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Chamber Music Concert I Thursday, January 28, 6Pm in Symphony Hall Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine

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Chamber Music Concert I Thursday, January 28, 6Pm in Symphony Hall Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine BSO “Insights” january 20-february 11, 2016 marking the 400th anniversary of shakespeare’s death Chamber Music Concert I thursday, january 28, 6pm in symphony hall Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine Chamber Music Concert II thursday, february 4, 6pm in symphony hall Music of Strauss, Stravinsky, Ned Rorem, Beethoven, and Korngold BSO “INSIGHTS” Marking the 400th Anniversary of Shakespeare’s Death January 20–February 11, 2016 CHAMBER MUSIC CONCERT (beginning I on page 3) Thursday, January 28, 6pm in Symphony Hall Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine CHAMBER MUSIC CONCERT II (beginning on page 7) Thursday, February 4, 6pm in Symphony Hall Music of Strauss, Stravinsky, Ned Rorem, Beethoven, and Korngold Without even delving into opera—simultaneously the tr ickiest and most natural musical genre- partner for Shakespeare’s plays—the Boston Symphony Orchestra’s three orchestral programs this winter marking the 400th anniversary of Shakesp eare’s death cover an enormous amount of territory in terms of composers’ grappling with this wealth of material. (The Boston Youth Symphony Orchestra, a BSO partner, performed Verdi’s Otello on January 24.) Music in the smaller genres, particularly song but also chamber music, has also had a lot to say regarding Shakespeare, both the plays and the poems. Like the BSO’s three Shakespeare-themed orchestra programs, these two concerts of chamber music similarly span some 200 years of music from the Classical era to the contemporary, and reflect many different perspectives, further proof of the timeless appeal of this greatest of writers. BSO “INSIGHTS” Marking the 400th Anniversary of Shakespeare’s Death CHAMBER MUSIC CONCERT I Thursday, January 28, 6pm in Symphony Hall SARI GRUBER, soprano CAMERON STOWE, piano STEPHEN DRURY, piano LILIT HARTUNIAN, violin DAVID RUSSELL, cello SCHUBERT An Sylvia Ms. GRUBER and Mr. STOWE Text and translation are on page 4. OLIVER KNUSSEN Ophelia’s Last Dance Mr. DRURY ALISON BAULD Banquo’s Buried Ms. GRUBER and Mr. STOWE Text begins on page 4. DAVID LUMSDAINE Caliban Impromptu Mr. DRURY, Ms. HARTUNIAN, and Mr. RUSSELL Steinway & and Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. In consideration of the performers and those around you, please turn off all electronic equipment during the con- cert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that omits an audible signal, and anything that glows. Thank you for your cooperation. Please note that taking pictures—whether photographs or videos—is prohibited during concerts. NOTES ON THE PROGRAM Songs, understandably, make up a good portion of these programs. The earliest of these is An Syvia by FRANZ SCHUBERT (1797-1828), a setting of a German translation of a song from Two Gentlemen of Verona (Act IV, scene 2). Silvia is the beloved of Valentine; his friend Proteus also falls for her, and to further his amorous aims agrees to serenade her on behalf of yet a third suitor, Thurio. The poem would certainly have been presented as a song in the play’s original performances. Schubert made his delightf ul, standalone setting, which he titled simply “Gesang” (“Song”), in July 1826, one of three on translations from Shakespeare he wrote that month. The translator for An Sylvia was Schubert’s friend Eduard von Bauernfeld, who would become a major playwright in his own right. An Sylvia is in three entirely strophic verses of five lines apiece, and the text is similar enough to the English that Schubert’s melody fits it almost as well. 3 FRANZ SCHUBERT “An Sylvia,” D.891 Was ist Silvia, saget an, Who is Silvia? What is she, Daß sie die weite Flur preist? That all our swains commend her? Schön und zart seh ich sie nahn, Holy, fair, and wise is she; Auf Himmelsgunst und Spur weist, The heaven such grace did lend her, Daß ihr alles untertan. That she might admirèd be. Ist sie schön und gut dazu? Is she kind as she is fair? Reiz labt wie milde Kindheit; For beauty lives with kindness. Ihrem Aug’ eilt Amor zu, Love doth to her eyes repair, Dort heilt er seine Blindheit To help him of his blindness, Und verweilt in süßer Ruh. And, being helped, inhabits there. Darum Silvia, tön, o Sang, Then to Silvia let us sing, Der holden Silvia Ehren; That Silvia is excelling; Jeden Reiz besiegt sie lang, She excels each mortal thing Den Erde kann gewähren: Upon the dull earth dwelling: Kränze ihr und Saitenklang! To her let us garlands bring. The precocious OLIVER KNUSSEN (b.1952) was in his early twenties and at work on his third Symphony when he conceived the melody for Ophelia’s Last Dance. Several such ideas were collected as his Ophelia Dances, Book I, for mixed ensemble, but this unused melody stuck with him. Knussen recalled: “After the death of Sue Knussen [the composer’s ex-wife] in March 2003 it reminded me of happier times and eventually, on the occasion of Paul Crossley’s 60th Birthday Recital in 2004, I decided to give it a tiny frame of its own....” In 2010 he expanded the little waltzing tune for solo piano to a single-movement, nine-minute piece redolent, at times, of both jazz and Debussy. The other text-setting on the first program is by Australian composer ALISON BAULD (b.1944). Born in Sydney, Bauld studied piano before earning her doctorate in composition from the University of York in England. She also studied theater and toured as an actress with a Shakespeare company; she has remained deeply involved in theater and especially Shakespeare throughout her career. Banquo’s Buried for soprano and piano is one of several dramatic scenes—virtually opera fragments for limited forces—in her catalog. The text, from Act V, scene 1, of Macbeth is constructed from Lady Macbeth’s monologue of madness; the piano’s complex textures are virtually orchestral in their scope, quickly establishing the manifold tensions of the scene. This is neither song nor aria: the phrasing of the text, with several spoken lines, is nearly an archetype of an actor’s delivery. ALISON BAULD “Banquo’s Buried” Yet here’s a spot. Out, damned spot! out, I say!—One: two: why, then, ’tis time to do’t. Hell is murky! Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him. The thane of Fife had a wife: where is she now? What, will these hands ne’er be clean? No more o’ that, my lord, no more o’ that: you mar all with this starting. 4 Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! Wash your hands, put on your nightgown; look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave. To bed, to bed! there’s knocking at the gate: come, come, come, come, give me your hand. What’s done cannot be undone. I tell you yet again, Banquo’s buried; he cannot come out on’s grave. To bed, to bed, to bed! DAVID LUMSDAINE (b.1931) is an Australian composer who, like Alison Bauld, studied in both Australia and England. He lived in England for several decades and through much of his career has divided his time between there and his home country. His output includes works in many mediums included many pieces for orchestra, and electronic music has been an important part of his output. Much of his work includes quotation, from Bach to birdsong. His 1972 piece Caliban’s Impromptu for violin, cello, piano, and electronics, significantly references Schubert’s Impromptu No. 1 in C minor. Premiered at England’s Cheltenham Festival by the Orion Trio in 1972, it of course alludes to the oppressed monster of Shakepeare’s The Tempest, the Schubert fragment evidently recalling one of Caliban’s few moments of lucid beauty in his Act III reference to “Sounds and sweet airs, that give delight.” Robert Kirzinger Composer and annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra. at jjordanordan hall SUNDAAYY MARCH 13 SUNDAY NOVBEEM R 15 with Garrick Ohlsson, piano with Jeremy Flower, computer and piano ALLL-B-BEETHOVEN PROGRAMM J.C. BACH Quintet in G for flute, oboe, violin, viola, and String Trio in C minor, Op. 9, No. 3 continuo, Op. 11, No. 2 Quintet in E-flat for piano and winds, Op. 16 PISTON Three Pieces for Flute, Clarinet, and BassoonBas Duet in E-flat “with two obbligatoobblig eyeglasses,” WoO 32, for FLLOOWER Shamu and Clinical, foro horn, laptop computerr,, and piano viola and double bass HINDEMITH Sonata for Double Bass and Piano Piano Trio in E-flat, Op. 700, No. 2 BEETHOVEN String Trio in G, Op. 9, No. 1 SUNDAY J ANUARY 10 SUNDAAYY APRIL 2 4 with Randall Hodgkinson, piano FRANÇAIX Trio for oboe, clarinet, and bassoon and John Brancyy,, baritone HANNAH LASH Three Shades Without Angles, for flute, viola, CCelebrelebrating the 100th Annivversarersarryy of Henri Dutilleux’’ss Birth and harp DUKAS Villanelle for horn and piano BEETHOVEN String Trio in D, Op. 9, No. 2 DUTILLEUX Sonatine for flute and piano SPOHR Nonet for flute, oboe, clarinet, bassoon, horn, violin, DUTILLEUX Sarrabandeabande et coro tège for bassoonsoon and piano viola, cello, and double bass DUTILLEUX CCororal, cadence et fugattoo for tromboneombone and piano DUTILLEUX Les Citations for oboe, harpsichord,hord, percussion, Tickets: $38, $29, $22 #BSO1516 and double bass Call 617-266-1200 or visit RAAVEVEL TTrrois Poemes de Stéphane Mallarmé foror voice, two bso.org.
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