Concerts of Thursday, January 19, and Saturday, January 21, 2017, at 8:00p.

Concerts of Thursday, January 19, and Saturday, January 21, 2017, at 8:00p. Donald Runnicles, Conductor Melody Moore, soprano Kelley O Connor, mezzo-soprano Nicky Spence, tenor Raymond Aceto, bass Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses Anton Bruckner (1824-1896) I. Feierlich; Misterioso II. Scherzo. Bewegt, lebhaft III. Adagio: Langsam, feierlich Intermission Anton Bruckner (1824-1896) Te Deum, WAB 45 (1884) I. Te Deum laudamus II. Te ergo quaesumus III. Aeterna fac IV. Salvum fac populum tuum V. In Te, Domine, speravi Melody Moore, soprano Kelley O Connor, mezzo-soprano Nicky Spence, tenor Raymond Aceto, bass Atlanta Symphony Orchestra Chorus

English Surtitles by Ken Meltzer

Notes on the Program by Ken Meltzer Anton Bruckner was born in Ansfelden, Austria, on September 4, 1824, and died in Vienna, Austria, on October 11, 1896. Symphony No. 9 in D minor (1896) The first performance of the Symphony No. 9 took place in Vienna on February 11, 1903, with Ferdinand Löwe conducting the Vienna Konzertverein Orchestra. The Ninth Symphony is scored for three flutes, three oboes, three clarinets, three bassoons, eight horns, four Wagner tubas, three trumpets, three trombones, tuba, timpani, and strings. Approximate performance time is sixty-three minutes. First Classical Subscription Performances: September 21, 22, and 24, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: February 5, 6, and 7, 2004, Donald Runnicles, Conductor. Throughout the greater part of his adult life, Anton Bruckner was respected as an organist and teacher of high standing. Acceptance of his musical compositions, however, was far more problematic. For years, the self-doubting Bruckner suffered the derision of critics who viewed his symphonies as Wagnerian monstrosities. Finally, on December 30, 1884, Bruckner enjoyed his vindication when Arthur Nikisch conducted the Leipzig Gewandhaus Orchestra in the triumphant premiere of the composer s Seventh Symphony. A Leipzig critic described Bruckner s fervent reaction: One could see from the trembling of his lips and the sparkling moisture in his eyes how difficult it was for the old gentleman to suppress the deep emotion that he felt. His homely, honest countenance beamed with a warm inner happiness such as can appear only on the face of one who is too good-hearted to give way to bitterness even under the weight of the most crushing circumstances. Having heard his music, and now seeing him in person, we asked ourselves in amazement, How is it possible that he could remain so long unknown to us? In the fall of 1887, Bruckner completed his Eighth Symphony. He then sent the score to his great friend and advocate, conductor Hermann Levi, along with the following message: At long last the Eighth is finished and my artistic father must be the first to know about it...may it find grace! But Levi was confused by Bruckner s longest and, perhaps, darkest symphony. When Bruckner learned that Levi found the work to be essentially incomprehensible, the composer was devastated, and nearly suffered a nervous breakdown. Three years of unparalleled self-doubt ensued, during which Bruckner made wholesale revisions to several of his compositions. Bruckner had begun sketches for his Ninth Symphony at approximately the same time he forwarded the score of the Eighth to

Hermann Levi. However, the crisis engendered by Levi s response delayed progress on the new work. The subsequent years were marked by a rapid and significant decline in Bruckner s health. Still, there were moments of happiness for the venerable composer. The greatest of these occurred on November 7, 1891, when the University of Vienna awarded him an honorary Ph.D., the first musician to be so recognized. At the ceremonies, Bruckner haltingly addressed the assembled: I cannot find words to thank you as I wish, but if there was an organ here I could tell you. At a reception the following month, Rector Adolf Exner offered the following tribute to Bruckner: Where Science must come to a halt, where its barriers remain unexceeded, there begins the realm of Art, which is able to express everything that remains closed to knowledge. I, the Rector, magnificus of Vienna University, bow down before the one-time teacher from Windhaag...! During 1892-3, Bruckner suffered a further deterioration of his physical condition. Sensing that his time was limited, Bruckner prepared his will in 1893, bequeathing all the original scores of his important works to the Hofbibliothek in Vienna. Despite all of his tribulations, Bruckner s profound religious faith provided him with the inner strength and determination to continue work on the Ninth Symphony. By November of 1894, Bruckner had completed the first three movements. Bruckner reported to his physician, Richard Heller, that he would dedicate to the Lord of lords, to my dear God, my last work, and hope that He will grant me enough time to complete it and will generously accept my gift. By the summer of 1895, Bruckner was physically unable to climb stairs. The Emperor provided the aged composer with lodgings at the Imperial Palace of Belvedere. On January 12, 1896, Bruckner attended his final concert, although he was so ill that needed to be carried into the hall. Bruckner continued to pursue completion of his Ninth Symphony to the moment of his death. On the morning of Sunday, October 11, 1896, the composer worked on the finale, and then took a walk in the garden surrounding his lodgings. Bruckner died shortly after his return. Three days later, Anton Bruckner s funeral service was held at the Karlskirche in Vienna. The Adagio from the composer s Seventh Symphony was played in his honor. The premiere of Bruckner s Ninth Symphony took place in Vienna on February 11, 1903, with the composer s former pupil, Ferdinand Löwe, leading the Vienna Konzertverein Orchestra. The edition prepared by Löwe for the 1903 premiere departed substantially from the composer s original. On April 2, 1932, Siegmund von Hausegger conducted the Munich Philharmonic in a concert that presented both Löwe s adaptation and, for the first time, Bruckner s original score. Hausegger recalled:

My fear that the original version would appear weaker in its effect was dispelled by the compelling impression of a far more powerful and severe individuality as compared with the arrangement, although this is no doubt a masterly one. The superiority of Bruckner s original conception was immediately apparent. Published 1934, it continues to be the version of choice. Nevertheless, some controversy continues to surround the Bruckner Ninth. Bruckner left some 450 measures of the intended finale, as well as numerous revisions of various sections. There have been attempts to fashion a complete fourth movement from these sketches, but opinions sharply differ as to whether the results are consistent either with Bruckner s intentions, or the quality of the fully-completed movements. The vast majority of performances of the Bruckner Ninth (these concerts included) present only the first three movements. As in the case of Franz Schubert s Unfinished Symphony (1822), the completed movements of the Bruckner Ninth themselves provide a unique and fulfilling musical journey. I. Feierlich (Solemnly); Misterioso The mysterious opening of the expansive first movement features a device frequently employed by Bruckner, inspired by its counterpart in Beethoven s Ninth Symphony. Over string tremolo accompaniment, the brass intones the opening motif. Several additional motifs are rapidly introduced, as the opening section moves to a shattering climax. The second section features a more lyrical A-Major theme played by the violins. The third section returns to the principal D-Minor tonality with an ascending and descending passage offered by the strings. A lengthy restatement (or as some commentators have termed it, a counterstatement ) of portions of the various principal sections follows. The stunning coda features Bruckner s masterful combinations of motifs from the opening principal section, concluding with a violent, dissonant orchestral outburst. II. Scherzo. Bewegt, lebhaft (Emotional, lively) The Scherzo opens with a dialogue between chirping winds and pizzicato strings. But any lightness of mood suggested by this opening is quickly dispelled. After a crescendo and brief silence, the orchestra relentlessly thunders a rhythmic passage that soon returns to overwhelm some rather more playful woodwind solos. The intervening Trio offers some relief from this danse macabre, but ultimately the Scherzo returns in all its diabolical fury. III. Adagio: Langsam, feierlich (Slow, solemnly) The great Adagio, the last completed movement of Bruckner s final Symphony, opens with a mournful, arching figure by the first violins that soon resolves to a seraphic, ascending passage. These opening measures are in many ways typical of a movement that, throughout, juxtaposes life s struggles and torments with visions of divine salvation. The Adagio proceeds to a climax, followed by a descending chorale played by the horns and tubas. The strings introduce a more lyrical sequence. Bruckner proceeds to restate the principal material in highly varied fashion. All the while, the composer maintains a cycle of conflict and release, not finally resolved until the repose of the closing pages, featuring poignant quotations from the composer s Seventh and Eighth Symphonies.

Te Deum, WAB 45 (1884) The first performance of Te Deum took place at the Kleiner Musikvereinsaal in Vienna on May 2, 1885. Te Deum is scored for soprano, alto, tenor, and bass solos, mixed chorus, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, organ (optional), and strings. Approximate performance time is twenty-two minutes. These are the First Classical Subscription Performances. Anton Bruckner, the composer, is best remembered for his Symphonies. But Bruckner, who held various important positions as a church organist, was also a prolific composer of sacred choral pieces. Indeed, Bruckner wrote sacred music throughout his life, with the earliest such works preceding by a few decades his initial forays into symphonic composition. Bruckner s more than 50 sacred works run the gamut from brief motets to grand, full-scale masses. The great German conductor and Bruckner interpreter Wilhelm Furtwängler (1886-1954) believed that Bruckner s mission was to introduce the divine into our human world. According to Furtwängler, Bruckner s music soars broadly and freely in a state of bliss, released from earthly cares fulfillment without sentimentality, without calculation. Furtwängler s eloquent description applies with equal strength to Bruckner s sacred and secular creations. This is hardly surprising. Bruckner, a devoutly religious man, viewed all of his music as offerings to his Lord. In that sense, Bruckner s approach to composition reflected that of his great predecessor, Johann Sebastian Bach. Telling in this regard is the fact that when Bruckner realized that he would not live long enough to complete his Ninth Symphony (a purely instrumental work), he suggested that his Te Deum, a majestic sacred composition for vocal soloists, chorus, and orchestra, could serve as the finale. The text of the Te Deum, an early Christian hymn of praise, is generally attributed to Saint Nicetas, Bishop of Remesiana (5 th Century). I. Te Deum laudamus Te Deum laudamus, te Dominum confitemur. Te aeternum Patrem, omnis terra veneratur. Tibi omnes Angeli, tibi caeli et universae potestates, tibi Cherubim et Seraphim, incessabili voce proclamant: Sanctus, sanctus, sanctus Dominus Deus Sabaoth!

We praise you, O Lord, Lord, we thank You. You are the Eternal Father, Whom all the earth worships. To You all the angels, the heavens, and all the powers, the Cherubim and Seraphim, proclaim with an unceasing voice: Holy, holy, holy Lord God of hosts! Pleni sunt coeli et terra maiestatis gloriae tuae. Te gloriosus Apostolorum chorus, te Prophetarum laudabilis numerus, te Martyrum candidatus laudat exercitus. Heaven and earth are full of Your glory. The glorious chorus of the apostles, the admirable company of the prophets, the white-robed army of martyrs do praise You. Te per orbem terrarum sancta confitetur Ecclesia: Patrem immensae majestatis; venerandum tuum verum et unicum Filium; sanctum quoque Paraclitum Spiritum. Tu rex gloriae, Christe! Tu Patris sempiternus es Filius. Tu, ad liberandum suscepturus hominem non horruisti Virginis uterum. Tu devicto mortis aculeo, aperuisti credentibus regna caelorum. Throughout the world the holy Church does confess: Father of infinite majesty; Your honorable, true, and only Son; and the Holy Spirit the Paraclete. You, o Christ, are the King of glory! You are the eternal Son of the Father. You, having taken it upon Yourself to save man did not disdain the Virgin s womb. You who overcame the sting of death, have opened to believers the kingdom of heaven.

Tu ad dexteram Dei sedes in gloria Patris. You sit at the right hand of God in the glory of the Father. Iudex crederis esse venturus. We believe you are the Judge to come. II. Te ergo quaesumus Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti. We therefore pray to You, help Your servants, whom You have redeemed with Your precious blood. III. Aeterna fac Aeterna fac cum Sanctis tuis in gloria numerari. Make them to be numbered with Your saints in everlasting glory. IV. Salvum fac populum tuum Salvum fac populum tuum, Domine, et benedic hereditati tuae. Et rege eos, et extolle illos usque in aeternum. Per singulos dies benedicimus te. Et laudamus nomen tuum in saeculum et in saeculum saeculi. Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri, Domine, miserere nostri! Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te. Save Your people, O Lord, and bless Your inheritance. Govern them, and lift them up forever. Every day we will bless You. We praise Your name for ever and ever.

Grant, O Lord, this day to keep us without sin. Have mercy upon us, O Lord, have mercy upon us! Let Your mercy, O Lord, be upon us, as we have trusted in You. V. In Te, Domine, speravi In Te, Domine, speravi: non confundar in aeternum. I put my trust in you, O Lord: let me not be confounded forever. (English translation by Ken Meltzer)