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Home , Solo concerto, Sonata rondo form, The Shepherd on the Rock

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, (1770–1827) in retrospect, thought it unworthy of his Trio in B-flat Major for Clarinet, Cello & treatment. , 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 that he dedicated to Haydn. The piano- 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 . 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 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 (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. (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. and sing, in the ’s first movement, with the surging three-octave main theme pointing Fern aus dem tiefen dunkeln Tal far from the deep, dark valley, toward a quasi-symphonic stance. The Schwingt sich empor der Widerhall echoes wing back to the heights, second movement, the Andante, is the Der Klüfte echoes from the ravine. least notable in both formal scheme and melodic presentation, but it’s scarcely less Je weiter meine Stimme dringt, The further my voice penetrates, beautiful in its treatment of subtle tone Je heller sie mir wiederklingt the brighter it rings back to me again colors. The third movement, the Scherzo, set Von unten. from below. the standard for the gossamer movements that would often grace Mendelssohn’s future Mein Liebchen wohnt so weit von mir, My beloved lives so far from me, works. Fanny Mendelssohn, the composer’s Drum sehn’ ich mich so heiß nach ihr I burn to be with her older sister, once reveled that this movement Hinüber. there. was inspired by the Walpurgisnacht scene in Goethe’s tragic play Faust. She wrote: In tiefem Gram verzehr ich mich, In deep grief I languish, Mir ist die Freude hin, my joy has gone, All is new, strange, and yet so familiar Auf Erden mir die Hoffnung wich, all hope on earth has left me, and pleasing—one feels so close to Ich hier so einsam bin. I am so lonely here. the world of spirits, lightly carried up into the air. Indeed, one might take So sehnend klang im Wald das , So the song rings out in longing through the a broomstick so as to follow the airy So sehnend klang es durch die Nacht, woods, procession. At the end the first violin Die Herzen es zum Himmel zieht so it rings out in longing through the night, soars feather-light aloft—and all is Mit wunderbarer Macht. it draws hearts to heaven blown away. with wonderous power. Der Frühling will kommen, The work’s finale takes the idea of Der Frühling, meine Freud’, Spring is coming, eight-part equality further still, with a Nun mach’ ich mich fertig spring, my joy, contrapuntal display inspired by the young Zum Wandern bereit and so I’ll make myself ready to wander. composer’s avid study of the finale of —Wilhelm Müller (verses 1–4 & 7) and Karl —translation by Jennifer Rhodes Mozart’s “Jupiter” Symphony. But this is no August Varnhagen von Ense (verses 5 & 6) mere imitation of that master’s monument; (1809–47) instead, Mendelssohn approximates the Octet in E-flat Major, Op. 20 (1825) manner of multi-thematic dovetailing within a perpetual-motion context and even brings Mendelssohn’s Octet is often invoked during back a touch of the Scherzo to ice this a popular debate among music lovers. incredibly delectable artistic cake. When connoisseurs argue whether Mozart, —Greg Hettmansberger Schubert, Rossini, or Saint-Saëns was the greatest child prodigy to have ever lived, they eventually abandon their favorite composer and agree that not one of those geniuses wrote anything at the age of 16 as perfect as Mendelssohn did with his Octet in E-flat Major. The German composer (1784– 1859) may have influenced Mendelssohn’s decision to write a piece for eight stringed instruments. Spohr wrote the first of his four double quartets in 1823, and Mendelssohn met him (and possibly heard the work or saw it in manuscript) in 1822 and/or 1824. But in his autobiography, Spohr pointed out the essential difference between his concept and execution and Mendelssohn’s. “An octet for string instruments by Mendelssohn,” he wrote, “belongs namely to a completely different genre in which the two quartets do 4 2019 Program Notes Week One Tuesday, July 16, Noon a way that’s suggested folk origins to the main Allegro ma non troppo presents some scholars—although the theme was the usual two contrasting themes—the FRANZ (1732–1809) apparently Haydn’s own—while the second first energetic, the second more lyrical. The in D Minor, Hob. III:76, theme, with the first violin’s swooping Adagio movement is akin to a song without Op. 76, No. 2, “Fifths” (1797) descents, evokes, for some listeners, the words (more than one writer has suggested braying of a donkey. The movement moves that Bruch’s model for this work may have Haydn composed the six quartets of his toward what seems to be a close in D minor, been Mendelssohn’s well-known Opus 44 Opus 76 shortly after returning from his but, in the final moments, Haydn eases quartets), although, again, there’s a more second trip to London, completing them gracefully into D major. The first violin makes urgent central section for contrast. The in the summer of 1797 when he was 65. this change pianissimo, gradually gathers propulsive scherzo has a trio based on a This was a moment of transition for the energy, and then rushes the quartet to its folk theme and makes a brief reappearance aging Haydn, who was moving away from radiant D-major conclusion. before the coda. The finale opens with high instrumental music. All his symphonies were —Eric Bromberger tension, but the more substantial part of the behind him, and he would write only a few Molto vivace almost sounds like a tarantella, more string quartets. Even as he composed (1838–1920) with the fetching dance feel carrying over to his Opus 76, he was beginning work on the String Quartet in C Minor, Op. 9 (1856, the second theme as well. oratorio The Creation, and he would devote rev. 1858) —Greg Hettmansberger the remainder of his creative energies almost exclusively to vocal music. Bruch is something of an anomaly when it If Haydn was indeed nearing the end of comes to the great Romantic composers: his his purely instrumental music (the Quartet life was filled with very little drama. He grew in D Minor is the 75th of his 83 quartets), up with a mother who had been a singer and he was also writing at a very rarefied level, a father whose legal career eventually led and this piece is particularly impressive. It’s him to become vice president of the police sometimes nicknamed the “Fifths” Quartet force in Cologne. His formative years were because the first movement is constructed happy, and his talent was recognized at an so rigorously around that interval. But Haydn early age. By the time he was 11, he was is just as rigorous in his handling of tonality, spending summers at an estate in Bergisch and much of the tension in this quartet rises Gladbach, where he would later compose from his stark opposition of D major and many of his works. At the height of his D minor. fame, he led the Liverpool Philharmonic for The opening Allegro is an unusually stern three seasons, and, ultimately, he composed movement. The first violin’s beginning more than 200 works. He married in 1881, four notes twice outline the interval of and his wife lived nearly as long as he did. the falling fifth, and all the movement’s Stylistically, he was identified with the thematic material derives from that drop of conservative Brahmsian side of the aisle in a fifth. Haydn writes with great economy the latter part of the 19th century, and he and concentration here and with great certainly enjoyed great success for most of rhythmic vitality: the movement takes much his life. of its vigor from its constant syncopation. But, in general, posterity has only By contrast, the second movement brings remained passionate about two of his works: relaxation and sunlight. The dark D minor of the Violin No. 1 and the Scottish the opening movement gives way to D major Fantasy for violin and orchestra. When a here, and the movement belongs largely to composer has produced works as enduring the first violin, which soars easily over the as these two, it’s often likely that his or her other voices. output includes unjustly neglected pieces. The third movement brings back the rigor Indeed, Bruch’s first string quartet, while not of the first. Haydn returns to D minor and a rival to those of Brahms, Mendelssohn, or writes a minuet in strict canon: the violins Beethoven, proves to have charms worth (an octave apart) are followed at a one- experiencing. measure interval by the viola and cello (also Although the work was published in 1859, an octave apart). This minuet, which plows the composition dates from 1856, an early implacably forward, has sometimes been product of those fruitful summers at the nicknamed the “Witches’ Minuet” because of estate at Bergisch Gladbach. (Bruch made its so-called “weird” sound. The trio section some relatively minor revisions to the piece begins in D minor but quickly relaxes into D in 1858 in preparation for its publication.) major as the first violin dances high above The work contains no major surprises, which the other voices. isn’t unusual for a youthful composition, Haydn returns to D minor for the and opens with an Andante introduction. finale. The main theme is syncopated in After hearing this led by the first violin, 5 2019 Program Notes Week One Wednesday, July 17, Noon CLAUDE DEBUSSY (1862–1918) Each of the three performers is required Sonata for Violin & Piano (1916–17) to wear a black half-mask (or visor-mask). FRANZ SCHUBERT (1797–1828) The masks, by effacing the sense of human No. 1 in D Major for Violin & Piano, In 1915, when he was in his early 50s, projection, are intended to represent, D. 384 (1816) Debussy set out to explore the subtleties of symbolically, the powerful impersonal forces chamber music combinations in a new way of nature (i.e., nature dehumanized). I have Perhaps the most salient fact we need to with his Six Sonatas for Various Instruments. also suggested that the work be performed bear in mind when examining Schubert’s Unfortunately, he had been diagnosed with under a deep-blue stage lighting. early work—which, of course, is a relative cancer six years earlier and was only able The form of the Voice of the Whale is a term when we’re referring to a composer to complete half of those sonatas before he simple three-part design, consisting of a who died at 31—is that he was born in, died in 1918. prologue, a set of variations named after the lived in, and died in Vienna. Not only was The collection begins with the Sonata geological eras, and an epilogue. he a student of Salieri and “neighbors” with for Cello & Piano, followed by the Sonata The opening Vocalise (marked in the score Beethoven (who was 26 when Schubert was for Flute, Viola & Harp. The third and final “Wildly fantastic, grotesque”) is a kind of born and died only one year before him), piece is the Sonata for Violin & Piano, which for the flutist, who simultaneously but the city he called home had famously premiered—with Debussy at the piano (in plays [his or her] instrument and sings served as a base for both Mozart and Haydn his last public appearance)—in Paris in May into it. This combination of instrumental (who died at 77, when Schubert was 12). All 1917. and vocal sound produces an eerie, surreal this is to say that, for the first 20 years of In scarcely more than a dozen minutes, timbre, not unlike the sounds of the his life, Schubert’s strongest influence was this sonata’s three movements hint at the humpback whale. The conclusion of the Classicism—at least as far as his instrumental horrors of either civilization being in the cadenza is announced by a parody of the works were concerned. (He had begun throes of World War I or of Debussy coming opening measures of Strauss’s Also sprach pointing the way forward with his lieder to terms with his fatal illness. The opening Zarathustra. when he was a teenager.) Allegro vivo alternates between gesture-type The Sea-Theme (“Solemn, with calm The three works for violin and piano motifs—upon which Debussy spins webs majesty”) is presented by the cello (in (D. 384, 385, and 408) weren’t in of mesmerizing sequences—and surprising harmonics), accompanied by the dark, Schubert’s mind; he titled each one “Sonata” contrasts between arpeggiated passages in fateful chords of strummed piano strings. and wanted them published as such. As each instrument. The subtly sassy central The following sequence of variations was too often the case, these works weren’t movement is marked “Fantastic and light,” begins with the haunting sea-gull cries of published during his lifetime, however, and which it is, and the Finale is described as the Archeozoic (“Timeless, inchoate”) and, when they were published, in 1836, the “Very animated,” although its opening is gradually increasing in intensity, reaches a publisher called them sonatinas in the hope more hushed than helter-skelter. A darker strident climax in the Cenozoic (“Dramatic, that amateur musicians would think they middle section in the final movement is soon with feeling of destiny”). The emergence of weren’t virtuosic works that were beyond dispelled by high-energy exchanges between man in the Cenozoic era is symbolized by a their abilities and would therefore purchase the protagonists, and the work concludes restatement of the Zarathustra reference. them. with a major-key version of the work’s The concluding Sea-Nocturne (“Serene, Indeed, these works aren’t prohibitively opening material. pure, transfigured”) is an elaboration of the virtuosic, and D. 384 is the most conservative —Greg Hettmansberger Sea-Theme. The piece is couched in the of the three. The entire piece can be played “luminous” tonality of B major, and there in less than 15 minutes, and the length GEORGE CRUMB (b. 1929) are shimmering sounds of antique cymbals of the three movements is striking; each Vox balaenae (Voice of the Whale) for Three (played alternately by the cellist and flutist). one typically comes in between four and Masked Players (1971) In composing the Sea-Nocturne, I wanted four-and-a-half minutes long. The opening to suggest “a larger rhythm of nature” and a Allegro molto is bare-bones in terms of George Crumb was born in Charleston, sense of suspension in time. The concluding its lack of development, relying on simple West Virginia, in 1929. As a composer, he’s gesture of the work is a gradually dying octaves at the beginning; overall, it’s a model known for fusing various musical styles series of repetitions of a 10-note figure. of Classical restraint. In the middle section and has been described as an avant-gardist In concert performance, the last figure is of the ensuing Andante, the violin is given as well as a timbralist, surrealist, new-age to be played “in pantomime” (to suggest the chance to be more expressive, although impressionist, and—thanks to the evocation a diminuendo beyond the threshold of it also serves as an accompaniment of in the 1971 work Vox balaenae of sounds hearing). sorts to the piano in the movement’s outer made by humpback whales—a proponent of —George Crumb sections. It’s the work’s finale, however, that biomusic. The following is a program note for treats listeners to some real drama, which is Vox balaenae written by the composer.—Ed. developed over a lively dance-like opening and includes keen contrasts of dynamics and Vox balaenae is scored for flute, cello, and phrasing between the pair of players. piano (all amplified in concert performance). —Greg Hettmansberger The work was inspired by the singing of the humpback whale, a tape recording of which I had heard two or three years previously.

6 2019 Program Notes Week One Wednesday, July 17, 6 p.m. back and enjoy the rollicking high spirits and in order to give space to different qualities, listen for those exuberant moments when we such as identity and clarity. Various layers LUDWIG VAN BEETHOVEN (1770–1827) catch a glimpse of the heaven-storming titan are encountered in the quintet, such as Piano Quartet in E-flat Major, Op. 16 (1796) Beethoven would become in the next decade. the organic (growth, flowering, decay), —Greg Hettmansberger concretism (mechanical patterns), and, Any general discussion of “early” Beethoven, finally, the descriptive (distant horn calls and which usually includes works through his HANS ABRAHAMSEN (b. 1952) other ghost-like music of the past enter our Symphony No. 2, inevitably ascribes his Walden for Wind Quintet (1978) consciousness like a dream). Walden consists brand of slightly boisterous Classicism to of four movements. the influences of Haydn and Mozart. A In his youth, Hans Abrahamsen sought to In 1995, another version for reed quintet cursory expedition below the surface of study piano, but cerebral palsy impacted the was written [for] the Calefax Reed Quintet. this generality quickly reveals that Haydn functioning of his right hand, so he took —Hans Abrahamsen was more often the greater influence— up the French horn instead and eventually not necessarily because Beethoven took studied at the Royal Danish Academy of ANTON ARENSKY (1861–1906) composition lessons with him in the early Music. As a composer, he came under the Piano Trio in D Minor, Op. 32 (1894) 1790s, but because Haydn’s own brand influence of a movement known as “New of rough-hewn genius had a great deal Simplicity,” a reaction to the density and The son of two passionate amateur in common with Beethoven’s expressive complexity of central European avant- musicians, Anton Stepanovich Arensky personality. Mozart was often the ideal garde techniques. His earliest works (he was studied with Rimsky-Korsakov at the St. structural model, to be sure, but his already a published composer at the age Petersburg Conservatory and received the crystalline perfection was rarely Beethoven’s of 16) reveal his aesthetic response to the Gold Medal on his graduation in 1882. That goal. movement, but he soon added a depth of same year, at age 21, he became professor Mozart did, however, have a powerful expression and structure to his compositions. of harmony at the Moscow Conservatory, impact on Beethoven’s Opus 16, thanks Abrahamsen’s 1978 work Walden is where he was a friend and colleague of to his Quintet for Piano & Winds, K. 452. named for the iconic literary work by Henry Tchaikovsky and taught Rachmaninoff, When Beethoven premiered his piece in David Thoreau. The composer believed that Scriabin, and Glière. (Rachmaninoff the spring of 1797, it was titled A Quintet ecological threats, on a worldwide scale, dedicated his first tone poem,Prince for the Fortepiano & Wind Instruments; brought new urgency to Thoreau’s call for Rostislav, to his teacher.) From 1895 to when he published it in 1801, he included freeing ourselves from the artificially created 1901, Arensky served as head of the Imperial an alternative version for keyboard, violin, needs of modern society and restoring a Chapel in St. Petersburg; he died not long viola, and cello. There’s no serious debate natural union between humans and our after, in 1906, from tuberculosis at the age among scholars as to whether Beethoven natural environment. of 44. knew of K. 452; the strongest circumstantial The composer has written his own note Today Arensky’s music has largely evidence that he did know of it lies in the about this work, which we’ve included below. disappeared from the concert hall. Of his work’s scoring, as no other composers of —Greg Hettmansberger 75 opus numbers, only the Piano Trio in significance ever wrote for the piano-wind D Minor remains an established part of the combination. Walden for wind quintet was written in repertoire. Arensky wrote this trio in 1894 The work’s opening Allegro is preceded 1978 and commissioned by the Funen Wind and dedicated it to the memory of the by a Grave introduction that recalls the Quintet. The title is taken from the American Russian cellist Karl Davidov (1838–89), who old French-style , with its dotted- philosopher and poet Henry David Thoreau’s had served for several years as principal rhythm patterns. The Allegro proper features novel from 1854 about living in the woods, cellist of the Leipzig Gewandhaus Orchestra. three distinct themes and a triple meter which Thoreau did for two years. Arensky has been described as an “eclectic” in contrast to the stately 4/4 time of the His stay there was an experiment, an composer, and the influence of Tchaikovsky introduction. The slow movement is built on attempt to strip away all the artificial needs is strong in this work. Some have also heard what is, especially for Beethoven, a long- imposed by society and rediscover man’s the influence of Mendelssohn, whose own breathed played by the piano before lost unity with nature. In that particular Piano Trio in D Minor is one of the most the other instruments are given their turn. A sense, his novel is a documentation of social famous in the literature. minor-key episode adds weight and contrast inadequacy and a work of poetry (Utopia) as The sonata-form Allegro moderato in the middle of the proceedings, and the well. alternates soaring lyric ideas—there are close of the movement offers an exchange Although Thoreau himself never three separate theme groups—with dramatic of scale-wise passages in contrary motion completed any actual social analysis, he was gestures before coming to a quiet close. between the piano and other instruments. way ahead of his own time in his perception The Scherzo has a brilliant The finale is billed as aRondo , a structure of the economy and cyclic character of beginning, where the violinist alternates that might be designated ABACABA or some nature, today known as ecology. His ideas harmonics, spiccati, and pizzicati over variation of it. Here, however, Beethoven are particularly relevant now that pollution swirling piano runs, and its middle section creates one of his earliest examples of what caused by society has reached alarming is a good-natured waltz, with the strings would be called sonata- form, where our proportions. dancing above the piano’s rollicking expectation of the second new episode is really Walden was written in a style of re- accompaniment. a development section of the Rondo theme cycling and “new simplicity.” A lot of The third movement, marked Elegia: itself. It takes no special insight, though, to sit superfluous material has been peeled away Adagio, is the memorial for Davidov, and 7 2019 Program Notes Week One Arensky has the muted cello—Davidov’s own Thursday, July 18, Noon sonata. If there was ever a musical instrument—introduce the grieving main depiction of pining for someone, theme, which is quickly picked up by the LUDWIG VAN BEETHOVEN (1770–1827) this movement is it. Starting on the violin. The sparkling center section of this Sonata in E-flat Major, Op. 7 (1796–97) dominant of E-flat Major, the mood movement sounds the most Tchaikovskian, is established. It pleads, it courts, it but this sunlight is short-lived, and the Much attention is given to the mature stammers. Beethoven seemed to have somber opening material returns to bring Beethoven—the prototypical Romantic had it bad. A magical moment in the the movement to its close. artist shaking his fist at fate and heroically coda occurs where Beethoven takes the The opening of the Finale: Allegro defying his growing deafness—so it’s always opening theme a step higher…perhaps non troppo seems consciously dramatic, a pleasure to revisit the young man who first an image of happily-ever-after. But a built on contrasting blocks of sound; the stormed Vienna in the 1790s. Beethoven, fortissimo wake-up call takes us back to piano’s massive dotted chords and string who was in his early 20s at the time, quickly the tonic key, and the sonata ends with passagework in octaves and tremolos make established himself as the preeminent pianist Beethoven continuing to court. The for a portentous beginning. All seems set on the scene, and by the middle of the answer of the Countess is not in this for a conventional spirited finale, but the decade, everyone was on notice that a new ending. conclusion brings some surprises. Just as day in musical expression had arrived. Beethoven had done in the finale of his The young Ludwig was a firebrand who Alas, we know the answer was never a Symphony No. 9, Arensky now revisits would quickly leave his Classical roots yes—not from the Countess Keglevics or themes from earlier movements, bringing behind. His first three piano sonatas were from any other woman the brash Beethoven back the middle section of the slow published together as his Opus 2, and ever loved. movement and the opening theme of the Beethoven dedicated the set to Haydn, with —Greg Hettmansberger first movement. The trio concludes with a whom he had studied. But most of musical brisk coda derived from the opening of the Vienna was shocked at the boundaries (1811–86) Finale itself. Beethoven was crossing in those works. Funérailles from Harmonies poétiques et —Eric Bromberger The composer, however, wasted little time religieuses (1849) in taking things up a notch; his Opus 7 was published alone (which It’s taken more than a century to dispel was unusual at the time) and contained the two-dimensional stereotype of Liszt as the words “Grande sonate” on its title page. “merely” the greatest piano virtuoso of all The title was fitting, as the piece lasted time and the composer of relative trifles, nearly 30 minutes—far longer than any such as the Hungarian Rhapsodies. Or has previous sonata by any composer—and that, in fact, been achieved? Part of the even Beethoven wouldn’t eclipse that work problem is that, aside from having invented until several years later, when he wrote his the tone poem and arranged the solo- “Hammerklavier” Sonata, Op. 106, in 1817 piano rhapsodies for orchestra, there’s little and 1818. orchestral music in Liszt’s output that can The opening Allegro molto e con brio is be used to educate audiences. The truth is expansive and shares the feeling—and key that much of his greatest music lies within (E-flat major)—of two later masterpieces: the genres of choral music and diverse the “Eroica” Symphony and the “Emperor” religious works; this author has, in recent Concerto. Beethoven is almost relentless in years, “discovered” some of these pieces and his pounding away at the tonic key. When he been greatly surprised by their depth and finally does move to a new key, we’re treated genuinely devout expression. to unheard of (for its time) syncopations The genesis of Liszt’s 10-piece Harmonies and, later, a contrasting chorale-like section. poétiques et religieuses comes from a set of The slow movement (the Largo con gran poems by Alphonse de Lamartine (1790– espressione) is a quasi-hymn in C major, 1869) that was published in 1830 under the with stately dotted rhythms propelling the same title. Liszt began the first piece (which majestic structure. And the third-movement became the third in the group of 10) in 1845. Allegro, a place where we might expect a Funérailles was finished in 1849 and became minuet, has more of a waltz feeling to it. the seventh of the group. It’s probably the The trio section is an unexpected foray into most famous of the 10, and it has its own E-flat minor, with unsettling triplets creating unique inspirational history. some tension. Liszt’s Hungarian homeland had a brief Pianist Stewart Goodyear recently wrote War of Independence in 1848 and 1849, about the Opus 7 finale, stating: which culminated in the death of its leader, Count Lajos Batthyány, and 16 officers. Czerny writes that Beethoven was Liszt lost several friends in the conflict, and, infatuated with the Countess Babette to add tragedy on top of tragedy, Chopin von Keglevics, the dedicatee of this passed away 11 days after the death of the 8 2019 Program Notes Week One Count. Some have assumed that the death later, in 1924, Janáček agreed to publish the Saturday, July 20, 5 p.m. of Liszt’s esteemed colleague (and sometime work. rival) was the inspiration behind Funérailles, The two surviving movements are quite (1685–1750) but the death of his countrymen was clearly short, and both are unified around the in C Major, BWV 1037 (ca. 1735) the greater influence. same rhythmic and thematic figures. The The opening of Funérailles almost suggests opening Con moto (subtitled Foreboding) A great deal of mystery surrounds this lovely church bells, and later one can sense commences with a generalized theme shape music, three centuries after it was written. trumpet calls that signify the beginning of that becomes, in the fourth measure, the The most complex issue centers on who a funeral procession. There are terrifying germinal cell for the entire sonata. All the wrote it. Although this sonata is universally passages of octaves and an inexorable other themes evolve in some way from listed as a work by Johann Sebastian tread in the work, but there’s also a central this figure. It becomes, for example, the Bach (and it’s been assigned a number section in A-flat major, markedLagrimosa accompaniment to the chordal second in the catalog known as the Bach Werke (“Tearfully”), that’s ineffably tender. (A-flat theme, and throughout the sonata it’s Verzeichniss), he almost certainly didn’t major is typically associated with love in transformed by Janáček’s fluid rhythmic write it. The exact identity of the composer Liszt’s music.) The impassioned climax of sense; the music speeds ahead, holds back, remains uncertain, but today it’s generally this section leads to a return of funereal and seems to be stretched or compressed believed that Johann Gottlieb Goldberg, material, thundering harder than before, as we listen. The main theme of the Bach’s young student whose and eventually the octaves rise up the Adagio (subtitled Death but originally name has been immortalized in Bach’s keyboard. There’s one last reminiscence of subtitled Elegie) also grows out of the first Goldberg Variations, wrote the piece. the Lagrimosa melody before Funérailles movement’s central theme. Full of a wild and Beyond the issue of authorship is the comes to a close. Few works can test both wistful quality, this movement grows more question of instrumentation. The work the player and the listener to such a degree animated and then subsides to an elegiac has come down to us as a sonata for two in less than 12 minutes. close. high melodic instruments over a continuo —Greg Hettmansberger One wonders what the last movement was line, and an instrumentation so general like. has meant that the piece is performed in LEOŠ JANÁČEK (1854–1928) —Eric Bromberger a variety of forms. One of those forms is Piano Sonata, Z ulice, 1.X.1905 (From the as a sonata for two violins and piano, as Street, 1 October 1905) (1905) heard in joint recitals by violinists Itzhak Perlman and Pinchas Zukerman. Another Throughout his long life, Janáček remained a form is as a trio sonata, in which the two passionate Czech nationalist, committed to high melodic instruments are accompanied freeing the Czechs from German domination. by a fully realized bass line played by several On October 1, 1905, came an event that fired instruments. This is the version this evening’s these passions even more deeply. When the audience will hear. The melodic instruments Czechs in Brno asked for the creation of a are the flute and violin, and the continuo Czech university, the Germans demonstrated line is shared by the cello and harpsichord. against them, and the Czechs retaliated with It should be noted, however, that this music a counter-demonstration. Troops were called has been successfully performed by many in to quash the violence, and, in the process, combinations of instruments. a 20-year-old Czech worker was bayoneted The issues of authenticity and to death. Outraged, Janáček composed a instrumentation may, in fact, be beside three-movement piano sonata that he titled the point, as this sonata is pleasing music after the date of that violence; its subtitle in whatever form it takes. It’s written in the has been translated variously as From the expected form of the Baroque instrumental Street or Street Scene. sonata (four movements in a slow-fast- This sonata was originally in three slow-fast sequence), and it demands spirited, movements, but at a rehearsal, Janáček— accomplished playing from all involved. The apparently overcome by the quality of the continuo part is written only in the bass clef, works on the program by other composers— and it’s up to the performers to flesh out this stormed onto the stage and, in front of line for both hands and, in this case, for two the astonished pianist, burned the last instruments. movement of his composition. After the The opening Adagio is built on long, next rehearsal, Janáček took the pages of complex melodic lines from the violin the first two movements and threw them and flute, which interlock as the leading into the Vltava River. (He later noted: “They line moves smoothly between the two did not want to sink. The paper bulged and instruments. The brisk second movement, floated on the water like so many white marked simply Alla breve, is fugal in swans.”) This time, however, the pianist had construction, with the voices spread through been ready: she’d made copies of the two all the instruments. Much of the Largo is movements and saved them. Nearly 20 years canonic, with one upper voice following the 9 2019 Program Notes Week One other at the interval of two measures, while by modern technology, as one of the slow reflects the necessary flattery required in an the concluding Gigue races along its 12/8 movements was featured in a love scene era when composers rarely had their works meter as the melodic line leaps between in the 1975 Stanley Kubrick–directed film published (let alone made a living from violin and flute. Barry Lyndon. Aside from that commercial them): —Eric Bromberger boost, practically each one of Vivaldi’s cello sonatas is what’s known as a sonata da I, who had the great fortune to be more a (1678–1741) chiesa (church sonata), an instrumental companion than a guide of your studies, in E Minor, RV 40 (ca. 1720s) Baroque composition that typically has four do not believe I am accomplishing movements that alternate between slow- something good if I have not received For a man who was so prolific, it’s surprising fast-slow-fast. Vivaldi seems to relish the your approval. To you then, more than to learn that Vivaldi was in the habit of lyrical expressive possibilities so redolent in to anybody else, must go the dedication exaggerating his achievements and inflating the slow movements, while the fast sections of the fruits of my labors. All the more his number of works. In 1739, he told a deliver the taut and bracing virtuosity that that for a long time now I can boast of member of the Bentivoglio family that he’d we expect from the Italian master. having had the honor of being your most written 94 operas, although only about 46 —Greg Hettmansberger humble, devoted and faithful servant. are known. (Apparently, he included separate arias and even instrumental intermezzi in ANTONIO VIVALDI (1678–1741) La stravaganza—whose nickname is the this accounting.) On another occasion, he in E Minor, Op. 4, No. 2, from subject of several entertaining, though stated that he’d published 17 collections of La stravaganza, RV 279 (ca. 1712–13) unproven, theories—comprises 12 his music, while the real number was 12. Vivaldi wrote in 1712 and 1713 and then (If any opus was issued in two volumes, he There’s probably no better summation of published as two sets of six works in 1716. counted them separately.) Vivaldi could also Vivaldi’s unprecedented achievements in the Although most of the concertos are models be thin-skinned about criticism, as seen genre of the concerto than what’s written of one soloist accompanied by a string in the dedications of his Opuses 1 and 4, in The New Grove Dictionary of Music and ensemble and a bass continuo part, the where he wrote about his “efforts, which are Musicians: second of the 12 concertos offers short solos perhaps spoken ill of by the critics.” for ensemble players as well. In addition, It’s possible that Vivaldi never felt that No brief description can do justice while the basic fast-slow-fast movement he had emerged from the shadow of Bach to the variety of form, scoring and structure is in place, there are far more or of other contemporaries. The inimitable imaginative conception in Vivaldi’s stretches of slower music than were usual in musicologist and lexicographer Nicolas 500-odd concertos. If he did not Vivaldi’s concertos at that time. A final rare Slonimsky once explained: invent form—the form in touch (also found in Concertos Nos. 3 and 5) which varied restatements in different is that Vivaldi wrote out the ornamentation Until about the middle of the 20th keys of a ritornello (), usually rather than leave it to the players’ discretion, century, Vivaldi was regarded by scored for the full ensemble, alternate providing audiences with important clues as most music historians as merely an with modulating episodes of free to the practice of the day. estimable composer who dwelt in the thematic character, where a soloist —Greg Hettmansberger shadow of Bach….But comparisons predominates—he was at least the first with Bach are misguided. Vivaldi’s composer to use it regularly in the fast JOHANN SEBASTIAN BACH (1685–1750) music possesses neither the surpassing movements of concertos, so providing Violin Concerto in E Major, BWV 1042 genius nor the conceptual grandeur his contemporaries with the models (ca. 1720) of Bach’s works; his contrapuntal skill they were seeking. The same is true of was minimal compared to Bach’s epic the standard three-movement plan. In the summer of 1717, Bach became achievements in fugal writing. kapellmeister for Prince Leopold in Anhalt- As the above text suggests, there’s no Cöthen, a small town about 30 miles Nevertheless, contemporary audiences underestimating the short- and long-term north of Leipzig. It was an almost perfect were quick to recognize Vivaldi’s talent, impact Vivaldi had on the solo-concerto position for the 32-year-old composer, as and his popularity by the 1720s spoke for form during his time and in the years to Prince Leopold was a music lover. He played itself. Thus, an enterprising publisher in Paris come. One advantage Vivaldi had during clavier, violin, and viola da gamba, and he named Charles-Nicolas Le Clerc scooped up the height of his fame was that he enjoyed maintained a private professional orchestra six of Vivaldi’s unpublished cello sonatas the considerable support and admiration of 17 players, which he was happy to put and cashed in on the rising popularity of of powerful figures. The dedicatee for his at Bach’s disposal. During his six years in the cello in France during the 1730s. (The Opus 4, known as La stravaganza (The Cöthen, Bach composed the better part of set appeared in print around 1740.) Unlike Extravagance), was no less than Vettor his instrumental music: the Brandenburg the violin, which was Vivaldi’s first love and Delfino, a Venetian nobleman whose family Concertos, several of the orchestral suites, primary musical focus, the cello was treated tree included a doge to the republic as well keyboard and chamber music, and the works as an afterthought by the composer. We as senators, generals, diplomats, and high for solo violin and solo cello. Bach’s tenure in know of only 10 cello sonatas: one of them church officials ranging from the procurator Cöthen would come to an end in 1723, when is lost, and none of them were published by of St. Mark’s Cathedral to various cardinals. Prince Leopold married a young woman who Vivaldi or even with his permission. Delfino had studied violin with Vivaldi, and a didn’t like music, but his years there were The popularity of RV 40 has been aided portion of the composer’s Opus 4 dedication happy and productive. 10 2019 Program Notes Week One Although he often lived in remote By contrast, the second-movement Adagio locations, Bach remained keenly aware of is lyric throughout. Bach moves to C-sharp ERIC BROMBERGER earned his doctorate musical trends throughout Europe, and minor here and accompanies the violin with in American literature at UCLA and taught no composer had a greater influence on a bass line somewhat in the manner of an for 10 years before quitting to devote him than his Italian contemporary Antonio . Over this dark accompaniment, the himself to his first love, music. A violinist, Vivaldi. Bach was particularly impressed by solo violin weaves a long cantilena, and this Mr. Bromberger writes program notes for Vivaldi’s violin concertos, and he transcribed movement tests a violinist’s ability to sustain the Minnesota Orchestra, Washington several of them for keyboard as a way of long, singing phrases. It rises to several Performing Arts at The Kennedy Center, learning what Vivaldi had achieved with climaxes before the soloist drops out and San Francisco Performances, University of the form. His own concertos reflect Vivaldi’s allows the orchestra to draw the movement Chicago Presents, the La Jolla Music Society, influence, as they comprise three movements to its quiet close. the San Diego Symphony, and many other in a fast-slow-fast sequence, with the The concluding Allegro assai is brief but organizations. He’s been a pre-concert outer movements structured on a ritornello energetic. A dance movement, it’s based on lecturer for the Los Angeles Philharmonic (refrain). The violinist joins the orchestra for a buoyant, soaring ritornello that sails easily since 1999. these ritornello passages but breaks free for along the very short metric unit of 3/8. The solo flights between them. solo violin weaves in and out, gradually GREG HETTMANSBERGER has contributed Bach being Bach, however, he wasn’t embellishing the ritornello tune with its own criticism and features to the Los Angeles content to simply copy Vivaldi’s model and ornate line before joining the orchestra for Times, L.A. Weekly, the Los Angeles Daily instead made the violin concerto form his the final ritornello. News, Performing Arts, and the Santa own, bringing to it an unusual contrapuntal —Eric Bromberger Barbara News-Press, and he was a staff complexity and writing with an expressive writer for the Los Angeles Opera, for which power far beyond that of his Italian he’s written two yearbooks. This is his 24th mentor. Bach was a virtuoso organist, and, season writing program notes for the Santa while he also played violin and viola, he Fe Chamber Music Festival. He currently appears to have been a competent rather contributes articles to Madison Magazine than a distinguished string player. (Bach’s and writes the blog WhatGregSays at biographer Phillipp Spitta admits to being whatgregsays.com. unable to find any mention of Bach’s abilities as a violinist.) Nevertheless, Bach clearly JENNIFER RHODES holds a PhD in Italian understood stringed instruments, and the and comparative literature. Her research writing for violin in this E-Major Concerto focuses on sites of interchange between is graceful and intelligent; the work retains literature, music, and the visual arts. Her a freshness nearly three centuries after its current book project explores the influence composition. The key of E major, with its of Richard Wagner on the modern European four sharps, is a difficult one for violinists, novel. Ms. Rhodes teaches literature at but it also sounds bright and resonant on Columbia University and has been a member the instrument, which makes this a very of The Santa Fe Opera Titles Department attractive work. since 2000. The Allegro opens with three “hammer- strokes,” and this powerful gesture will announce the return of the ritornello throughout the movement. Between these passages, the soloist takes wing, and it’s a mark of Bach’s command of the form that the soloist becomes a full participant in the contrapuntal manner of the movement. Where Vivaldi’s violin concertos usually offer the soloist simply a chance for some fancy fiddling, Bach makes the solo violin a full partner in the contrapuntal extension of that opening ritornello. Listen, for example, for the many ways those opening three notes are woven into both the soloist’s and orchestra’s line. As the movement proceeds, the solo part grows more complex, with some difficult string-crossing and double- stopping. Bach brings matters to a moment of stasis with a reflectiveAdagio before the movement hurries to its firm close.

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