and Jascha Heifetz. The marvelous synthesis of virtuoso display, elegance, and melodic charm continues to make the Vieuxtemps Fifth Violin Concerto a welcome part of any concert program. The Concerto is in three movements, played without pause. The first (Allegro non troppo) begins with a stormy orchestral introduction, presenting the first of two central themes. The fury subsides, leading to the soloist s elaborate entrance, which incorporates the opening theme. The movement s second theme, introduced by the soloist, is a lovely, flowing melody that Vieuxtemps directs be played in an unaffected manner (semplice). The repetition of the melody by various wind instruments serves as counterpoint to the soloist s brilliant display. The opening theme dominates the ensuing orchestral tutti, as well as the return of the soloist. The movement ends with an extended solo cadenza, capped by a fortissimo orchestral proclamation. Two brief movements conclude the work. The first is a heartfelt Adagio, based upon the opening movement s second theme. The Adagio proceeds to a grand crescendo, leading directly to the concluding Allegro con fuoco, a breathtaking showpiece for the soloist. Daphnis et Chloé (1912) Maurice Ravel was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, The first performance of Daphnis et Chloé took place at the Théâtre du Châtelet in Paris on June 8, 1912, with Pierre Monteux conducting. Daphnis et Chloé is scored for two piccolos, three flutes, alto flute, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, bass drum, cymbals, snare drum, military drum, tambourine, tam-tam, xylophone,

5 crotales, castanets, wind machine, jeux de timbres à clavier, two harps, celesta, and strings. Approximate performance time is fifty minutes. First Classical Subscription Performances (complete ballet): September 20, 21 and 22, 1973, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: March 27, 28 and 29, 2008, Robert Spano Conductor. Recording: Telarc CD-80352, Yoel Levi, Conductor. In the summer of 1909, Sergey Diaghilev s spectacular Ballets Russes burst upon the Paris artistic scene. Diaghilev s brilliant and controversial productions inspired audience and critical reactions that ranged from adulation to violent rebellion. During his early years in Paris, Diaghilev made the acquaintance of several young composers with whom he would collaborate on some of his company s greatest triumphs. For example, a meeting with the young Igor Stravinsky led to premieres by the Ballets Russes of The Firebird (1910), Pétrouchka (1911), and the infamous The Rite of Spring (1913). Around that same time, Diaghilev met French composer Maurice Ravel. It was not long before Diaghilev, greatly impressed by Ravel s talent and affinity for the theater, commissioned a ballet based upon the story of Daphnis and Chloe, a pastoral romance attributed to the Greek writer, Longus (approx. 2 nd /3 rd Century AD). Choreographer Michel Fokine adapted the story for Ravel s composition. Ravel began work on Daphnis in 1910 and finished the piano score that year. However, the composer, dissatisfied with the finale, continued to make revisions. Ravel finally completed the fully-orchestrated score on April 5, 1912, just two months before the work s premiere. The preparations and rehearsals for the Daphnis premiere were fraught with tension. Ravel conceived of his score as a large fresco painting, less in keeping with antiquity than with the Greece of my dreams, which was more closely related to a Greece such as French artists had portrayed at the end of the eighteenth century. Choreographer Michel Fokine and Léon Bakst (who designed the staging and costumes) shared a more revolutionary view that contemplated modern dance movements and garish color schemes. There were also arguments between Fokine and the legendary Vaslav Nijinsky, who danced the role of Daphnis at the premiere. To further complicate matters, the members of the corps de ballet had difficulty with the rhythms of some of Ravel s dances, particularly the 5/4 setting of the Danse générale in the ballet s Third Part. The dancers finally solved that problem by constantly repeating the name of their director, which conveniently divided into five syllables SER/GEY/DIA/GHI/LEV. The first performance of Daphnis et Chloé took place in Paris at the Théâtre du Châtelet on June 8, Despite the incredible assemblage of talent (including

6 Nijinsky and Tamara Karsavina in the title roles, conductor Pierre Monteux, choreographer Fokine and designer Bakst), the lack both of sufficient rehearsal time and unanimity of artistic vision produced a rather lackluster premiere. In truth, full productions of Daphnis on the ballet stage have been rare. On the other hand, the score Ravel termed a choreographic symphony in three movements has enjoyed tremendous success in the concert hall. The Orchestral Suites Ravel fashioned from the complete work are staples of the concert repertoire particularly the Second Suite, containing the majestic Sunrise and thrilling Danse générale from the ballet s Third Part. Still, it is the complete score of Daphnis et Chloé that reveals the full genius of Ravel s ability to grip his audience with an unerring sense of color, drama, and atmosphere. The Story of Daphnis et Chloé The following synopsis of Daphnis et Chloé appears in the score: 1 st Part. A meadow at the edge of a sacred wood. In the background, hills. To the right, a grotto, at the entrance of which, hewn out of the rock, is an antique sculpture of three Nymphs. Somewhat toward the background, to the left, a large rock vaguely resembles the form of the god Pan. In the background sheep are grazing. A bright spring afternoon. When the curtain rises, the stage is empty. Introduction et Danse religieuse (Introduction and Religious Dance). Curtain. Youths and girls enter, carrying gifts for the Nymphs in baskets. Gradually the stage fills. The group bows before the altar of the Nymphs. The girls drape the pedestals with garlands. Religious Dance. In the far background, Daphnis is seen following his flock. Chloe joins him. They proceed toward the altar and disappear at a bend. Daphnis and Chloe enter at the foreground and bow down before the Nymphs. The dance ceases. Tender emotion on seeing the couple. The girls entice Daphnis and dance around him. Chloe feels the first twinges of jealousy. At that moment she is swept into the dance of the youths. The cowherd Dorcon proves to be especially bold. Daphnis in turn seems upset. General Dance. At the end of the dance, Dorcon tries to kiss Chloe. She innocently offers her cheek. But with an abrupt motion Daphnis pushes aside the cowherd and approaches Chloe affectionately. The youths intervene. They position themselves in front of Chloe and gently lead Daphnis away. One of them proposes a dance contest between Daphnis and Dorcon. A kiss from Chloe will be the victor s prize. Dorcon s grotesque dance. The group sarcastically imitates the clumsy movements of the cowherd who ends his dance in the midst of general laughter.

7 Daphnis s light and graceful dance. Everyone invites Daphnis to accept his reward. Dorcon comes forward as well but he is chased off by the group, accompanied by loud laughter. The laughter ceases at the sight of the radiant group formed by the embracing Daphnis and Chloe. The group withdraws, taking along Chloe. Daphnis remains, immobile, as if in ecstasy. Then he lies face down in the grass, his face in his hands. Lyceion enters. She notices the young shepherd, approaches, and raises his head, placing her hands over his eyes. Daphnis thinks this is a game of Chloe s. But he recognizes Lyceion and tries to pull away. Lyceion dances. As though inadvertently, she drops one of her veils. Daphnis picks it up and places it back on her shoulders. She ironically resumes her dance, which, at first more languorous, becomes steadily more animated until the end. Another veil slips to the ground, and is again retrieved by Daphnis. Veiled, she runs off mocking him, leaving the young shepherd very disturbed. Warlike sounds and war cries are heard, coming nearer. In the middleground, women run across the stage, pursued by pirates. Daphnis thinks of Chloe, perhaps in danger, and runs off to save her. Chloe hastens on in panic, seeking shelter. She throws herself before the altar of the Nymphs, beseeching their protection. A group of brigands bursts onstage, see the girl, and carry her off. Daphnis enters looking for Chloe. He discovers on the ground a sandal that she lost in the struggle. Mad with despair, he curses the deities who were unable to protect the girl, and falls swooning at the entrance of the grotto. Nocturne. An unnatural light suffuses the landscape. A little glow shines suddenly from the head of one of the statues. The Nymph comes to life and descends from her pedestal. The second Nymph. The third Nymph. They consult together and begin a slow and mysterious dance. They notice Daphnis. They bend down and dry his tears. They revive him and lead him toward the large rock. They invoke the god Pan. Gradually the form of the god is outlined. Daphnis prostrates himself in supplication. The stage goes dark. 2 nd Part. Interlude. Voices are heard from offstage, at first very distant. Distant trumpet calls. The voices come nearer. A dull glimmer. We are in the pirate camp. Very rugged seacoast. In the background, the sea. To the right and left, a view of large crags. A trireme is seen near the shore. Cypresses here and there. Pirates are seen running to and fro carrying plunder. Danse des Guerriers (Dance of the Warriors). More and more torches are brought, which finally illuminate the scene violently. Bryaxis

8 commands that the captives be brought. Chloe, her hands tied, is led in by two pirates. Bryaxis orders her to dance. Chloe s dance of supplication. She tries to flee. She is brought back violently. Despairing, she resumes her dance. Again she tries to escape. She is again brought back. She abandons herself to despair, thinking of Daphnis. Bryaxis tries to carry her off. She beseeches. The leader carries her off triumphantly. Suddenly the atmosphere seems charged with strange elements. In various places, lit by invisible hands, little flames flare up. Fantastic beings crawl or leap here and there. Satyrs appear from every side and surround the brigands. The earth opens. The fearsome shadow of Pan is outlined on the hills in the background, making a threatening gesture. Everyone flees in horror. 3 rd Part. The scene seems to dissolve. It is replaced by the landscape of the 1 st Part at the end of the night. No sound but the murmur of rivulets produced by the dew that trickles from the rocks. Daphnis is still stretched out before the grotto of the Nymphs. Gradually, the day breaks. Lever du jour (Sunrise). The songs of birds are heard. Far off, a shepherd passes with his flock. Another shepherd crosses in the background. A group of herdsmen enters looking for Daphnis and Chloe. They discover Daphnis and wake him. Anxiously he looks around for Chloe. She appears at last, surrounded by shepherdesses. They throw themselves into each other s arms. Daphnis notices Chloe s wreath. His dream was a prophetic vision. The intervention of Pan is manifest. The old shepherd Lammon explains that, if Pan has saved Chloe, it is in memory of the nymph Syrinx, whom the god once loved. Daphnis and Chloe mime the tale of Pan and Syrinx. Pantomime. Chloe plays the young nymph wandering in the meadow. Daphnis as Pan appears and declares his love. The nymph rebuffs him. The god becomes more insistent. She disappears into the reeds. In despair, he picks several stalks to form a flute and plays a melancholy air. Chloe reappears and interprets in her dance the accents of the flute. The dance becomes more animated and, in a mad whirling, Chloe falls into Daphnis s arms. Before the altar of the Nymphs, he pledges his love, offering two sheep. A group of girls enters dressed as bacchantes, shaking tambourines. Daphnis and Chloe embrace tenderly. A group of youths rushes onstage. Joyful commotion. Danse générale. (General Dance). Daphnis and Chloe. Dorcon.