Notes on the Program. By Ken Meltzer

Notes on the Program By Ken Meltzer Appalachian Spring, Suite from the Ballet (1945) Aaron Copland was born in Brooklyn, New York, on November 14, 1900, and died in Tarrytown, New York, on December 2, 1990. The first performance of the ballet, Appalachian Spring, took place at the Library of Congress in Washington, D.C., on October 30, 1944. The premiere of Appalachian Spring, Suite from the Ballet, occurred in Carnegie Hall in New York City on October 4, 1945, with Artur Rodzinski conducting the New York Philharmonic. The Suite from Appalachian Spring is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, xylophone, snare drum, bass drum, cymbals, tabor, wood block, claves, glockenspiel, triangle, harp, piano and strings. Approximate performance time is twenty-three minutes. First ASO Classical Subscription Performance: November 29, 1955, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: November 16, 17 and 19, 2000, Michael Christie, Conductor. ASO Recording: Louis Lane, Conductor (Telarc CD-80078) The first collaboration of dancer/impresario Martha Graham (1894-1991) and composer Aaron Copland took place in 1931. Graham selected Copland s Piano Variations (1930) as music to accompany a dance piece entitled Dithyramb. Copland was mightily impressed that anyone would find possibilities for dance in so rhythmically complex and esthetically abstruse a composition. But then, Copland wryly added, Miss Graham s Dithyramb was considered by public critics just as complex and abstruse as my music. Copland and Graham, who enjoyed a profound mutual respect, looked forward to other joint projects. However, the next opportunity did not occur until 1942, when Elizabeth Sprague Coolidge first saw Martha Graham dance. She invited Graham to create and stage three new ballets for the 1943 season of the Festival of the Coolidge Foundation, held at the Library of Congress in Washington, DC. In turn, Graham commissioned music for the event by three contemporary composers, Paul Hindemith, Darius Milhaud and Aaron Copland. Graham herself chose the title for Copland s score Appalachian Spring taken from a poem by Hart Crane. Copland began work on the score in June of 1943, while in Hollywood. By this stage of his career, Copland had made the decision to abandon the rhythmically complex and esthetically abstruse approach of works like the Piano Variations for a more popular and easy manner intended to attract a larger and more varied audience for contemporary music. This populist artistic creed, coupled with a desire to produce music that would immediately be recognized as American in character, resulted in such classics as Billy the Kid (1938), the Lincoln Portrait (1942), Rodeo (1942) and of course, Appalachian Spring. Atlanta s Performing Arts Publication 25

Because of various delays, the premiere of Appalachian Spring (as well as the Hindemith and Milhaud ballets) did not occur until October 30, 1944 (Copland finished his score in June, 1944, while at Cambridge, Massachusetts). Graham and Erick Hawkins danced the principal roles. Copland scored the original ballet for a chamber group of thirteen instruments. Copland later arranged an Orchestral Suite for a larger ensemble, although one still remarkable for its lean and transparent sonority. The premiere of Appalachian Spring, Suite from the Ballet, took place in Carnegie Hall on October 4, 1945, with Artur Rodzinski conducting the New York Philharmonic. That year, Appalachian Spring won both the Pulitzer Prize for music and the Music Critics Circle of New York award for outstanding theatrical work of the 1944-5 season. The Story of Appalachian Spring The score of Appalachian Spring contains the following plot synopsis, fashioned by Edwin Denby and approved by Copland. The story concerns: a pioneer celebration around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house. Copland on Appalachian Spring The Suite is divided into eight sections that are performed without pause. The composer offered the following program notes for the Suite s 1945 premiere: I. Very Slowly. Introduction of the characters, one by one, in a suffused light. 2. Fast. Sudden burst of unison strings in A-major arpeggios starts the action. A sentiment both exalted and religious gives the keynote to this scene. 3. Moderate. Duo for the Bride and her Intended scene of tenderness and passion. 4. Quite fast. The revivalist and his flock. Folksy feelings suggestions of square dances and country fiddlers. 5. Still faster. Solo dance of the Bride presentiment of motherhood. Extremes of joy and fear and wonder. 6. Very slowly (as at first). Transition scenes reminiscent of the introduction. 7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published later under the title The Gift to be Simple. The melody I borrowed and used almost literally is called Simple Gifts. 26 Encore Atlanta

Tis the gift to be simple Tis the gift to be free, Tis the gift to come down Where we ought to be. And when we find ourselves In the place just right Twill be in the valley Of love and delight. When true simplicity is gain d To bow and to bend we shan t be asham d To turn, turn will be our delight, Till by turning, turning we come round right. 8. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left quiet and strong in their new house. Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by the flute and a solo violin. The close is reminiscent of the opening music. Concerto for Violin and Orchestra, Opus 14 (1940) Samuel Barber was born in West Chester, Pennsylvania, on March 9, 1910, and died in New York on January 23, 1981. The first performance of the Violin Concerto took place at the Academy of Music in Philadelphia, Pennsylvania, on February 7, 1941, with Albert Spalding as violin soloist and Eugene Ormandy conducted the Philadelphia Orchestra. In addition to the solo violin, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, snare drum, piano and strings. Approximate performance time is twenty-five minutes. First ASO Classical Subscription Performance: February 8, 1968, Jaime Laredo, Violin, Robert Shaw, Conductor. Most Recent ASO Classical Subscription Performances: September 19, 20 and 21, 2002, Midori, Violin, Robert Spano, Conductor. ASO Recording: Robert McDuffie, Violin, Yoel Levi, Conductor (Telarc CD-80441) The Concerto for Violin and Orchestra was the product of the first major commission for American composer Samuel Barber. The commission was from Samuel Fels, a wealthy American businessman who served on the board of trustees of Barber s alma mater, the Curtis Institute of Music. Fels intended the Concerto to serve as a vehicle for his protégé, the young Odessa-born violinist Iso Briselli. Fels offered the commission in the spring of 1939. That summer, while staying in Sils-Maria, Switzerland, Barber commenced work on the Concerto. By the conclusion of the summer, Barber was able to forward the Concerto s first two movements to Briselli for the violinist s Atlanta s Performing Arts Publication 27

review and comments. It appears that Briselli was dissatisfied with what he viewed as an emphasis on lyricism at the expense of opportunity for virtuoso display. Barber promised that the finale would supply that latter element, and in abundance. In August of 1939, Barber traveled to Paris, where he intended to finish the Concerto by autumn. However, the imminent Nazi invasion of Poland forced Barber to change his plans. Barber returned to the United States, where he completed the Concerto the following year. Problems, however, arose between Barber and Iso Briselli. The version most often told is that when Briselli received the finale, he now complained to Barber that it was too difficult. In order to save his commission, Barber enlisted the services of another violinist to demonstrate the technical feasibility of the Concerto s final movement. In later years, Briselli offered a quite different explanation to musicologist and author Barbara Heyman. Dr. Heyman included Briselli s version in her biography: Samuel Barber: The Composer and His Music (Oxford University Press, New York, 1992): (Briselli) professes that although he believed the first two movements of the concerto were beautiful and eagerly awaited the finale, he was disappointed with the third movement as being too lightweight compared to the rest of the concerto. He suggested that the middle section be expanded to develop the movement into a sonata-rondo form, but Barber would not consider it. Whatever the nature of the disagreement, Iso Briselli did not play the premiere of the Barber Violin Concerto. That honor went to the renowned American violinist, Albert Spalding. On February 7, 1941, Spalding, accompanied by Eugene Ormandy and the Philadelphia Orchestra, gave the first performance at the Academy of Music. Barber was dissatisfied with what he viewed as an unsatisfactory climax in the (second movement) and some muddy orchestration in the finale. In 1948, Barber penned revisions to the Concerto that the composer felt much improved the work. The Concerto s final version was published in 1949. Musical Analysis I. Allegro The Concerto opens with the soloist s immediate presentation of the lengthy and flowing principal theme. The jaunty second theme, introduced by the solo clarinet, has a decidedly Scottish flavor. A vivacious sequence for the soloist concludes the exposition portion of the opening movement. The development section begins in agitated fashion, but soon returns to the generally lyrical character of the Allegro. The tension mounts once again, leading to the orchestra s fortissimo launch of the recapitulation. After a brief cadenza for the soloist, the opening movement concludes with hushed variants of the Scottish and opening themes. II. Andante The slow movement opens with a passage for horns and muted strings. The oboe sings the Andante s espressivo principal melody, which is soon incorporated by various instruments of the orchestra. The soloist s entrance leads to a more agitated central sequence. 28 Encore Atlanta

Following an accompanied cadenza, the soloist begins the ardent reprise of the opening section. Another brief cadenza for the soloist precedes the melancholy closing bars. III. Presto in moto perpetuo The timpani introduce the scurrying eighth-note triplet motif that is played by the soloist throughout virtually the entire finale. In the closing measures of this tour-de-force, the soloist converts the triplets to a dizzying series of sixteenth notes. Two ascending flourishes provide the Concerto s dramatic conclusion. Concerto for Orchestra (1943) Béla Bartók was born in Sînnicolau Mare, Hungary, on March 25, 1881, and died in New York on September 26, 1945. The first performance of the Concerto for Orchestra took place at Symphony Hall in Boston, Massachusetts, on December 1, 1944, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The Concerto for Orchestra is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two harps, bass drum, cymbals, side drum, tam tam, triangle and strings. Approximate performance time is thirty-six minutes. First ASO Classical Subscription Performance: January 17, 1967, Robert Mann, Conductor. Most Recent ASO Classical Subscription Performances: April 26, 27 and 28, 2001, Alan Gilbert, Conductor. I have lost all my faith Béla Bartók composed his Concerto for Orchestra during a period of overwhelming adversity and despair. In October of 1940, Bartók and his wife left Hungary to escape the Nazis. During the journey to the United States, the composer wrote, this voyage is...like plunging into the unknown from what is known but unbearable... God only knows how and for how long I ll be able to work over there. Bartók s fortunes continued to decline when he settled in New York. Commissions for new musical works were scarce during this turbulent period in world history. Bartók, his health rapidly deteriorating, was often unable to fulfill those few assignments he received. Our situation grows worse from day to day, Bartók wrote in 1941 to his friend, the conductor Paul Sacher. Bartók continued: All I can say is that in the whole of my working life, that is to say for the past twenty years, I have never found myself faced with such a terrible situation as that into which I shall be plunged in the near future...i am becoming rather pessimistic; I have lost all my faith in men and nations, everything... In December of 1942, Bartók sadly related, My career as a composer is as much as finished; the quasi boycott of my works by the leading orchestras continues; no performances of either old works or new ones. Atlanta s Performing Arts Publication 29

Bartók, Koussevitsky and the Concerto for Orchestra Early in 1943 two longtime friends of Bartók, violinist Joseph Szigeti and conductor Fritz Reiner, approached Serge Koussevitsky. They proposed the idea of commissioning Bartók to write a new orchestral work in memory of Koussevitsky s wife, Natalie. Koussevitsky, the conductor of the Boston Symphony, surprised Bartók by visiting him in his New York hospital room. Koussevitsky offered Bartók a commission of $1,000.00. During that initial visit, Koussevitsky gave the composer a check for $500.00, with the remaining amount to be forwarded upon completion of the score. Koussevitsky s visit seemed to rejuvenate the gravely ill composer. Bartók worked on his Concerto for Orchestra practically night and day during a period from August 15 to October 8, 1943, while staying at a private sanatorium in Lake Saranac, New York. Bartók sensed that his health and fortunes were on the mend, and enthusiastically reported to Szigeti: Perhaps it is due to this improvement (or it may be the other way round) that I have been able to finish the work that Koussevitsky commissioned. The resurrection of a man who had lost all (his) faith in men, nations, everything, is reflected in Bartók s own description of the Concerto for Orchestra: The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one. Koussevitsky and the Boston Symphony Orchestra presented the triumphant world premiere of Bartók s Concerto for Orchestra at Symphony Hall on December 1, 1944. Bartók reported: The performance was excellent. Koussevitsky is very enthusiastic about the piece, and says it is the best orchestral piece of the last 25 years. The New York premiere at Carnegie Hall on January 10, 1945 inspired equally rapturous acclaim. As Olin Downes reported the following day in the New York Times: Repeatedly, Dr. Koussevitsky led Mr. Bartók from the wings, and finally left him alone on stage with the applauding audience. Illness finally overcame Bartók s great spirit, and the composer died in New York on September 26, 1945, less than a year after the Concerto for Orchestra s stunning premiere. The popularity of the Concerto for Orchestra, one of Bartók s most optimistic and brilliant works, continues unabated. Musical Analysis Bartók offered the following general description of his Concerto for Orchestra for the 1944 premiere: The title of this symphony-like orchestral work is explained by its tendency to treat the single instruments or instrument groups in a concertant or soloistic manner. The virtuoso treatment appears, for instance, in the fugato section of the first movement (brass instruments), or in the perpetuum mobile -like passage of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments consecutively appear with brilliant passages. 30 Encore Atlanta

I. Introduzione: Andante non troppo; Allegro vivace The opening movement begins with an extended, mysterious introduction, featuring the dark hues of the cellos and double-basses contrasting with shimmering violins and flutes. The intensity of the introduction grows and suddenly launches into the principal Allegro vivace and the chromatic first theme played by the violins. The trombone introduces an angular ascending and descending motif, shortly followed by a lilting theme, played first by the oboe and then by the clarinets, in octaves. Bartók offers a brilliant manipulation of the principal themes, often in counterpoint to each other. Finally, the movement closes with a massive statement of the theme originally introduced by the trombone. II. Giuoco delle coppie: Allegro scherzando After a brief passage by a side drum without snares, the sprightly game of the pairs features a series of passages for groups of two instruments bassoons, oboes, clarinets, flutes and muted trumpets. The side drum introduces a chorale-like interlude for brass. A reprise of the game section offers new and varied instrumental combinations. Finally, the side drum returns to close this playful movement. III. Elegia: Andante, non troppo The Elegy, a lugubrious death-song, features eerie restatements of material found in the slow introduction to the first movement. The composer described the nocturnal setting as a misty texture of rudimentary motifs. IV. Intermezzo interrotto: Allegretto After a rather shrill introduction by the strings, the oboe plays a jaunty refrain, the first of two principal themes in this Intermezzo. The violas present the beautiful, cantabile second theme. The interruption is in the form of a parody of a theme from the first movement of Dimitri Shostakovich s Seventh ( Leningrad ) Symphony (1941). Bartók heard a radio broadcast of the Shostakovich Seventh while working on the Concerto for Orchestra. Bartók developed an immediate disdain for the central first-movement theme. In Bartók s Concerto, the solo clarinet introduces the Shostakovich theme, quickly and mercilessly attacked by the full orchestra. Subsequent attempts to revive the Shostakovich theme lead to its annihilation and finally, a return to the Intermezzo. IV. Finale: Pesante; Presto The breathtaking Finale opens with a horn call that heralds a perpetuum mobile figure played by the violins, soon joined by the entire orchestra. The bassoons, clarinets and oboes offer a brief contrapuntal treatment of the opening horn call. A short, tranquillo interlude leads to a return to the flurry of activity, highlighted by brilliant trumpet fanfares that form the basis for the ingenious succeeding fugal development. The perpetuum mobile theme returns, soon intertwined with the other principal motifs, as the Concerto for Orchestra proceeds headlong to its dazzling conclusion. Atlanta s Performing Arts Publication 31