2016/17 SEASON CLASSICAL SERIES

Transcription

1 2016/17 SEASON CLASSICAL SERIES ELATION and REFORMATION: SAINT-SAËNS plus MENDELSSOHN Friday and Saturday, February 10-11, 2017 at 8 p.m. Sunday, February 12, 2017 at 2 p.m. Helzberg Hall, Kauffman Center for the Performing Arts JUN MÄRKL, guest conductor NAREK HAKHNAZARYAN, cello WEBERN Passacaglia, op. 1 DEBUSSY/HOLLOWAY En blanc et noir I. Avec emportement II. Lent et sombre III. Scherzando SAINT-SAËNS Concerto No. 1 in A Minor for Cello and Orchestra, op. 33 In one movement NAREK HAKHNAZARYAN, cello INTERMISSION MENDELSSOHN Symphony No. 5 in D Major, op. 107, Reformation I. Andante - Allegro con fuoco II. Allegro vivace III. Andante IV. Chorale: Andante con moto - Allegro vivace The 2016/17 season is generously sponsored by SHIRLEY and BARNETT C. HELZBERG, JR. The Classical Series is sponsored by Additional support provided by Podcast available at kcsymphony.org KANSAS CITY SYMPHONY 43

2 PROGRAM NOTES by Ken Meltzer A passacaglia is a series of variations over a repeated bass figure, introduced in Webern s opus 1 at the outset by pizzicato strings. ANTON WEBERN ( ) Passacaglia, op. 1 (1908) 11 minutes Piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, tam-tam, triangle and strings. Webern composed Passacaglia in 1908, toward the close of his four years of study with Arnold Schoenberg in Vienna. Thanks in part to Schoenberg s tutelage, Webern would, over time, achieve a minimalist style of extraordinary concentration. The totality of Webern s published works consisting of hundreds of chamber, orchestral and vocal compositions is approximately three hours duration. While the Passacaglia s journey takes place over a (comparatively) much broader time span, Webern s mastery of atmosphere and orchestral timbres is already in evidence. A passacaglia is a series of variations over a repeated bass figure, here introduced at the start by pizzicato strings. The variations explore an extraordinarily wide range of color and moods before resolving to the hushed final measures. Recommended Recording WEBERN Passacaglia, op. 1 Berlin Philharmonic / Herbert von Karajan, conductor Label: DG The Originals Catalog # Read program notes or listen to podcasts at kcsymphony.org.

3 BEETHOVEN S EIGHTH and PROKOFIEV S PIANO CONCERTO NO. 3 Friday and Saturday, February at 8 p.m. Sunday, February 19 at 2 p.m. Helzberg Hall, Kauffman Center for the Performing Arts Michael Stern, conductor Wei Luo, piano (Curtis student underwritten by Almy Legacy Fund) HINDEMITH Ragtime PROKOFIEV Piano Concerto No. 3 DAVID HERTZBERG for none shall gaze upon the Father and live BEETHOVEN Symphony No. 8 In his Eighth Symphony, Beethoven brilliantly combines humor with his trademark manipulation of themes and an irrepressible momentum. Hindemith s Ragtime spotlights the 20th-century German composer s more playful, jazzy side. Russian composer Prokofiev, a superb pianist, was soloist in the 1921 world premiere of his Third oncerto. Prokofiev described the work as devilishly difficult, and without a doubt, it demands an astounding demonstration of skill by the piano soloist. Tickets start at $ /17 SEASON SECURE YOUR SEATS TODAY (816) / kcsymphony.org

4 PROGRAM NOTES by Ken Meltzer Debussy composed En blanc et noir (In White and Black) while Europe was engulfed in the chaos of World War I. CLAUDE DEBUSSY ( ) 17 MINUTES En blanc et noir (1915) (orch. Holloway) Piccolo, 3 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, anvil, suspended cymbals, bass drum, crotale, cymbals, glockenspiel, snare drum, tam-tam, tambourine, tenor drum, triangle, xylophone, two harps, celesta and strings. Debussy s En blanc et noir (In White and Black) was a product of the most desperate period in the French composer s life. With the outbreak of the First World War in August 1914, Debussy experienced a feeling of helplessness. Debussy also was suffering from cancer that would claim his life. On August 8, Debussy wrote to his friend, music publisher Jacques Durand, What I am doing seems so wretchedly small. But the following year, Debussy found new inspiration for composing: I want to work, not so much for myself, but to give proof, however small it may be, that even if there were thirty million Boches (French slang for German soldiers) French thought will not be destroyed. During this period, Debussy signed his compositions Claude Debussy, Musicien Français. In the summer of 1915, Debussy stayed in the seaside village of Pourville in Normandy. There, Debussy wrote two sonatas one for cello and piano, the other for flute, viola Recommended Recording DEBUSSY En blanc et noir Orchestra National de Lyon / Jun Märkl, conductor Label: Naxos Catalog # KANSAS CITY SYMPHONY 47

5 PROGRAM NOTES by Ken Meltzer and harp. Debussy also composed his Douze Études for solo piano, and a work for two pianos, En blanc et noir. These concerts feature an orchestration of Debussy s En blanc et noir by the British composer Robin Holloway, commissioned by the San Francisco Symphony, which premiered in En blanc et noir is in three movements. In the score, the first movement is preceded by a quote from the libretto for Charles Gounod s operatic adaptation of Shakespeare s Romeo and Juliet. The text metaphorically admonishes those who remain passive, while others answer the call. Debussy dedicated the slow-tempo second movement to Lt. Jacques Charlot, killed in The finale perhaps suggests a positive resolution for the conflict then raging throughout Europe. Debussy dedicated this movement to my friend Stravinsky. CAMILLE SAINT-SAËNS ( ) Concerto No. 1 in A Minor for Cello and Orchestra, op. 33 (1872) 19 minutes Solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. Saint-Saëns dedicated his Concerto to principal cellist of the Paris Conservatory Orchestra, August Tolbeque, who was soloist in the work s 1873 premiere. Saint-Saëns completed his First Cello Concerto in Saint-Saëns dedicated the work to principal cellist of the Paris Conservatory Orchestra, August Tolbecque, who was the soloist in the concerto s January 19, 1873, premiere in Paris. The Saint-Saëns First Cello Concerto has long been a favorite of distinguished soloists. The reasons for this popularity are clear: the concerto is a taut, unified composition, providing the soloist with opportunities for both lyrical expression and thrilling

6 PROGRAM NOTES by Ken Meltzer technical display. Further, the composer s expert orchestration allows the soloist to be heard even when in tandem with the full ensemble always a challenge in music for solo cello and orchestra. The work consists of three brief sections, performed without pause. The piece begins with a single, emphatic orchestral chord after which the soloist presents the central theme a triplet-based, wide-ranging melody that appears in various guises throughout the movement. The second section begins with a sort of nostalgic recollection of an 18th-century minuet. The music later becomes more passionate. A final episode for the soloist serves as a bridge to the final section, starting with the oboe s evocation of the opening movement s central theme. A subsequent virtuoso episode for the soloist exploits the instrument s entire range and technical capacity. A final passage for the soloist is capped by a brief orchestral postlude. Recommended Recording SAINT-SAËNS Cello Concerto No. 1 Jacqueline du Pré, cello Philadelphia Orchestra / Daniel Barenboim, conductor Label: Teldec Catalog # FELIX MENDELSSOHN ( ) Symphony No. 5 in D Major, op. 107, Reformation (1832) 33 minutes 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani and strings. Mendelssohn began composition of his Symphony in D Major, known as the Reformation Symphony, in September Mendelssohn intended the work to be performed in conjunction with the observance of the 300th anniversary of the June 1530 Augsburg Confession. The Augsburg Confession, drafted by Philip Melanchthon and approved by Martin Luther, set forth the basic tenets of the Protestant faith, leading to the great Reformation. KANSAS CITY SYMPHONY 49

7 PROGRAM NOTES by Ken Meltzer The Symphony, in four movements, majestically incorporates both the Dresden Amen and the chorale Ein feste Burg ist unser Gott ( A Mighty Fortress is our God ). However, various circumstances delayed the Symphony s premiere until November 15, Mendelssohn led the first performance, which took place at the Singakadamie in Berlin. The Reformation Symphony is in four movements. The first begins with a slowtempo introduction that twice culminates in the strings radiant presentation of the ascending Dresden Amen. This leads to the principal dramatic Allegro con fuoco in which the Amen makes yet another appearance. The charm of the ensuing Allegro vivace stands in stark contrast to the storm and stress of its predecessor. The brief third movement is in the character of a song without words. The final movement ensues without pause. The finale opens with the woodwinds invocation of Ein feste Burg ist unser Gott ( A Mighty Fortress is our God ), a chorale attributed to Martin Luther. The chorale grows in majestic splendor, resolving to a lively Allegro vivace, again featuring the Luther melody. A final, majestic statement of the chorale provides the stirring conclusion. Recommended Recording MENDELSSOHN Symphony No. 5, Reformation London Symphony / John Eliot Gardiner, conductor Label: LSO Live Catalog # 775 Read program notes or listen to podcasts at kcsymphony.org /17 Season

8 About JUN MÄRKL, guest conductor JUN MÄRKL IS A HIGHLY RESPECTED INTERPRETER OF THE CORE Germanic repertoire from both the symphonic and operatic traditions, and is known for his refined and idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have complemented his roles as music director for the Orchestre National de Lyon and the MDR Symphony Orchestra Leipzig. Currently, he serves as principal conductor for the Basque National Orchestra. He frequently guest conducts for the world s leading orchestras, including the Cleveland, Philadelphia and NHK orchestras, the Czech, Munich and Oslo philharmonics, and Tonhalle Orchester Zürich. Märkl works regularly with many North American orchestras St. Louis, Atlanta, Kansas City, Baltimore Cincinnati, Minnesota, Detroit and Houston, among others. He made his Royal Opera House debut in 1996 and at the Metropolitan Opera in He has conducted complete Ring Cycles at the Deutsche Oper and at the New National Theatre in Tokyo. Märkl has recorded the complete Schumann symphonies live with the NHK Symphony, Dvořák on Telarc, Mendelssohn and D Albert with MDR, and Ravel, Messaien and a highly acclaimed nine-disc Debussy set with the Orchestre National de Lyon on Naxos. In recognition of his achievements in Lyon, he was honored by the French Ministry of Culture in 2012 with the Chevalier de l Ordre des Arts et des Lettres. Born in Munich, his (German) father was a distinguished concertmaster and his (Japanese) mother was a solo pianist. Märkl studied violin, piano and conducting at the Musikhochschule in Hannover. He then studied with Sergiu Celibidache in Munich and with Gustav Meier in Michigan. In 1986, he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. Soon afterward, he had a string of appointments in European opera houses followed by his first music directorships at the Staatstheater in Saarbrücken ( ) and at the Mannheim National theater ( ). Read program notes or listen to podcasts at kcsymphony.org /17 Season

9 2016/17 Season SPECIAL CONCERT BEN FOLDS with the KANSAS CITY SYMPHONY Saturday, March 11, 2017 at 8 p.m. Helzberg Hall Kauffman Center for the Performing Arts Multi-platinum-selling singer/songwriter/producer Ben Folds returns to join forces with the Kansas City Symphony. First as the leader of critically-acclaimed band Ben Folds Five and now as a solo artist, his career includes multiple studio and live albums, a remix record, music for television and film, plus numerous collaborations with artists from Sara Bareilles to William Shatner. Don t miss this one-nightonly performance with Ben Folds and your Kansas City Symphony! Tickets start at $50. Sponsors include TICKETS AVAILABLE NOW (816) kcsymphony.org

10 About NAREK HAKHNAZARYAN, cello SINCE WINNING THE CELLO FIRST prize and gold medal at the XIV International Tchaikovsky Competition in 2011 at age 22, Narek Hakhnazaryan has performed with most major orchestras across the globe and has established himself internationally as one of the finest cellists of his generation. He has earned critical acclaim worldwide, with The Strad describing him as dazzlingly brilliant and the Washington Post hailing him as a seasoned phenomenon. In 2014 he was invited to join the prestigious BBC New Generation Artists Scheme and in August 2016 he made his BBC Proms debut. Hakhnazaryan has performed with orchestras worldwide, including the London, Chicago, Seattle, Sydney and NHK symphonies, the Rotterdam, Czech and Seoul philharmonics, Frankfurt Radio and Orchestre de Paris. In 2015, he debuted with the Los Angeles Philharmonic at the Hollywood Bowl and toured Spain with the WDR Symphony. Highlights of his season include debuts with Berlin Konzerthaus, Netherlands Philharmonic, Utah Symphony, Teatro Dell Opera (Rome), Munich Chamber, Essen Philharmonic and return engagements with the BBC Philharmonic, New Zealand Symphony, Kansas City Symphony, Orchestra della Toscana and the Warsaw Easter Festival. In recital, he will perform in London, Lugano and Eindhoven, and in summer 2017 he tours Southeast Asia with concerts in Taipei, Seoul, Kyoto and Tokyo. Hakhnazaryan was born in Yerevan, Armenia, into a family of musicians. His father is a violinist and his mother a pianist. Mentored by the late Mstislav Rostropovich, Hakhnazaryan received his artist diploma from the New England Conservatory of Music where he studied with Lawrence Lesser. Previously, he studied at the Moscow Conservatory with Alexey Seleznyov and at the Sayat-Nova School of Music in Yerevan with Zareh Sarkisyan. He has received scholarships from the Rostropovich Foundation and the Russian Performing Arts Fund, and his prizes include first prize in the 2006 Aram Khachaturian International Competition in Armenia and first place in the 2006 Johansen International Competition for Young String Players. As first prize winner in the 2008 Young Concert Artists International Auditions, Hakhnazaryan made his debut at Carnegie s Zankel Hall and in Washington, D.C. Read program notes or listen to podcasts at kcsymphony.org /17 Season