Concerts of Thursday, February 14, and Saturday, February 16, 2019, at 8p. Concerto for Piano and Orchestra No. 3 in D minor, Opus 30 (1909)

Transcription

1 Concerts of Thursday, February 14, and Saturday, February 16, 2019, at 8p Stephen Mulligan, Conductor Nikolai Lugansky, piano Jean Sibelius ( ) Symphony No. 1 in E minor, Opus 39 (1899) I. Andante, ma non troppo; Allegro energico II. Andante (ma non troppo lento) III. Scherzo. Allegro IV. Finale (Quasi una Fantasia). Andante; Allegro molto Intermission Sergei Rachmaninov ( ) Concerto for Piano and Orchestra No. 3 in D minor, Opus 30 (1909) I. Allegro ma non tanto II. Intermezzo. Adagio III. Finale. Alla breve Nikolai Lugansky, piano

2 Notes on the Program by Ken Meltzer Symphony No. 1 in E minor, Opus 39 (1899) Jean Sibelius was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää, Finland, on September 20, The first performance of the Symphony No. 1 took place in Helsinki, Finland, on April 26, 1899, with the composer conducting the Helsinki Philharmonic. The Symphony No. 1 is scored for two piccolos, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, triangle, harp, and strings. Approximate performance time is thirty-nine minutes. First Classical Subscription Performance: December 15, 1953, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: January 21-23, 2010, Robert Spano, Conductor. Recording: Yoel Levi, Conductor (Telarc CD-80246) Disappear into the crowd In February 1898, Finnish composer Jean Sibelius and his wife, Aino, journeyed to Berlin. As Sibelius later commented: I wished to hear what new things were being performed out there in the wider world, and in any case I had a lot of plans that I wanted to think about in peace and quiet. My previous trips abroad had taught me that spending time in large cities did wonders for my creative powers. Living in a great metropolis has always meant the same to me as living in the middle of the Sahara. Disappear into the crowd and you can concentrate entirely on yourself. Perhaps one of the plans Sibelius had in mind for that Berlin visit was the composition of his First Symphony. Shortly prior to his departure from Helsinki for Berlin, Sibelius sketched this description of a programmatic symphony: Musical Dialogue: (I) The wind blows cold, cold weather from the lake, motto for the first movement of the symphony. (II) Heine. (The north s fir dreams of the southern palm). (III) A Winter s Tale. (IV) Jorma s Heaven. Further inspiration for a symphonic composition occurred when, in March, Sibelius heard a Berlin performance of the pathbreaking Symphonie fantastique (1830), by French composer Hector Berlioz. After the concert, Sibelius made the following entry in his notebook: Heard the Symphonie Fantastique. O Santa inspirazione! O Santa dea! Toward the end of April, Sibelius began composition of his First Symphony. On April 27, Sibelius wrote to his wife (who had since returned to Finland), I have

3 now worked for three days. It has been wonderful. I'm working on the new thing, alla sinfonia. Sibelius wrote the following single-word query above one of the early sketches of themes for the Symphony No. 1: Berlioz? Another manner of thought, another way of living In June of 1898, Sibelius returned to Finland. There, he continued work on his First Symphony, completing it in early The premiere of the Symphony No. 1 took place in Helsinki on April 26, 1899, with Sibelius leading the Helsinki Philharmonic. This premiere came shortly after the momentous imperial decree of 1899, imposing Russia s stronghold over Finland. In response to that decree, Sibelius composed his orchestral tone poem, Finlandia (1899), depicting his country s victory over Russian oppression. Unlike Finlandia, the First Symphony is not overtly programmatic. Still, the work did serve Finland s patriotic cause. In 1900, Finnish conductor Robert Kajanus and the Helsinki Philharmonic began their first European tour. It encompassed several major cities, including Paris, where the World Exhibition was in progress. The artists hoped that by showcasing Finland s rich artistic heritage, they would rally support for their political cause. The Helsinki Philharmonic concerts featured several works by Sibelius, including Finlandia (called La Patrie, in order to avoid the wrath of Russian censorship), and the Symphony No. 1. Sibelius accompanied the performers on the tour and even, on occasion, conducted the orchestra. Besides Hector Berlioz, other symphonic composers Sibelius greatly admired included Alexander Borodin and Anton Bruckner. Speaking of the latter in 1891, Sibelius commented, In my opinion he is the greatest living composer. Sibelius had also been greatly moved by Helsinki performances of Peter Ilyich Tchaikovsky's valedictory Pathétique Symphony (1893). The year after the premiere of his First Symphony, Sibelius acknowledged, I do know that there is much in (Tchaikovsky) that I also have. Later however, Sibelius argued, I cannot understand why my symphonies are so often compared with Tchaikovsky s. His symphonies are very human, but they represent the soft part of human nature. Mine are the hard ones. Despite whatever musical influences Sibelius may have considered in the composition of his First Symphony, it is a work very much his own. The Symphony s brooding melancholy, explosive drama, and stark orchestration already reflect the Finnish master s unique voice. Six years after the Symphony s premiere, the eminent British music critic Ernest Newman was moved to comment: I have never listened to any music that took me away so completely from our usual Western life, and transported me into a quite new civilization. Every page of (the First Symphony) breathes another manner of thought, another way of living, even another landscape and seascape than ours. Musical Analysis

4 I. Andante, ma non troppo; Allegro energico Over the hushed, ominous roll of the timpani, a solo clarinet plays a haunting, espressivo, melody (Andante, ma non troppo). The timpani becomes silent, and the clarinet becomes a solitary voice. Suddenly, over a repeated string figure, the first violins, playing in octaves, introduce the vibrant principal theme (Allegro energico), soon played in heroic fashion by the orchestra. The strings and harp accompany the flutes as they introduce a more playful motif. The woodwinds echo a third, tranquillo theme. After a vibrant development, the orchestra launches the recapitulation with a glorious fortissimo statement of the principal Allegro theme. Imposing brass fanfares and two pizzicato chords cap the energetic coda. II. Andante (ma non troppo lento) Muted first violins and cellos, accompanied by the harp, French horns, and double basses, introduce the flowing principal melody. This melody develops with increasing passion, but a repetition by the solo cello returns to the subdued mood of the opening. A central, pastoral episode (Molto tranquillo) opens with a passage for horns, undulating strings, and harp. The opening theme returns, now in a more ominous guise. A forceful, scherzo-like episode leads to a final reprise of the opening melody. III. Scherzo. Allegro The Scherzo opens with a repeated pizzicato figure in the violas and cellos. This accompanies the Scherzo s principal motif, an insistent, seven-note figure, first played by the timpani. The figure journeys throughout the orchestra, as the Scherzo generates impressive momentum. A Lento interlude provides brief repose, but a descending figure heralds the vigorous reprise of the Scherzo and the movement s abrupt conclusion. IV. Finale (Quasi una Fantasia). Andante; Allegro molto The strings (save the double-basses), reinforced by the horns and trombones, offer a broad, passionate restatement of the clarinet solo that launched the Symphony. The echo of this melody by the winds leads to the introduction of the agitated Allegro molto episode. The Finale s second major episode is a gorgeous violin melody, paced at a slower Andante assai, and marked cantabile ed espressivo. A varied reprise of the two central episodes builds to resplendent statement of the cantabile ed espressivo melody. The Symphony concludes with a stirring coda and (as in the first movement) two pizzicato chords. Concerto for Piano and Orchestra No. 3 in D minor, Opus 30 (1909) Sergei Rachmaninov was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, The first performance of the Third Piano Concerto took place at the New Theater in New York City on November 28, 1909, with the composer as soloist, and Walter Damrosch conducting the Symphony Society of New York. In addition to the solo piano, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, suspended cymbals, snare drum, and strings. Approximate performance time is forty-two minutes.

5 First Classical Subscription Performance: October 30, 1951, Thomas Brockman, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: September 22 and 24, 2016, Garrick Ohlsson, Piano, Robert Spano, Conductor. Recording: ASO Media CD-1003, Garrick Ohlsson, Piano, Robert Spano, Conductor. I ll be able to buy myself that automobile In the summer of 1909, Sergei Rachmaninov received an invitation to make his first concert tour of the United States. The Russian pianist/composer/conductor had grave misgivings about leaving his family and homeland for such an extended period of time. However, considerations of a decidedly non-musical nature seemed to provide some consolation. According to biographer Oskar von Riesemann, in the early part of the twentieth century Rachmaninov developed a passion for motorcars: While in the country he frequently made long or short expeditions These journeys were his greatest recreation, and never tired him; he invariably returned happy and refreshed and in the best of tempers. As he said himself, it was only when driving the car that he could get away from the musical visions which constantly pursued him. Rachmaninov considered the generous fees he would earn during the American tour, and finally accepted. As he confessed to his friend, Nikita Morozov: I don t want to go. But then perhaps after America I ll be able to buy myself that automobile It may not be so bad after all! The American concert tour featured Rachmaninov as both pianist and conductor in performances of his compositions. During the summer of 1909, Rachmaninov authored a new work to be premiered during that tour his Third Piano Concerto. Rachmaninov composed the D-minor Concerto while vacationing at his retreat in Ivanovka, located some 300 miles south of Moscow. In October of that year, Rachmaninov began his voyage to the United States. The composer later recalled: As during the previous summer I had not found much time for practicing and was not familiar enough with some passages, I took a dumb piano (i.e., silent keyboard) on the boat with me and practiced during the journey. I believe it is the only time that I have resorted to this mechanical toy, which, however, at the time proved very useful. Rachmaninov and Mahler

6 On November 28, 1909, at the New Theater in New York City, Rachmaninov appeared as soloist in the world premiere of his Third Piano Concerto. Walter Damrosch conducted the Symphony Society of New York. On January 16, 1910, an historic collaboration took place at Carnegie Hall, when Rachmaninov again performed his Third Piano Concerto this time with the New York Philharmonic. The conductor was the Orchestra s Music Director, the great Austrian composer Gustav Mahler. Rachmaninov deemed Mahler: the only conductor whom I considered worthy to be classed with (Arthur) Nikisch. He touched my composer s heart straight away by devoting himself to my Concerto until the accompaniment, which is rather complicated, had been practiced to the point of perfection, although he had already gone through another long rehearsal. According to Mahler, every detail of the score was important an attitude which is unfortunately rare amongst conductors. The rehearsal began at ten o clock. I was to join it at eleven, and arrived in good time. But we did not begin to work until twelve, when there was only a half hour left, during which I did my utmost to play through a composition that usually lasts thirty-six minutes. We played and played Half an hour was long passed, but Mahler did not pay the slightest attention to this fact Forty-five minutes later Mahler announced: Now we will repeat the first movement. My heart froze within me. I expected a dreadful row, or at least a heated protest from the orchestra. This would certainly have happened in any other orchestra, but here I did not notice a single sign of displeasure. The musicians played the first movement with a keen or perhaps even closer appreciation than the previous time. At last we had finished. I went up to the conductor s desk, and together we examined the score. The musicians in the back seats began quietly to pack up their instruments and disappear. Mahler blew up: What is the meaning of this? The leader (i.e., concertmaster): It is half-past one, Master. That makes no difference! As long as I am sitting, no musician has a right to get up! The talent and industry of Rachmaninov, Mahler, and the orchestra produced a sterling performance of the new Concerto. As the New York Herald reported the following day:

7 The impression made at the earlier performances of the essential dignity and beauty of the music and the composer s playing was deepened, and the audience was quite as enthusiastic in its expression of appreciation as at the performance at The New Theater on 28 November last and at the Carnegie Hall two days later. Then, the New York Herald critic offered this prophetic commentary about the Rachmaninov Third: The work grows in impressiveness upon acquaintance and will doubtless rank among the most interesting piano concertos of recent years, although its great length and extreme difficulties bar it from performances by any but pianists of exceptional technical powers. We re fortunate that there have been many superb artists willing to confront the phenomenal technical demands imposed by Rachmaninov, one of the greatest virtuoso pianists. When the hurdles are overcome, the Rachmaninov Third emerges as a summit of the Romantic piano concerto repertoire a masterful fusion of virtuoso pyrotechnics, unforgettable melody, and lush orchestration. Musical Analysis I. Allegro ma non tanto After two bars of orchestral introduction, the soloist enters with the undulating principal melody, scored in octaves, with each hand playing a single note. The soloist s lightning-quick passagework serves to accompany the orchestra s restatement of the theme. A brief unaccompanied episode for the soloist leads to a broader presentation of the opening theme. Fanfares herald the second theme, soon played in its complete form by the soloist. The development section begins in much the same manner as the opening of the movement, but soon ventures into flights of stunning display for the soloist. An extended, fully-composed cadenza for the pianist also briefly incorporates the solo flute, oboe, clarinet, and horn. Instead of the traditional full recapitulation, the movement closes with a restatement of the opening melody and a brief reminiscence of the second theme. II. Intermezzo. Adagio The Intermezzo begins with an extended, somber orchestral introduction whose central theme initially played by a solo oboe bears a kinship to a portion of the principal melody of the opening Allegro. The soloist enters with rhapsodic variants of the theme. A contrasting, vivacious passage features yet another transformation of the opening movement s principal melody, now played by a solo clarinet and bassoon. After a brief reprise of the opening portion of the Intermezzo, the soloist launches a dramatic passage. This serves as the bridge to the Finale, which follows without pause.

8 III. Finale. Alla breve The soloist presents the fanfare-like opening theme, derived from the introductory measures of the first movement. A series of syncopated chords by the soloist develops into the flowing second theme. Two subsequent episodes a breezy Scherzando and more reflective Lento present echoes of the opening Allegro. A varied reprise of the Finale s first section leads to the grand resolution of the Concerto a glorious declaration of the second theme, capped by a dazzling cascade by the soloist.