Program

One Hundred Twenty-Third Season Chicago 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, October 17, 2013, at 6:30 Afterwork Masterworks Susanna Mälkki Conductor Leila Josefowicz Adès . . . but all shall be well, Op. 10 First Chicago Symphony Orchestra performance

Stravinsky in D Toccata Aria 1 Aria 2 Capriccio Leila Josefowicz

Debussy La mer From Dawn to Noon on Play of the Waves Dialogue of the Wind and the Sea

There will be no intermission.

The Chicago Symphony Orchestra Association is grateful to WBBM Newsradio 780 and 105.9 FM for its generous support as media sponsor of the Afterwork Masterworks series.

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Program

One Hundred Twenty-Third 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

Saturday, October 19, 2013, at 8:00 Tuesday, October 22, 2013, at 7:30

Susanna Mälkki Conductor Leila Josefowicz Violin Sibelius Suite No. 1 from , Op. 109 The Oaktree Humoresque ’s Song The Harvesters Canon Scene Intrada, Berceuse Entr’acte, ’s Song The Storm Stravinsky Violin Concerto in D Toccata Aria 1 Aria 2 Capriccio Leila Josefowicz

Intermission

Adès . . . but all shall be well, Op. 10 First Chicago Symphony Orchestra subscription concert performances

Debussy La mer From Dawn to Noon on the Sea Play of the Waves Dialogue of the Wind and the Sea

CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts.

2 CommentS by Daniel Jaff é Phillip Huscher

Jean Sibelius Born December 8, 1865, Hämeenlinna, . Died September 20, 1957; , Järvenpää, Finland. Suite no. 1 from The Tempest, op. 109

On May 1, 1925, just over As early as 1901, Axel Carpelan, one of seven months before his Sibelius’s closest friends, had suggested the play sixtieth birthday, Sibelius to him as a subject: “Th e Tempest would suit you received an unexpected ideally. , , the spirits of earth query from his Danish and air, etc.” Now, with Sibelius more worried publisher, Wilhelm about his ultimate standing as a composer and Hansen: “Have you feeling increasingly bereft of those who truly written any music to Th e understood him—Carpelan having died in Tempest?” Hansen 1919—the play had a particular resonance, informed Sibelius that the most particularly its presiding genius, Prospero, Royal Th eatre in was planning to and his renunciation of magic at the play’s end. stage Shakespeare’s fi nal play, and the producer, Sibelius’s biographer, Erik Tawaststjerna, has Johannes Poulsen, who had earlier staged further suggested that Prospero’s two servants, Sibelius’s ballet-pantomime Scaramouche, wanted Ariel and Caliban, came to represent respectively to use his incidental music. Sibelius’s inspirational and his earthy sides. It is tempting to see some kind of portent Sibelius was well aware of the strains both these in this commission. Shakespeare’s Th e Tempest aspects of his personality had placed on his has long been seen as a fi nal summing up by marriage, his increasing struggle to achieve the the playwright himself, with Prospero’s curtain perfection glimpsed while composing his sym- speech interpreted as a plea from Shakespeare phonies too often weighed down by his perennial himself to be liberated from the burden of con- drinking problem, not to mention his love of juring characters and dramas in which they play such luxuries as well-cut suits and cigars. out their existence: ibelius composed Th e Tempest with appar- Now I want ent fl uency, easily meeting his deadline Spirits to enforce, art to enchant, of September 1 that year. His incidental And my ending is despair, Smusic consists of some thirty-four pieces of Unless I be relieved by prayer, music, ranging from the briefest of cues just Which pierces so that it assaults a few seconds long to fairly substantial pieces Mercy itself and frees all faults. of around four minutes. In all lasting well

ComPoSeD FIrSt (anD onLY) aPProXImate 1925–1928 CSo PerFormanCe PerFormanCe tIme December 24, 1946, Orchestra Hall. 20 minutes FIrSt PerFormanCe Tauno Hannikainen conducting March 15, 1926 (complete incidental music), Copenhagen, InStrUmentatIon three fl utes and three piccolos, two , two , e-fl at and , two , four horns, three , three and , , percussion, harp, strings

3 over an hour, The Tempest also turned out to By contrast follows the rustic charm of The be the most extensive score Sibelius had writ- Harvesters, Sibelius’s artful combination of ten since 1900; apart, it also was the two separate numbers from the play in which last significant piece of music he completed Prospero conjures spirits, mainly focused on the before his virtual creative silence, which lasted masque he stages for his daughter Miranda and the remaining thirty or so years of his life. her beloved . The dreamlike quality of Like Scaramouche, the ballet-pantomime staged those visions is suggested by the Lydian gleam of earlier by Copenhagen’s Royal Theatre, Sibelius’s the gamboling woodwinds. Tempest has traces of neoclassical courtliness, An earthy contrast follows with the Canon, an but nudged even further in the direction of a orchestral transcription of the drunken singing dreamlike eeriness. The music’s haunting atmo- by Caliban, , and Trinculo of “Flout ‘em sphere would capture the imagination of com- and scout ’em.” posers for several decades afterwards, whether Pizzicato strings in a playful mood introduce the otherworldly sounds of Vaughan Williams’s the Scene, which—not too obviously—portrays Magnificat of 1932, or the film scores by Bernard the spirits who, transformed into dogs, chase Herrmann and Richard Rodney Bennett from Caliban and his coconspirators away. A more the 1950s to the ’70s. Sibelius arranged two stern string theme, taken from another number suites from his incidental music, creating musical representing Caliban, serves as a contrasting vignettes or portraits rather than following the central section. dramatic course of the play. The next movement, devoted to Prospero, opens with a strikingly discordant outburst. he Oaktree is effectively a portrait Though the Intrada was intended to represent of Prospero’s spirit servant Ariel—it the “solemn music” to which the magician opens, in fact, with a brief snatch of the renounces his magic, Sibelius presents this act balefulT woodwind chords which herald Ariel’s as a terrible trauma; was it the renunciation, or appearance as a harpy at the banquet. This then the mere thought of losing his “special powers” melts into an earlier episode in the play when, which so horrified the composer? The following to the eerie to-and-fro accompaniment of two Berceuse, taken from early in the play, presents string chords, Ariel—in the guise of a young a more gentle and melancholic side of Prospero oak tree—plays a (a conceit invented by as he places an enchantment on Miranda so she the Danish producer Johannes Poulsen, pre- may sleep. (Sibelius once recalled keeping vigil sumably on the basis that Prospero originally himself over his two youngest sleeping daughters: rescued Ariel from imprisonment in a tree). “They lay there sleeping, life awaiting them,” said In an altogether lighter vein is the following the composer, himself often troubled by life.) Humoresque. Over a trotting pizzicato accompa- A long, brooding number combines an niment, a pair of clarinets perkily twine as Ariel Entr’acte portraying Iris, goddess of the rain- appears, followed by Caliban and his coconspira- bow, with Ariel’s Song, an orchestral version of tors Stephano and Trinculo, their potential men- Sibelius’s setting of “Full fathom five.” The eerie ace hinted by the occasional sting of muted brass. sense of foreboding prepares us for Caliban’s Song shows Prospero’s rebellious The Storm—an abbreviated version of the servant at his most defiant. Sibelius portrays play’s original overture, best heard not as music, Caliban as a caricature “Eastern” barbarian with but as a powerful sound-portrait of the tem- shrill piccolos and clarinets accompanied by pest itself, intended to replace Shakespeare’s “Turkish” percussion—bass drum and cymbals, opening scene. triangle and xylophone. —Daniel Jaffé

4 Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Violin Concerto in D

Stravinsky did not trust to Strecker’s proposal, but he did his homework virtuosos. “In order to anyway: he carefully studied all the great classical succeed they are obliged violin concertos before he wrote a note of his own. to seek immediate Stravinsky and Dushkin met early in 1931 in triumphs,” he once wrote, Wiesbaden, in Willy Strecker’s house, and hit it “and to lend themselves to off immediately. Stravinsky found Dushkin excep- the wishes of the public, tionally musical and down-to-earth; Dushkin the great majority of was surprised that the notorious composer was whom demand sensational unassuming and aff ectionate. Stravinsky began eff ects from the player.” to compose almost at once. Th at winter, he and Stravinsky was not eager to compose a violin Dushkin met for lunch in Paris. “Stravinsky took concerto when the music publisher Willy Strecker out a piece of paper,” Dushkin remembered, fi rst suggested that he write something for Samuel Dushkin, a remarkable young violinist. and wrote down this chord and asked me if He was particularly skeptical since he had never it could be played. I had never seen a chord met Dushkin or heard him play. Only later did with such an enormous stretch, from the E Stravinsky admit that he was also worried to the top A, and I said “No.” Stravinsky said because he could not play the violin himself. sadly “Quel dommage” (What a pity). After “I hesitated at fi rst,” Stravinsky wrote in his I got home, I tried it, and, to my astonish- Chronicle, “because I am not a violinist and I ment, I found that in that register, the stretch was afraid that my slight knowledge of that of the eleventh was relatively easy to play instrument would not be suffi cient to enable me and the sound fascinated me. I telephoned to solve the many problems which would neces- Stravinsky at once to tell him that it could sarily arise in the course of a major work specially be done. When the concerto was fi nished, composed for it.” Strecker assured the composer more than six months later, I understood his that Dushkin would always be available to disappointment when I fi rst said “No.” Th is advise him on technical matters. Still uncertain, chord, in a diff erent dress, begins each of the Stravinsky consulted Paul Hindemith, who said four movements. Stravinsky himself calls it that Stravinsky’s inexperience might be a blessing his “passport” to the concerto. in disguise, since it “would give rise to ideas which would not be suggested by the familiar move- Th e two men began to work together on their ment of the fi ngers.” Stravinsky fi nally agreed concerto, like Brahms and Joachim more than

ComPoSeD moSt reCent aPProXImate 1931 CSo PerFormanCeS PerFormanCe tIme february 28, March 1, 2 & 5, 2002, 22 minutes FIrSt PerFormanCe Orchestra Hall. Gil shaham as soloist, October 23, 1931, Berlin, Germany David robertson conducting CSo reCorDIng 1994. itzhak Perlman as soloist, Daniel FIrSt CSo PerFormanCeS InStrUmentatIon Barenboim conducting. Teldec July 5, 1962, ravinia festival. solo violin, two fl utes and piccolo, two ruggiero ricci as soloist, walter oboes and english horn, three clarinets Hendl conducting and e-fl at clarinet, three bassoons and , four horns, three April 23, 24 & 25, 1970, Orchestra trumpets, three trombones and tuba, Hall. György Pauk as soloist, irwin timpani, bass drum, strings Hoff man conducting

5 fifty years before. Dushkin was amazed at how friends, collaborating and conversing, rather than slowly it went, and he often found Stravinsky stealing the spotlight. hunched over the , “grunting and struggling The relationship between soloist and orchestra to find the notes and the chords he [seemed] to is fluid throughout Stravinsky’s concerto. He be hearing.” Gradually, Dushkin watched the writes very few measures that do not include concerto come to life on the plain white pages the solo violin, in ever-changing combinations of Stravinsky’s notebook. (Dushkin was amused with the members of the orchestra. The music is that Stravinsky drew his own staff lines as he a kaleidoscope of duets, trios, and various larger went, using a little roller made especially for chamber ensembles, and, in the finale, the solo him: “Some staves are longer, others shorter, violin even engages in a duet with the concert- sometimes just one line, sometimes several lines, master (a hint of Stravinsky’s fondness for Bach’s so that when the page is finished, it looks like a concerto for two ). Stravinsky’s orchestra is strangely designed drawing, and each page looks not small—it is particularly heavy in winds and different from the preceding page.”) brass—but he rarely uses the full complement, “At various intervals,” Dushkin recalled, so that it often sounds like a chamber orchestra. “he would show me what he had just written, Stravinsky specifically asks for fewer strings sometimes a page, sometimes only a few lines, than the norm to offset the solo violin, and, sometimes half a movement.” Every one of in the opening Toccata, the listener is scarcely Dushkin’s suggestions, no matter how simple, aware that there are violins in the orchestra at sent Stravinsky back to the drawing board. “He all. (In his Symphony of Psalms, composed the behaved like an architect who if asked to change preceding year, Stravinsky omitted the upper a room on the third floor had to go down to strings completely.) the foundation to keep the proportions of the The concerto is divided, unconventionally, into whole structure,” Dushkin remembered. The four movements. Two bright, bustling move- violinist even grew bold enough to propose entire ments in D major frame two contrasted arias. All passages of his own, which Stravinsky rejected, begin with the passport chord (essentially the top reminded of a pushy salesman at the Galeries three open notes on the violin—D, A, E—with Lafayette: “Isn’t this brilliant, isn’t this exquisite, the middle note played up two octaves). The look at the beautiful colors, everybody’s wearing music is enlivened by old, familiar gestures from it,” to which he had replied, “Yes, it is brilliant, music’s immense attic, but, as always, Stravinsky it is beautiful, everyone is wearing it—I don’t gives each chord or melodic turn a new twist. want it.” Hindemith knew that Stravinsky would never be The first movement was completed on limited by the patterns the hand already knows; March 27. The two middle movements were fin- Stravinsky deliberately writes music that shakes ished before June 16, when Stravinsky went with our expectations and makes us listen freshly to his family to Voreppe, north of Grenoble, where every note. he wrote the finale while Dushkin learned the The opening Toccata—from the Italian toccare, first three movements. The full orchestral score is to touch—is lively and playful; the tempo is rapid dated September 25, less than a month before the and unchanging, as dependable as a Swiss watch. premiere in Berlin. The two central arias—a title favored by Bach The final product is pure Stravinsky—the for slow movements—are both in minor keys. influence of Dushkin, despite his tireless sales- The first, in D minor, begins like a two-part manship, is entirely in the details and cannot be invention for violin solo and ; the second, in detected—and it is unlike any other concerto F-sharp minor, is a long-lined, richly embellished in the literature. Stravinsky’s sensibilities had lyrical melody. The concerto doesn’t offer the already determined that he would not write soloist a cadenza, though the entire last move- a grand romantic vehicle for a dazzling artist ment is tireless, flamboyant, virtuoso display, parading his virtuosity. The composer’s interest despite Stravinsky’s reluctance to call attention to in eighteenth-century music may have suggested the matter. the more likely model of Bach’s Brandenburg Concertos, where the soloist is always among —Phillip Huscher

6 thomas adès Born July 3, 1971, London, England.

. . . but all shall be well, op. 10

In 2000, when the sophistication; a breathtaking—sometimes Chicago Symphony startling—imagination; the ability to say some- played music by Th omas thing entirely new and memorable in the current Adès for the fi rst time, he musical vernacular; a direct line to music’s com- had already moved municative power; and, perhaps most remarkable beyond the obvious early of all, a distinctive and original, almost instantly labels—boy wonder, the recognizable voice. As both a visionary and a new star of English consolidator (someone who brought an unfore- music, ’s seen focus to the musical diversity of today), logical heir (Adès was Adès had found a singularly successful way “to born fi ve years before Britten’s death). In the give expression to his times in ideal fashion”—to short time since he fi rst attracted attention in borrow Robert Schumann’s defi nition of the 1991, as a nineteen-year-old composer of a quality that sets only a very few composers apart chamber symphony—the very work the CSO from the crowd. chose to introduce him—Adès had become a In the last few years, Adès has moved from major artist and an international sensation. His strength to strength. His second opera, Th e fi rst opera, , made headlines Tempest, drew attention from around the world following its premiere in 1995, both for its at the time of its debut at the Royal Opera dazzling music and its scandalous subject (it is House, Covent Garden, in 2004, and was a based on the life of Margaret, duchess of Argyll, huge hit in a new staging at the Metropolitan whose sexual escapades fi lled the tabloids in Opera last October. Adès, a highly accomplished 1963). It has since been performed around the conductor, led the performances in both houses. world (reviewing the revival at the Brooklyn (Adès is an unusually fi ne pianist as well; he Academy of Music last February, Th e New York wrote his piano quartet in 2001 to perform with Times called it an “astonishing, precocious the Arditti Quartet, and played a solo recital masterpiece”). , a searing, twenty-three in Carnegie Hall in 2010.) A number of major minute orchestral score completed in 1997, won orchestral scores have made a splash, including a the University of Louisville’s 2000 Grawemeyer violin concerto in 2005; , a massive single- Award, music’s most prestigious international movement work commissioned by composition prize. (Adès was its youngest and the in 2007; In Seven recipient ever; Pierre Boulez won for Sur incises Days, a composed the following the following year.) Th at work, magnifi cent and year, conceived with video and inspired by the thorny, put him in the spotlight for good. Book of Genesis; and , composed to Th roughout his twenties, Adès showed all inaugurate the dazzlingly high-tech New World the signs of a true fi nd: astonishing technical Center, designed by Frank Gehry, in Miami

ComPoSeD InStrUmentatIon aPProXImate 1993 three fl utes and three piccolos, three PerFormanCe tIme oboes, three english horns, three clar- 10 minutes FIrSt PerFormanCe inets, e-fl at clarinet and bass clarinet, October 7, 1994, Tokyo, Japan three bassoons and contrabassoon, six horns, three trumpets and , FIrSt CSo PerFormanCeS three trombones and tuba, timpani, These are the fi rst Chicago symphony percussion, celesta, piano, harp, strings Orchestra performances.

7 Beach in 2011 (Adès conducted the work with “Behovely” means necessary or inevitable; the Boston Symphony earlier this month). Adès has called the piece a “consolation” for . . . but all shall be well takes us back to the orchestra. (Eliot borrowed the lines from Julian beginning of Adès’s career. It is the earliest of his of Norwich, who viewed sin as part of the human orchestral works, a list that now includes more condition.) The music unfolds mysteriously—yet than a dozen scores, culminating, at the moment, with a sense of inevitability—from the quiet with for mezzo-soprano, , bell-like opening to a full orchestral climax near and orchestra, which was premiered at the BBC the end. Adès charts the course of a small musi- Proms in London this July. With each of these cal idea—essentially a stepwise melody, moving pieces, starting with . . . but all shall be well, Adès up and down—through a lifetime’s worth of has reminded us that there is always something experiences. The piece somehow feels bigger new and unexpected to be said in music— than it is—satisfyingly complete on its own, yet something that has never been put quite the same suggesting unexplored possibilities at every turn. way before. “No one exhausts the possibilities,” There are allusions to other compositions—the he once told The New Yorker’s Alex Ross. very end recalls Liszt’s Romance oubliée—and . . . but all shall be well takes its title from evocations of many kinds of music. But Adès “Little Gidding,” the last of T. S. Eliot’s is not one to quote, nor even one to look long- Four Quartets: ingly back. “It is a piece about now,” he said at the time of its composition, “about our own Sin is Behovely, but fin-de-siècle.” All shall be well, and All manner of things shall be well —Phillip Huscher

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8 Claude Debussy Born August 22, 1862, Saint-Germain-en-Laye, France. Died March 25, 1918, Paris, France. La mer (three Symphonic Sketches)

Although Debussy’s Th e Hollow of the Wave off Kanagawa, the most parents once planned for celebrated print by the Japanese artist Hokusai, him to become a sailor, then enormously popular in France. La mer, subtitled Th ree We also know that Debussy greatly admired Symphonic Sketches, Turner’s work. His richly atmospheric seascapes proved to be his greatest recorded the daily weather, the time of day, and seafaring adventure. even the most fl eeting eff ects of wind and light Debussy’s childhood in ways utterly new to painting, and they spoke summers at Cannes left directly to Debussy. (In 1902, when Debussy him with vivid memories went to London, where he saw a number of of the sea, “worth more than reality,” as he put it Turner’s paintings, he enjoyed the trip but at the time he was composing La mer some thirty hated actually crossing the Channel.) Th e name years later. As an adult, Debussy seldom got his Debussy fi nally gave to the fi rst section of La feet wet, preferring the seascapes available in mer, From Dawn to Noon on the Sea, might painting and literature; La mer was written in the easily be that of a Turner painting made sixty mountains, where his “old friend the sea, always years earlier, for the two shared not only a love of innumerable and beautiful,” was no closer than a subject but also of long, specifi c, evocative titles. memory. Th ere’s something in Debussy’s fi rst symphonic Like the great British painter J.M.W. Turner, sketch very like a Turner painting of the sun who stared at the sea for hours and then went rising over the sea. Th ey both reveal, in their inside to paint, Debussy worked from memory, vastly diff erent media, those magical moments occasionally turning for inspiration to a few when sunlight begins to glow in near darkness, other sources. Debussy fi rst mentioned his new when familiar objects emerge from the shadows. work in a letter dated September 12, 1903; Th is was Turner’s favorite image—he even owned the title he proposed for the fi rst of the three several houses from which he could watch, with symphonic sketches, “Calm Sea around the undying fascination, the sun pierce the line Sanguinary Islands,” was borrowed from a short separating sea and sky. Debussy’s achievement, story by Camille Mauclair published during the though decades later than Turner’s, is no less 1890s. When Debussy’s own score was printed, radical, for it uses familiar language in truly fresh he insisted that the cover include a detail from ways. From Dawn to Noon on the Sea can’t be

ComPoSeD InStrUmentatIon CSo reCorDIngS 1903–March 1905 two fl utes and piccolo, two oboes 1960. fritz reiner conducting. rCA and english horn, two clarinets, three 1976. sir Georg solti conducting. FIrSt PerFormanCe bassoons and contrabassoon, four London October 15, 1905, Paris, france horns, three trumpets and two , three trombones and tuba, timpani, 1978. erich Leinsdorf conducting. CsO FIrSt CSo PerFormanCeS percussion, two harps, strings (Chicago Symphony Orchestra: The First January 29 & 30, 1909, Orchestra Hall. 100 Years) frederick stock conducting aPProXImate 1991. sir Georg solti conducting. PerFormanCe tIme London moSt reCent 23 minutes CSo PerFormanCeS 2000. Daniel Barenboim conducting. November 26 & 27, 2010, Orchestra Teldec Hall. Pierre Boulez conducting 2001. Daniel Barenboim conducting. August 7, 2012, ravinia festival. James euroarts (DVD) Conlon conducting 9 of the Wind and the Sea (another title so like Turner’s) captures the violence of two elements, air and water, as they collide. At the end, the sun breaks through the clouds. La mer repeatedly resists traditional analysis. “We must agree,” Debussy writes, “that the beauty of a work of art will always remain a mystery, in other words, we can never be absolutely sure ‘how it’s made’.”

a mer was controversial even during rehearsals, when, as Debussy told Stravinsky, the violinists tied handker- chiefs to the tips of their bows in protest. The Lresponse at the premiere was mixed, though largely unfriendly. It is hard now to separate the reaction to this novel and challenging music from the current Parisian view of the composer himself, for during the two years he worked on La mer, Debussy moved in with Emma Bardac, the wife of a local banker, leaving behind his wife Lily, who attempted suicide. Two weeks The front cover of the first edition of La mer, for which after the premiere of La mer, Bardac gave Debussy chose a detail from Hokusai’s print The Hollow birth to Debussy’s child, Claude-Emma, later of the Wave off Kanagawa. known as Chou-Chou. Debussy married Emma Bardac on January 20, 1908. The night before, heard as traditional program music, for it doesn’t he conducted an orchestra for the first time in tell a tale along a standard time-line (although public, in a program which included La mer. This Debussy’s friend Eric Satie reported that he time, it was a spectacular success, though many “particularly liked the bit at a quarter to eleven”). of his friends still wouldn’t speak to him. Nor can it be read as a piece of symphonic discourse, for it is organized without regard for —Phillip Huscher conventional theme and development. Debussy’s audiences, like Turner’s before him, were baffled by work that takes as its subject matter color, texture, and nuance. Daniel Jaffé is a regular contributor to BBC Music Debussy’s second sketch too is all suggestion Magazine and a specialist in English and Russian music. and shimmering surface, fascinated with sound He is the author of a biography of Sergey Prokofiev for its own sake. Melodic line, rhythmic regular- (Phaidon) and the Historical Dictionary of Russian Music ity, and the use of standard harmonic progres- (Scarecrow Press). sions are all shattered, gently but decisively, by Phillip Huscher is the program annotator for the Chicago the fluid play of the waves. The final Dialogue Symphony Orchestra.

© 2013 Chicago Symphony Orchestra

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