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Esa-Pekka Salonen Conductor Wagner Prelude to Die Meistersinger Von Nürnberg Donatoni Esa (In Cauda V) First Chicago Symphony Orchestra Performances

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Esa-Pekka Salonen Conductor Wagner Prelude to Die Meistersinger Von Nürnberg Donatoni Esa (In Cauda V) First Chicago Symphony Orchestra Performances Program ONE HuNdrEd TwENTiETH SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, March 3, 2011, at 8:00 Friday, March 4, 2011, at 1:30 Saturday, March 5, 2011, at 8:00 Sunday, March 6, 2011, at 3:00 Esa-Pekka Salonen Conductor Wagner Prelude to Die Meistersinger von Nürnberg Donatoni Esa (In cauda V) First Chicago Symphony Orchestra performances IntErmISSIon Bruckner Symphony No. 7 in E Major Allegro moderato Adagio: Very solemn and very slow Scherzo: Very fast Finale: Moving, but not fast Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHilliP HuSCHEr richard Wagner Born May 22, 1813, Leipzig, Germany. Died February 13, 1883, Venice, Italy. Prelude to Die Meistersinger von Nürnberg ie Meistersinger von Nürnberg abandoned work on the Ring, the Dhas always stood apart from the greatest undertaking of his career, rest of Wagner’s output because it with little hope of ever getting it is, on the surface, a comic opera; on the stage, he turned out two it warrants comparison with few enormously successful master- other comic operas beyond those pieces, Tristan and Isolde (arguably of Mozart because it is essentially the most important score of that so serious and moving. Virgil masterpiece-packed century), and Thomson said that “it is all direct Die Meistersinger von Nürnberg (The and human and warm and senti- mastersingers of Nuremberg). mental and down-to-earth. It is In listening to the prelude to Die unique among Wagner’s theatrical Meistersinger, there is no need to works in that none of the charac- know Wagner’s story beyond what ters takes drugs or gets mixed up Thomson called a “never-never with magic.” Wagner wrote Die land where shoemakers give vocal Meistersinger in a slump, financially lessons, where presidents of music and emotionally. After having societies offer their daughters as ComPoSED moSt rECEnt aPProxImatE prelude: 1862 CSo PErFormanCES PErFormanCE tImE opera: 1862–67 October 29, 1996, 10 minutes Orchestra Hall. Takashi FIrSt PErFormanCE Asahina conducting CSo rECorDIngS prelude: November 1, June 26, 1999, ravinia 1926. Frederick Stock 1862, leipzig Festival. Christoph conducting. Victor opera: June 21, 1868, Munich Eschenbach conducting 1959. Fritz reiner conduct- ing. rCA FIrSt CSo InStrumEntatIon 1972. Sir Georg Solti PErFormanCE two flutes and piccolo, two conducting. london oboes, two clarinets, two december 18, 1994. daniel barenboim bassoons, four horns, three 1891, Auditorium conducting. Teldec Theatre. Theodore trumpets, three trombones 1995 (complete opera), Thomas conducting and tuba, timpani, triangle, cymbals, harp, strings Sir Georg Solti conduct- ing. london CSO subscription concert performances and audio recordings only, unless otherwise indicated 2 prizes in musical contests, and aspirant Walther, followed by the where music critics believe in festive procession of the masters. the rules of composition and get Those are the three main themes, mobbed for preferring young girls though Wagner also works into to young composers.” Wagner the prelude the eager apprentices wrote the prelude first, reversing and the chattering spectators at the the usual process, and said that song competition. Though designed he saw in it “the clear outlines of as a curtain-raiser, the prelude is the leading themes of the whole a brilliant achievement as pure drama.” Indeed, we begin in music, crowned by the stroke of the majesty of C major with the the triangle, marking the moment important music of the masters- when Wagner brings together, in ingers’ guild and then hear the magnificent polyphony, his three prize-winning song of the young principal themes. Symphony Center Information The use of still or video cameras Please turn off or silence all and recording devices is prohibited personal electronic devices in Orchestra Hall. (pagers, watches, telephones, digital assistants). latecomers will be seated during designated program pauses. Please note that Symphony Center is a smoke-free environment. Please use perfume, cologne, and all other scented products Your cooperation is greatly sparingly, as many patrons are appreciated. sensitive to fragrance. note: Fire exits are located on all levels and are for emergency use only. The lighted Exit sign nearest your seat is the shortest route outdoors. Please walk—do not run—to your exit and do not use elevators for emergency exit. Volunteer ushers provided by The Saints—Volunteers for the Performing Arts (www.saintschicago.org) 3 Franco Donatoni Born June 9, 1927, Verona, Italy. Died August 17, 2000, Milan, Italy. Esa (In cauda V) lthough Franco Donatoni’s began to compose in the advanced Aparents thought their studi- serial language of Pierre Boulez, ous and unpopular boy was best who was particularly influential at suited for the career of a bank clerk, Darmstadt, which Donatoni visited Donatoni himself was slowly drawn for the first time in 1954, he also to the idea of spending his life in was fascinated by Stockhausen, music. He first took violin lessons as well as by the first twelve-tone in his hometown of Verona—fam- works by Schoenberg. For a while, ily outings to hear opera in the he became obsessed with the iconic celebrated arena there were child- quintet instrumentation of Pierrot hood highlights—and later studied lunaire, Schoenberg’s watershed composition in Milan and Bologna. work of 1912. All of these encoun- A radio broadcast of Bartók’s ters fed into his own understanding Fourth String Quartet impressed of what it meant to be a composer him greatly, suggesting a direction in the mid-twentieth century, for his young career as a composer. although he eventually lost patience The decisive event in his creative with Stockhausen precisely because life, however, was his encounter he was “always perfecting his ego with Bruno Maderna, the Italian and his music, while I want to avant-garde composer, in 1953. destroy both the one and the other.” “Till I was thirty, I copied Bartók,” “Then I got interested in John he later said with characteristic Cage, had my negative period, and candor. “After I met Maderna, I so on,” Donatoni once said, tele- copied Boulez.” scoping years of artistic upheaval. Donatoni’s own language In the sixties, Donatoni began to was certainly changed, almost explore the idea of chance music, as overnight, by the impact of post- a result of his exposure to the work Webern serialism. Although he of Cage. But he quickly became ComPoSED InStrumEntatIon tuba, timpani, percussion 2000 two flutes, piccolo and (xylophone, glockenspiel, alto flute, two oboes and marimba, vibraphone, bells, FIrSt PErFormanCE english horn, two clarinets, gong), piano, harpsichord, February 16, 2001. los E-flat clarinet and bass harp, strings Angeles Philharmonic, Esa- clarinet, three bassoons Pekka Salonen conducting and contrabassoon, six aPProxImatE These are the first CSO horns, four trumpets, PErFormanCE tImE performances four trombones and 12 minutes 4 disillusioned with the lack of (The first of the pieces he titled In form in Cage’s works, which “was cauda—cauda is Latin for ‘tail’— putting music in great danger, so was commissioned by Boulez and that its survival as an art was being premiered in 1982.) Since by 2000, put into doubt.” In time, Donatoni he was no longer able to write began to question everything himself, he dictated the score to his about his own work as well—he assistants from his bed in Milan’s became painfully aware of “the Niguarda Hospital, where he died impossibility of being the author that August. Commissioned by of one’s own intellect, of one’s the Los Angeles Philharmonic, own will”—which led to a long, the score was dedicated to Esa- dark period. The tragic death of Pekka Salonen, who was one of Maderna in 1973 devastated him. Donatoni’s composition students In 1975, Donatoni quit composing, and makes abundant use of the gave up the lease on his studio, and notes E and A, the “musical” let- took a job as an editor in his music ters in Salonen’s name. When he publisher’s office. premiered the piece in Los Angeles He only began to compose again in February 2001, only six months when his wife begged him to honor after Donatoni’s death, Salonen an earlier commitment to write told the audience that at first he a new chamber piece. With that thought the score was too private score, Ash, for eight instruments, to perform on the stage. But then and in particular with the 1977 he saw the joy in the music and work Spiri, he found that he was understood it as “my old teacher’s liberated and able to work with a message to me, something like new freedom and that he was filled ‘Carry on, son, it will be OK.’” with new ideas. The composer “Donatoni was himself as a himself described Spiri as “joy- craftsman, an artisan, i.e., a manu- ous, almost euphoric.” Suddenly, facturer of music, not the lonely Donatoni had entered a dazzling romantic genius who wanders in late summer of creativity—in forests and feels Weltschmerz,” 1983 alone he composed ten new Salonen wrote before the premiere works—with a focus on scores of the work. “His point of view is for novel chamber groupings, as typically Italian: clear, practical, well as a sequence of pieces for light (as opposed to heavy), unsen- solo instruments, comparable to timental. The key to composing is Berio’s Sequenze series. Although to work meticulously and precisely: Donatoni’s earlier music was dif- ‘lavorare e lavorare, sempre lavorare’ ficult to characterize—he was a he used to say.
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