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Home , Concerto in F (Gershwin), Polovtsian Dances, Sergei Diaghilev, The Firebird

SAVANNAH MUSIC FESTIVAL 30TH FESTIVAL SEASON MARCH 28–APRIL 13, 2019

PROGRAM NOTES BY EDWARD LADA, DIRECTOR OF ARTISTIC OPERATIONS,SAVANNAH PHILHARMONIC AND SUITE

SAVANNAH PHILHARMONIC ORCHESTRA WITH MARCUS ROBERTS TRIO

Saturday, April 6 at 7:30 pm Polovtsian Dances (1874–5) Rhapsody in D (2016) 6:30 pm Pre-concert Talk presented by John Approximate performance time is Approximate performance time is 14 minutes. 18 minutes. SMF performance history: SMF premiere SMF performance history: SMF premiere (1833–1887) Polovtsian Dances (1874–5) Alexander Borodin is best known in musical It was at the Ozawa Music Festival in 2014 MARCUS ROBERTS (b. 1963) circles as one of Russia’s “Mighty Handful,” that Seiji [Ozawa] first suggested that I write a Rhapsody in D (2016) a group of composers creating a distinct new for trio and orchestra. Since Russian style of classical music which included Gershwin’s music has had an important impact INTERMISSION Rimsky-Korsakov, Mussorgsky, Balakirev, and on my work with symphony , I decided César Cui. However, music was never Borodin’s to name the new piece Rhapsody in D as a kind (1898–1937) primary career. His “day job” was as a doctor of celebration of Gershwin’s two most influential Rhapsody in Blue (1924) and chemist, holding a postdoctoral position in works for and orchestra—Rhapsody in Blue (1882–1971) Emil Erlenmeyer’s laboratory in Heidelberg. He is and the Concerto in F. Suite from The Firebird (1919) known in the scientific world as the co-discoverer I. Introduction of the aldol reaction (which is still today an Rhapsody in D is a one-movement work with II. The Firebird and its important step in the process of synthesizing traits of a concerto, a rhapsodic spirit, and a III. The Firebird’s Variation drugs like Lipitor). He was also a women’s rights “theme and ” format. I use the and IV. The Princesses’ Round activist, eventually founding the St. Petersburg drums (the foundation of any American band) to V. The Infernal Dance of King Kastchei School of Medicine for Women. help integrate the symphony orchestra with the VI. Lullaby (Berceuse) VII. Finale piano and trio throughout the piece. My goal was The Polovtsian Dances are drawn from Borodin’s to connect the jazz and classical genres using , . In the opera, a Russian a modern compositional framework and a lot of Prince (Igor) sets out to subdue the “savage” spice and flavor from American and European Canarina and Savannah Friends of Music Polovtsians. Instead, Igor is defeated and cultures. My compositions often blend musical Johnny Mercer Theatre captured; the Polovtsians perform a series of styles and Rhapsody in D is no different. dances as entertainment, and eventually Igor and Savannah Philharmonic Orchestra the Polovtsian leader come to respect each other The introductory section of the work builds in Marcus Roberts, piano as equals. Borodin worked for nearly two decades harmonic density and textural intensity beginning Joe Goldberg, alto saxophone, composing the opera, but it was still unfinished with the low brass, then rises in volume and Alphonso Horne, at the time of his death. It existed mostly as timbre throughout all sections of the orchestra, Ron Westray, sketches except for a few completed sections, resolving to the statement of the first theme Rodney Jordan, bass including the Polovtsian Dances. Borodin’s by the piano, and then by the orchestra, in D Jason Marsalis, drums friends Rimsky-Korsakov and Alexander Major. The first theme with its flowing cantabile Glazunov eventually completed the rest of the melody contrasts with the lively and buoyantly opera based on Borodin’s sketches. frivolous second theme in F minor, which features a playful dialogue between the piano, strings, and The Polovtsian Dances is a tour-de-force of woodwinds. Borodin’s melodic genius, and serves as a thrilling climax to Prince Igor’s second act. It was one of There are a series of variations on both themes the first pieces performed by ’s starting with a vivacious conversation between Russes in Paris (the other was Rimsky- piano and orchestra in the form of a short minuet, Korsakov’s Scheherazade), and its melodies influenced by Prokofiev and Stravinsky. The next can be heard throughout the musical — two variations, buoyed by the sophisticated lilting especially in the song “Stranger in Paradise.” swing of the trio, are influenced by the blues and syncopated rhythms of the legendary jazz pianist, Erroll Garner, while the slow and beautiful fourth variation is reminiscent of .

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Variation five brings back the first theme notice. Gershwin reluctantly agreed. Fortunately, two more ballets from Stravinsky: , to showcase the orchestra as a joyous New inspiration struck while Gershwin was traveling which some scholars claim is the piece where Orleans street ensemble, complete to Boston. “It was on the train, with its steely “Stravinsky at last became Stravinsky,” and The with the traditional configurations of trumpet, rhythms, its rattle-ty bang... And there I suddenly Rite of Spring, a revolutionary piece that Aaron clarinet, trombone, and . Variations six and heard, and even saw on paper—the complete Copland referred to as “the foremost orchestral seven bring me back to my church roots in an construction of the rhapsody, from beginning to achievement of the 20th century.” exploration of gospel music combined with an end… I heard it as a sort of musical kaleidoscope earthy blues feeling. Finally, the eighth variation of America, of our vast melting pot, of our Unlike his later works, Stravinsky’s style in brings back the New Orleans ensemble, with unduplicated national pep, of our metropolitan The Firebird is still very connected to Russian the addition of more strings and woodwinds madness.” classical traditions, and is stylistically similar to supporting the melody. works by Stravinsky’s mentor, Nikolai Rimsky- Rhapsody in Blue was the result. The piece was Korsakov. Stravinsky created three different Playing any music at a high level is not an completed just eight days before its premiere, suites of music from The Firebird for concert easy task. Playing jazz music well requires so some of the piano part was unwritten, to be presentations over the years, each with slight creative imagination combined with great skill in improvised by Gershwin on the spot. Whiteman’s revisions to the work in concert. The most interactive group improvisation, blues playing, score had a hastily scribbled note reading “wait popular is the 1919 version being performed quick reflexes, good instincts, tremendous for nod” during one of the solo piano sections. tonight. virtuosity, and the ability to synthesize these The iconic opening clarinet glissando was added skills into a cohesive, unique personal style, by clarinetist Ross Gorman during rehearsal as a vocabulary, and sound. This syncopated music joke, but Gershwin was struck by the sound and is built upon the democratic principles of asked Gorman to keep the addition. cooperation, individual self-expression and self-sacrifice, and a shared group purpose. At its The influence of Gershwin’s piece was best, the music is infused with the genius of its immediate—Whiteman’s concert on February 12, creators—men and women who gave up much to 1924 was attended by musical luminaries such create and develop this great art form, based on as Igor Stravinsky, Sergei Rachmaninov, Leopold the ingredients of inclusion, self-respect, equality, Stokowski, and John Philip Sousa. Gershwin was individual freedom, and a cultural aesthetic that marked as an important new voice in American guarantees its relevance for future generations. music, and Rhapsody in Blue quickly earned him recognition as a composer to be taken seriously. - notes excerpted from the composer, Marcus Roberts Suite from The Firebird (1919) Approximate performance time is Rhapsody in Blue (1924) 22 minutes. Approximate performance time SMF performance history: SMF premiere is 17 minutes. SMF performance history: 4/02/04 The final piece of our quartet of musical innovations tonight is once again intimately George Gershwin is now deservedly regarded connected to Sergei Diaghilev. The as one of the most iconic American composers impresario, in his quest to define a new, 20th of the early 20th century. However, in 1924 he century style of music and dance, happened upon was a relatively unknown Tin Pan Alley musician, a performance of a short piece titled Fireworks making a living recording player piano rolls by a still relatively unknown 28-year-old Igor and writing songs for vaudeville and Broadway Stravinsky. Diaghilev commissioned Stravinsky shows. That changed in later that year, when to write The Firebird for his —the bandleader decided to create an first ballet the young company would perform to all-jazz concert event he called “An Experiment a new piece of music. in Modern Music.” His goal was to create a bridge for “the masses” to gain an understanding and The Firebird was an immediate success at its appreciation of the symphony and opera. premiere in 1910, earning ecstatic praise from critics for the incredible synthesis of Stravinsky’s Whiteman asked Gershwin to compose a vivid score and Fokine’s evocative choreography. concerto-like piece for on short Its success led Diaghilev to quickly commission

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