CAL PERFORMANCES PRESENTS PROGRAM NOTES Sunday, November 22, 2009, 3pm Modest Mussorgsky (1839–1881) Mussorgsky wrote the opera’s prelude in Zellerbach Hall Prelude to Khovanshchina (“Dawn on the September 1874. Subtitled “Dawn on the Moscow Moscow River”) (1874) River,” it paints a gentle landscape of the city awakening. Various themes introduce themselves Of the five Russian composers known as “The in turn—rising and falling arpeggios, lyrical lines, Mighty Handful,” Mussorgsky was the most sen- staccato chattering—like characters assuming Shanghai Symphony Orchestra sational. He did not have the wide influence of his their positions. The modal harmonies contribute to Long Yu, teacher, Balakirev, or the urbane polish of Rimsky- the antique feeling of the music, evoking the 17th- music director & conductor Korsakov, but his innate melodic touch and mus- century setting. Mussorgsky’s brief prelude has with cular approach to harmony generated some of the become a concert staple for orchestras, and both most memorable and definitively Russian music the familiar Rimsky-Korsakov realization and the Yuja Wang, piano ever written. The little success he did achieve in starker Shostakovich score convey the timeless his life could not pull him out of poverty and al- promise of the sun rising on a new day. coholism, and he died with his musical library in disarray. Rimsky-Korsakov did much to preserve PROGRAM his friend’s reputation by editing and completing Serge Rachmaninoff (1873–1943) numerous works, yet his painstaking “corrections” Piano Concerto No. 2 in C minor, often censored the rough-hewn charm of the mu- Op. 18 (1901) Modest Mussorgsky (1839–1881) Prelude to Khovanshchina (“Dawn on the sic. The enigma of Mussorgsky is that we almost al- Moscow River”) (1874) ways hear him through the prism of another com- When Rachmaninoff wrote his first symphony poser; the results may not be the most pure, but few in 1895, he was an established piano virtuoso Serge Rachmaninoff (1873–1943) Piano Concerto No. 2 in C minor, Op. 18 (1901) will complain about such gems as Rimsky’s edition but barely recognized as a serious composer. His of Night on Bald Mountain or Ravel’s orchestration Symphony No. 1 might have cemented his reputa- Moderato of Pictures at an Exhibition. tion, except that its 1897 premiere was an utter di- Adagio sostenuto Mussorgsky’s greatest success in his lifetime was saster. Rachmaninoff suffered a crisis in confidence, Allegro scherzando the opera Boris Godunov, a saga of Russian history and found himself unable to compose anything Yuja Wang, piano and politics based on the drama of the same name significant for years. One friend sought to cheer by Pushkin. At the suggestion of a friend and mu- him up by arranging a meeting with Leo Tolstoy, sic critic, Vladimir Stasov, Mussorgsky borrowed but contact with the eminent novelist did nothing INTERMISSION another historical episode for his next opera, this to unstick Rachmaninoff’s writer’s block. A more time the Moscow uprising of 1682 and the ascent productive dialogue took place with Nikolai Dahl, of Peter the Great. Mussorgsky wrote the libretto to a psychiatric doctor and noted hypnotist as well Qigang Chen (b. 1951) Iris dévoilée (2001) Khovanshchina himself, fashioning a story around as an amateur musician. Rachmaninoff attended the title character of Prince Ivan Khovansky. The daily sessions with the doctor early in 1900, and by Xiaoduo Chen, soprano opera was historical fiction, but the resonance of a that summer he found the energy to compose an- Meng Meng, soprano modernizing force rising against the old order sat other major work. He started sketching his second Nan Wang, erhu not far beneath the surface in those waning years piano concerto in Italy, and by December he had Jia Li, pipa of the Tsars. Mussorgsky worked fitfully on the the second and third movements ready for a trial Xin Sun, guzheng opera from 1872 to 1880, completing all but two performance. He added the first movement the numbers in piano score before his death. Rimsky- next year, and appeared as the soloist for the first Korsakov made the first attempt to complete and full performance in October 1901. Rachmaninoff orchestrate the opera, allowing for a public debut dedicated the piece to Dr. Dahl, a lasting trib- in 1886 in St. Petersburg. Stravinsky and Ravel re- ute to the man who helped restart a legendary worked excerpts for a Diaghilev production, and composing career. This performance is made possible, in part, by Patron Sponsor Kathleen G. Henschel. Shostakovich prepared an entirely new edition in Rachmaninoff’s Piano Concerto No. 2 is a pe- 1958, adhering more closely to Mussorgsky’s un- rennial audience favorite. Unlike the glitzy third Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. finished score. concerto that followed in 1909, the second concerto 10 CAL PERFORMANCES CAL PERFORMANCES 11 PROGRAM NOTES TEXTS places the pianist in a delicate and understated role Qigang Chen (b. 1951) Qigang Chen within the orchestra—what Rachmaninoff de- Iris dévoilée (2001) Iris dévoilée (“Iris Unveiled”) scribed as “a symphony with a strain of piano solo.” The first movement, composed last, captures the Iris dévoilée, the most recent work by Qigang 1. Ingenious essence of the piece. It begins with a simple prelude Chen, was premiered on February 6, 2002, in of chords and pedal tones from the piano, migrat- Paris with great success. Iris dévoilée is a con- 2. Chaste ing from F minor to the work’s home key of C mi- certo for full orchestra, soprano and traditional nor. The orchestra immediately takes the melody, Chinese instruments. Ai ya ya (admiring). He is such a handsome man. I tell him my admiration for him, “How handsome you with saturated piano arpeggios filling the texture. “Iris” is the name of the Greek goddess of the are, young man…” As is so often true in Rachmaninoff’s music, the rainbow. Chen uses the rich colors of a rainbow Ai ya ya (surprised), don’t do that, don’t do that… most memorable tune enters as the lyrical second to depict female volatility and charm. In the con- theme, this time entrusted to the pianist. certo, the multifaceted female disposition breaks I would like to confide in you, and at the same time Rachmaninoff’s special affinity for lush, ro- down into nine basic elements—simplicity, coy- I fear that my love might be disappointed… mantic music can be felt throughout the slow ness, wantonness, sentimentality, jealousy, mel- Love, I feel it. Fear, I feel it too. movement, the music that first broke his dry spell. ancholy, hysteria and lust—after which the nine Once again there is an introduction, this time parts of the concerto are entitled. Reflecting on 3. Libertine commencing in C minor (the previous movement’s the short-lived beauty of woman, Chen sings her How fantastic it is to fly away! Hai… final chord) and progressing to E major. The piano praises and at the same time feels helpless or even enters with the movement’s characteristic undulat- despairs. When recalling the composition of the 4. Sensitive ing rhythm, music that has its roots in a Romance concerto, Chen confided that he had never realized composed in 1890 for three daughters in a family how inexhaustible a subject the nature of woman 5. Tender of distant relatives. Playing triplets grouped into could be to the artist. sets of four, the piano seems to float in its own In recent years, Chen has often incorporated 6. Jealous tempo while the orchestra elaborates a haunting Chinese traditional music into his works. In Iris theme, first led by the flute. dévoilée, we hear pipa, erhu and guzheng, and the 7. Melancholic The finale breaks the spell of the Adagio with vocal part of the concerto is a combination of a playful orchestral lead-in and piano cadenza, Western bel canto and Peking opera techniques. Life is so difficult… again starting with the final chord of the preced- The vocal parts of Iris dévoilée will be sung by What should I do? ing movement and modulating to the movement’s Xiaoduo Chen (soprano) and Meng Meng (Peking Hu…Wei… intended key. A brief flirtation with C major fore- opera singer), and traditional Chinese instruments Life is so difficult… shadows the triumphant conclusion, but first the played by Nan Wang (erhu), Jia Li (pipa) and Xin Hai…It is, it is, it is, it is…difficult… pianist and orchestra issue a C minor theme with Sun (guzheng), all under the direction of Maestro Life is so difficult… a tinge of mock-military pomp. Another unfor- Long Yu. gettable melody enters as the secondary theme; 8. Hysterical some scholars have argued that an old classmate HA! (crazy)… of Rachmaninoff’s gifted him the tune, but others © 2009 Aaron Grad believe it to be so idiomatic of Rachmaninoff’s me- I am not your wife… lodic style that it must be original material. Either (Madness) I am not your wife! way, the treatment of the theme is quintessential (Very coldly) Here you are, petrified… Rachmaninoff, especially when it returns to close HA! HA! HA! HA! the work in a majestic climax, music that helped I am not even your spouse! the famous pianist finally achieve his rightful rec- ognition as a composer. 9. Voluptuous My lord… Ya…I want… Ya… My lord… 12 CAL PERFORMANCES CAL PERFORMANCES 13 ORCHESTRA ROSTER ABOUT THE ARTISTS SHANGHAI SYMPHONY ORCHESTRA The Shanghai Symphony Orchestra is the ear- As one of the most distin- liest and the best-known ensemble of its kind in guished Chinese conduc- Asia, through which Chinese symphonic music tors with an established Guangxian Chen, President Long Yu, Music Director has developed.