th SEASON PROGRAM NOTES 47 Week 1 July 14–20, 2019 Sunday, July 14, 6 p.m. unhappy because, at the time, he hadn’t Monday, July 15, 6 p.m. been told of its origin. In the second version, Beer suggested the theme, and Beethoven, LUDWIG VAN BEETHOVEN (1770–1827) in retrospect, thought it unworthy of his Trio in B-flat Major for Clarinet, Cello & treatment. Piano, Op. 11 (1798) In any event, Beethoven thought well enough of the trio to simultaneously publish Until his late 20s—when he started to a violin part that could be substituted for experience the first signs of hearing the clarinet part and to dedicate the work loss—Beethoven enjoyed life to the fullest. to Mozart’s former patron, Countess Maria Ambitious, self-assured, and a vivacious Wilhelmine von Thun. social figure, he quickly took Vienna by storm —Greg Hettmansberger after he moved there in 1792, at the age of 21. His entrée as a published composer came in 1795 with his Opus 1 piano trios, followed by three piano sonatas that he dedicated to Haydn. The piano-sonata form played an important role in Beethoven’s output over the next several years, and his early period was also marked by his masterful Opus 18 string quartets. Before he completed his Opus 18, however, and shortly before he wrote his famous Sonata “Pathétique,” he wrote his lively Opus 11 trio for clarinet, cello, and piano, which, although it’s never been proven, is said to have been written for the Bohemian clarinet virtuoso Joseph Beer. Just as he would do when composing his Symphony No. 1 in 1799 and early 1800, Beethoven makes a statement with the very first notes of this work. All three players, in octaves, share a rising half-step figure that acts as a short fuse for a robust ride through an otherwise standard sonata form. In the Adagio second movement, Beethoven gives the cellist his or her first opportunity with the trio’s main theme, and the clarinet and piano answer in dialogue form before the cello joins in again. The finale is a theme and nine variations on an aria from Joseph Weigl’s opera L’amor marinaro, which premiered in Vienna in October 1797. (The aria, “Pria ch’io l’impegno,” has been loosely translated as “Before I work, I must eat!”) Although the variations unfold in delightful fashion, the backstory, which comes in two versions, is supposedly contentious. In the first version, Beethoven’s publisher, Artaria, suggested the theme, and Beethoven was Program notes for Music at Noon concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. JOHN HARBISON (b. 1938) In meinen Armen lebte der Jüngling auf, IF FROM THE DISTANCE IF, Monodrama for Soprano & Ensemble Der, noch verlassen, aus den Gefilden kam, (2018; co-commission by Boston Musica Die er mir wies, mit einer Schwermut, If, from the distance, now that we have Viva, in honor of its 50th anniversary, the Aber die Namen der seltnen Orte separated, Santa Fe Chamber Music Festival, and The you can still recognize me— Chamber Music Society of Lincoln Center; Und alles Schöne hatt’ er behalten, das you, sharer of my suffering— New Mexico premiere) An seeligen Gestaden, auch mir sehr wert and the past still means something to you Im heimatlichen Lande blühet Please see the Commissioned Works section Oder verborgen, aus hoher Aussicht, Then tell me, in what way does your of the Festival’s program book for a program girlfriend wait for you note by the composer.—Ed. Allwo das Meer auch einer beschauen kann, in the same garden where after terrible Doch keiner sein will. Nehme vorlieb, und and dark times we meet again WENN AUS DER FERNE denk here, by the wellspring of the world’s An die, die noch vergnügt ist, darum, beginning! Wenn aus der Ferne, da wir geschieden sind, Weil der entzückende Tag uns anschien, Ich dir noch kennbar bin, die Vergangenheit Let me say this—there was something good O du Teilhaber meiner Leiden! Der mit Geständniß oder der Hände Druck in your look, Einiges Gute bezeichnen dir kann, Anhub, der uns vereinet. Ach! wehe mir! when in the distance Es waren schöne Tage. Aber you turned around, cheerfully, for a So sage, wie erwartet die Freundin dich? Traurige Dämmerung folgte nachher. moment— In jenen Gärten, da nach entsetzlicher always an indrawn man, with your hidden Und dunkler Zeit wir uns gefunden? Du seiest so allein in der schönen Welt face. Hier an den Strömen der heil’gen Urwelt. Behauptest du mir immer, Geliebter! das Weißt aber du nicht.... How the hours flowed by, how resigned Das muß ich sagen, einiges Gutes war —Friedrich Hölderlin (1770–1843) was my soul to the truth, In deinen Blicken, als in den Fernen du that I had been so separated from you. Dich einmal fröhlich umgesehen Yes I confess it, I had been completely yours. Immer verschlossener Mensch, mit finstrem Truly, just as you have tried to bring all Aussehn. Wie flossen Stunden dahin, wie still these familiar places back to me, in letters, War meine Seele über der Wahrheit daß it is that way also for me— Ich so getrennt gewesen wäre? that I now can speak again of all that is past. Ja! ich gestand es, ich war die deine. Was it Spring? Was it Summer? The Wahrhafftig! wie du alles Bekannte mir nightingale In mein Gedächtniß bringen und schreiben with its sweet song lived with the birds willst, nearby in the bushes, and the fragrance Mit Briefen, so ergeht es mir auch of the trees enveloped us. Daß ich Vergangenes alles sage. The clear paths, low shrubs, the sand War’s Frühling? war es Sommer? die on which we walked made more bracing Nachtigall and alluring by the hyacinths, Mit süßem Liede lebte mit Vögeln, die the tulips, violets, carnations. Nicht ferne waren im Gebüsche Und mit Gerüchen umgaben Bäum’ uns. On walls and brick houses, green ivy, green the blessed darkness of the tall lanes. Die klaren Gänge, niedres Gestrauch und Often in evening, or in morning we were Sand there Auf dem wir traten, machten erfreulicher talking, gazing back and forth. Und lieblicher die Hyazinthe Oder die Tulpe, Viole, Nelke. In my arms a young man recovered, the lost one, who came from the very Um Wänd und Mauern grünte der Epheu, fields he was showing me, so sadly. grünt’ He recalls still the names of the strange Ein seelig Dunkel hoher Alleeen. Oft places Des Abends, Morgens waren dort wir Redeten manches und sahn uns froh an. 2 2019 Program Notes Week One and the beautiful things FRANZ SCHUBERT (1797–1828) still blooming on these blessed shores Der Hirt auf dem Felsen (The Shepherd on of our homeland (treasured by me as well)— the Rock), D. 965 (1828) now hidden from a higher view No matter what yardstick you choose, there’s still, they might be seen by someone, from no way to provide an accurate measure the sea, of what Franz Schubert accomplished in though now no one wants to. Forgive me! his short lifetime, which lasted 31 years. If Think of the one who still can rejoice he had only written art songs (lieder), his because such an enchanted day once glowed place in the pantheon of musical immortals for us. would still be secure. When you factor in his symphonies, chamber works, and piano It started with confusions and pressure of pieces, awe sets in. It would also be enough hands if he had only written two of the first (and drawing so close. Misery! arguably still greatest) song cycles—Die They were beautiful days. Winterreise (which the Festival presents at But sad twilight followed. noon on July 31) and Die Schöne Müllerin— but there are at least 100 other songs that You are so alone in this fine world— are miniature masterpieces in their own so you claim, my darling— right. but can you really know… Within Schubert’s vocal output, there —translation by John Harbison are also unique gems that feature a second voice, as it were, in addition to the vocalist and piano. The Shepherd on the Rock is such a jewel, with a clarinet part that gets to fully participate in the structure and expression of this special work. The impetus for The Shepherd on the Rock, which is one Schubert’s final masterpieces, came from the opera singer Pauline Anna Milder-Hauptmann, who asked the composer to write something that would give her the opportunity for wide expression. In order to fulfill this request, Schubert turned to the work of two poets. Most of the text is by Wilhelm Müller (1794–1827), whose poetry forms the basis of both Die Winterreise and Die Schöne Müllerin. Müller’s text (found in stanzas 1–4 and 7) is reflective and hopeful, bucolic but never dark. To provide a contrast, Schubert also uses verses by Karl August Varnhagen von Ense (1785–1858), who was known for his military and diplomatic career and for being a notable biographer. Varnhagen’s text immediately takes the listener into the world of a despairing lover; this despair contrasts further with Müller’s final text, which evokes the hope and joy of springtime. Throughout the work, Schubert does indeed allow for wide expression, but not just for the soprano voice; he does so for the clarinet and piano as well, thanks to agile acrobatics of both voice and fingers. —Greg Hettmansberger 3 2019 Program Notes Week One DER HIRT AUF DEM FELSEN THE SHEPHERD ON THE ROCK not concert and alternate in double choral style, but in which all eight instruments Wenn auf dem höchsten Fels ich steh’, When I stand on the highest cliff, collaborate.” In’s tiefe Tal hernieder seh’, look into the deep valley, This insight is probably less apparent Und singe.