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B. ii: 1=11=11W ,.. • I Drawing by Pablo Picasso Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Tuesday, February 17, 1976 at 8:30 p.m. Symphony Hall, Boston Ninety-fifth Season Baldwin Piano Deutsche Grammophon & Philips Records Program Program Notes Seiji Ozawa conducting Gioacchino Antonio Rossini (1792-1868) Overture to the Opera 'Semiramide' Rossini: Overture to the Opera 'Semiramide' This opera in two acts on a libretto of Gaetano Rossi Haydn: Symphony No. 60 in C 'II distratto' (based on Voltaire's tragedy of the same name) was first performed at the Fenice Theatre, Venice in February 1823. Adagio—allegro di molto It was mounted at La Scala, Milan in 1824. The first per- formance in Boston was at the Federal Street Theatre, Andante March 3,1851. It was last performed by the Boston Sym- Menuet & trio phony in Boston in 1953 by the late Guido Cantelli, and Presto most recently at the Berkshire Festival in 1975 conducted by Adagio Arthur Fiedler. Prestissimo Rossini, piqued by unfavorable comments by no less an authority than Beethoven himself regarding opera seria sat Intermission down and wrote a long tragedy in music in the grand style ('melodramma (sic) tragico') in seven days less than the Stravinsky: 'L'Oiseau de feu' (The Firebird) (Complete forty his contract allowed. 'Semiramide' was premiered at La Fenice in Venice and the Venetian public, assembled for Ballet Music) their carnival took Semiramide into their bosoms after a short preliminary hesitation, and applauded through Introduction twenty-eight consecutive nights its overture, its more tak- Scene I: Kashchei's Enchanted Garden ing airs, its best concerted numbers, and its innovation of a Appearance of the Firebird Pursued by Ivan brass band upon the stage. Tsarevich The Overture departs from the custom of Rossini in Dance of the Firebird introducing subjects from the opera itself. The andantino Ivan Tsarevich Captures the Firebird which follows the short introductory allegro is taken from Supplication of the Firebird the quintet in the first act where the queen demands and Appearance of Thirteen Enchanted receives the homage of her subjects. A theme from the final Princesses brilliant allegro of the overture is found in a chorus in the The Princesses' Game with the Golden second act. Apples (Scherzo) Sudden Appearance of Ivan Tsarevich Based on a note by John N. Burk The Princesses' Khorovod (Round Dance) Daybreak Joseph Haydn (1732-1809) Ivan Tsarevich Penetrates the Palace of Kashchei Symphony No. 60 in C distratto' Magic Carillon; Appearance of Kashchei's Program Note by Andrew Raeburn Guardian Monsters; Capture of Ivan Tsarevich This Symphony is something of an oddity: Haydn wrote Arrival of Kashchei the Immortal; His it originally as incidental music for the comedy Le distrait by Dialogue with Ivan Tsarevich; Jean Francois Regnard, which was given at Esterhaza, in a Intercession of the Princesses German translation, during June 1774. Later in the year the Appearance of the Firebird six movements were given at Pressburg as a symphony. Dance of Kashchei's Retinue under the The audience loved it, and the final movement had to be Firebird's Spell encored. The work was first performed by the Boston Sym- Infernal Dance of all Kashchei's Subjects phony under Seiji Ozawa's direction in July 1972. Lullaby (Firebird) Regnard's Le distrait (probably best translated 'absent- Kashchei's Death minded') is one Leandre, whose head is forever in the Scene II: Disappearance of the Palace and clouds, with the result that he is always doing the unex- Dissolution of Kashchei's Enchantments; pected. The typically eighteenth-century plot is an involved Animation of the Petrified Warriors situation-comedy. General Thanksgiving This program will end at approximately 10:20 p.m. During the next three weeks the Boston Symphony Orchestra will be on tour in Europe. Seiji Ozawa and the Boston Symphony Orchestra Record Exclu- sively for Deutsche Grammophon Call C-O-N-C-E-R-T for up-to-date program information Haydn's music is aptly and delightfully crazy: from the Igor Stravinsky (1882-1971) very beginning the audience must be prepared for sur- prises. The first Adagio opens with four seriously majestic 'L'Oiseau de feu' (The Firebird) (Complete Ballet Music) measures, then immediately subsides into soft contempla- Program note by Harry Neville tion. The majesty is then totally ignored, and we are taken directly into the Allegro di molto. There is a busy, cheerful The Firebird was finished in March, 1910 and after final and naive first subject; then comes what promises to be a retouching, it was dated May 18, 1910. Commissioned by contrastingly lyrical second theme. But it fizzles out after a Diahilev as a ballet in two scenes, the work was first per- few bars, seems to get lost, and has to be rescued by a sud- formed by the Ballet Russe at the Paris Opera on June 25, den loud repeat of the final measures of the first. There is a 1910, with Tamara Karsavina as the Firebird, Michel Fokine series of what David Blum has described, in the notes for as Prince Ivan, Vera Fokina as the Tsarevna and Bulgakov his admirable recording, as 'alarming modulations,' before as Kashchei. Gabriel Pierne conducted; the settings were by sanity and the key of C are restored. The Andante begins Alexandre Golovine, the costumes by Golovine and Leon like a formal, slow dance, but is interrupted almost imme- Bakst, the scenario by Fokine. The score is dedicated to diately by fanfares. The main subject continues on its way, Andre Rimsky-Korsakov, son of the composer. ignoring the interjections—there is one particularly aimless Stravinsky made three suites from his score, the first in explosion from the horns. A new melody, taken from an 1911, the second in 1919, the last in 1945, and these have old French chanson, 'Only wine can replace a mistress,' been played on many occasions by the Boston Symphony appears briefly, then is abandoned again. Orchestra. Pierre Monteux conducted the Orchestra's first The Minuet opens grandly. Then, in total contrast, come performance of the 1911 suite on October 31, 1919, and eight quiet contrapuntal measures in a deliberately archaic Stravinsky himself conducted the Orchestra's first perform- style; then we return to grandeur once more. The Trio ance of the second suite on March 14, 1935. The Orchestra's begins in a dramatic C minor, but again the mood evapo- most recent performance of one of the suites was at Tangle- rates as a bathetic folk melody intrudes. wood in 1973 when Michael Tilson Thomas conducted the The Presto, also in C minor, is a collection of rushing Bal- 1919 version. The Orchestra's first performances of the kan folk-tunes, chasing each other with headlong speed. complete 1910 score were in the 1973/74 season conducted Again there are abrupt and deliberately unconventional by Seiji Ozawa. modulations. There is no recapitulation: instead a totally Stravinsky's precise instrumentation of the original score new melody appears, in the major, and the movement hus- (it specifies the exact number of string instruments) is as tles to its end. follows: 2 piccolos (second doubling a third flute), 2 flutes, The Adagio (subtitled in one manuscript 'di lamentatione') 3 oboes, English horn, 3 clarinets (third doubling a clarinet begins with a simple melody of simulated sadness, deli- in D), bass clarinet, 3 bassoons (third doubling a second cately accompanied. Once more a rude fanfare interrupts, contrabassoon), contrabassoon, 4 horns, 3 trumpets, but the melody resumes its unhurried course as if nothing 3 trombones, tuba, timpani, triangle, tambour de Basque, had happened. At last it melts away. A short phrase, cymbals, bass drum, bells, xylophone, celesta, piano, repeated eight times in gradual acceleration, leads into the 3 harps [An arrangement of the harp parts for performance short Finale. After a few bars of introduction Haydn plays by two instruments has been made by the Boston Sym- his maddest trick: the music stops, the violins discover that phony's principal harpist, Bernard Zighera ], 16 first violins, their G strings are pitched at F, and retune. Then the move- 16 second violins, 14 violas, 8 celli and 6 double basses plus ment resumes, again to be interrupted, this time by one of an on-stage band of 3 trumpets, 2 tenor tubas, 2 bass tubas the composer's favorite Slavonic tunes. Finally, with drums and bells. harmonically out of kilter, the symphony comes to an THE STORY OF THE BALLET abrupt stop. Fokine's scenario was adapted from several Russian fairy tales, and as with many such tales, the story deals with three separate and distinct kinds of beings: humans, who in this case are naive and essentially good (the Prince and Princesses, among the latter his wife-to-be); the bad fairy (Kashchei, the embodiment of malignancy, and his evil cohorts); the good fairy (The Firebird, the embodiment of purity, who intercedes to save the Prince from Kashchei). Stravinsky's method of differentiating among these ele- ments has been credited by Eric Walter White (Stravinsky, the Composer and His Works) to the example supplied by his teacher, Rimsky-Korsakov, in The Golden Cockerel (Coq d'Or).
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