Narek Hakhnazaryan Cello (May 12) Haydn Symphony No. 6 in D Major (Le Matin) Adagio—Allegro Adagio—Andante—Adagio Menuet Allegro Haydn Cello Concerto in D Major, Hob

Home , Ton Koopman

Program oNe HuNDReD TweNTY-FIRST 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

Thursday, May 10, 2012, at 8:00 Friday, May 11, 2012, at 8:00 Saturday, May 12, 2012, at 8:00 Ton Koopman Conductor Yo-Yo ma Cello (May 10, 11) Narek Hakhnazaryan Cello (May 12) Haydn Symphony No. 6 in D Major (Le matin) Adagio—Allegro Adagio—Andante—Adagio Menuet Allegro Haydn Cello Concerto in D Major, Hob. VIIb:2 Allegro moderato Adagio— Rondo: Allegro Yo-Yo MA (MAY 10, 11) NARek HAkHNAzARYAN (MAY 12)

INTermIssIoN Locatelli Introduttione teatrale in G Major, op. 4, No. 4 Allegro— Andante— Presto First Chicago Symphony Orchestra performances rebel Chaos from The Elements mozart Symphony No. 20 in D Major, k. 133 Allegro Andante Menuetto [Allegro] First Chicago Symphony Orchestra performances

Saturday’s concert is sponsored by Mayer Brown LLP. 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 PHIllIP HuSCHeR

Joseph Haydn Born March 31, 1732, Rohrau, Lower Austria. Died May 31, 1809, Vienna, Austria.

symphony No. 6 in D major (Le matin)

aydn didn’t invent the composed several symphonies by Hsymphony—in fact, he was the time he entered the service of rather slow in contributing to the Prince Paul Anton Esterházy in new Viennese musical fad, led by May 1761, when his professional men whose names today live only career as a composer took off. in footnotes. We can’t even be The first symphonies Haydn certain when Haydn wrote his first wrote during his celebrated symphony. He told his biographers, thirty-year tenure working for the Greisinger and Dies, that it was in Esterházy family are the three 1759, but by the first decade of the charming works subtitled Le matin, nineteenth century, when he was Le midi, and Le soir (Morning, recollecting his life for these two Noon, and Night) and known men, his memory wasn’t reliable. as numbers 6-8. We believe that Most of the manuscripts for his ear- Haydn named the symphonies liest works are undated, and so it’s himself, although if there was any difficult to know which symphonies specific story to this music, it has came first. Haydn always insisted disappeared. (Haydn’s choice of that the one we know as Symphony French titles—like his occasional no. 1 actually was his first, even preference for “menuets” over though the standard numbering “minuets”—reflects the prevailing through 104 is often seriously out French taste of the time.) of sequence (no. 72, to pick the The actual programmatic content worse case, ought to be some forty of the music is slight, although by numbers earlier). He had certainly virtue of the titles alone these three

ComPoseD FIrsT Cso INsTrumeNTaTIoN 1761 PerFormaNCe flute, two oboes, bassoon, August 11, 1977, Ravinia two horns, strings FIrsT PerFormaNCe Festival. lawrence date unknown Foster conducting aPProxImaTe PerFormaNCe TIme mosT reCeNT 23 minutes Cso PerFormaNCe April 27, 2002, orchestra Hall. Pinchas zukerman conducting

3 symphonies stood apart from their The sunrise that opens Le matin neighbors. Even though we think takes only six measures (Richard of Haydn as a strictly classical Strauss would later need twenty composer who excelled in the pure, measures and an orchestra of more abstract forms, colorful pictorial than one hundred players to achieve touches are not uncommon in his the same act of nature in Also sprach music. In the span of his career, he Zarathustra) and it leads directly would give us everything from the to cheerful, nonpictorial music sunrise that opens this symphony launched by the solo flute and a solo to an earthquake in The Seven oboe. Perhaps Beethoven knew this Last Words. movement, for here, as in his Eroica, Designed as Haydn’s calling the horn jumps in with the recapit- cards at Eisenstadt in the summer ulation two bars ahead of schedule. of 1761, these three symphonies The violin and cello take center were intended not only to charm stage in the slow second movement, the Esterházy dynasty (thus secur- which opens with a deadpan parody ing one of the best jobs in the music of a singing lesson as it moves up world), but also to ingratiate Haydn the steps of the D major scale. The to the players of the Eszterháza winds, who already know how to orchestra. Solos abound in this sing, are silent throughout. In the work; each of the prince’s musi- minuet and trio, Haydn again calls cians, Haydn seemed to be saying, on the full orchestra, offering a was a star, and they would enjoy a number of brief cameos and a major fruitful working relationship. That role for the bassoon. In the finale, they did. This small but abundantly Haydn writes brilliantly virtuosic talented band gave the first perfor- and ingratiating music for his con- mance of virtually every symphony certmaster, Luigi Tomasini, whose Haydn wrote over the next three support and talent he relied on in decades. In the eighteenth century, the decades ahead. Their mutual the idea of a composer-in-residence admiration was cemented by this was commonplace, but there was music during Haydn’s first season nothing pedestrian about the music on the job, and they remained that flowed from Haydn’s pen year colleagues and friends for the next after year. thirty years.

4 Joseph Haydn

Cello Concerto in D major, Hob. VIIb:2

ntil 1961, this was the Haydn It was widely considered the most Ucello concerto. It was long exciting event in modern Haydn treasured by audiences and cellists scholarship since the discovery of alike as the single work of its kind the C major cello concerto. But in from the great Viennese classical 1993, six keyboard sonatas—turned triumvirate—neither Mozart nor over to a local music teacher by Beethoven wrote cello concertos, an elderly woman in Münster, and an earlier one by Haydn, in Germany—were immediately C major, had disappeared during proclaimed as genuine and then, his lifetime and was given up for almost as quickly, deemed fakes.) lost. (Haydn had entered it in the Haydn wrote catalog he disarmingly titled “List this D major con- of all the compositions which I certo in 1783 for can at present remember having Anton Kraft, the composed from my eighteenth until principal of his two my seventy-third year.”) regular cellists at Then, in 1961, a librarian at the the Esterházy court Prague Archives discovered a set during the 1780s. of parts for Haydn’s early C major Haydn may not have cello concerto, and overnight the known any Mozart one in D became the second in a concertos at the Cellist Anton Kraft pair. (The run on Haydn discover- time—Mozart had ies continued. A mass dating from only recently moved 1768, and lost for more than two to Vienna, where he was just hundred years, turned up in 1983. beginning to compose the great

ComPoseD FIrsT Cso INsTrumeNTaTIoN 1783 PerFormaNCe solo cello, two oboes, January 25, 1901, bassoon, two horns, strings FIrsT PerFormaNCe Auditorium Theatre. Hugo date unknown becker, cello; Theodore aPProxImaTe Thomas conducting PerFormaNCe TIme 26 minutes mosT reCeNT Cso PerFormaNCe April 21, 1998, orchestra Hall. John Sharp, cello; Donald Runnicles conducting

5 piano concertos—so there were display, from the double stops at few models for this kind of vir- the very opening to the octaves tuoso showpiece in the newly in the finale. Kraft apparently emerging classical style. Although advised Haydn on the writing for Haydn never found the concerto as the solo part, and for a time in the congenial and stimulating a form nineteenth century he was even as Mozart, his best works in the credited as the concerto’s composer. genre are supremely assured pieces, In fact, the authenticity of this and are particularly sensitive to the score was not decisively confirmed capabilities of the solo instrument. until the discovery of Haydn’s dated All three movements of the autograph in 1951—a mere decade D major concerto offer the soloist before we got Haydn’s other cello ample opportunities for virtuoso concerto back as well.

6 Pietro antonio Locatelli Born September 3, 1695, Bergamo, Italy. Died March 30, 1764, Amsterdam, Holland.

Introduttione teatrale in g major, op. 4, No. 4

oday, Pietro Locatelli doesn’t collection by Corelli. Locatelli’s Teven make it into all the music op. 4 includes six Introduttioni histories, despite the fact that he teatrali, one of which is played at was a pioneering violin virtuoso this week’s concerts. Its fast-slow- in eighteenth-century Italy (with fast structure and its interplay a long-lasting influence on violin between full string orchestra and a technique throughout Europe) and quartet of string soloists is char- a popular composer raised in the acteristic of the concerto grosso of circle of the still-famous Arcangelo the day, and its format is essentially Corelli. Already a prodigiously the same as the popular Italian gifted violinist as a boy, Locatelli opera sinfonias Locatelli knew well, was employed at Santa Maria even though he never wrote for the Maggiore in his hometown of stage himself. Bergamo by the time he was In 1729, Locatelli settled in fourteen. Two years later, he went Amsterdam, where he became to Rome to study in the shadow of active in the publishing business, the great Corelli—that is to say, overseeing the printing of all his to absorb his ideas without actu- works and restricting his musical ally studying with the illustrious activities to the occasional private composer. He was, in other words, Wednesday evening performance part of the Corelli School. for connoisseurs in his home. (He As a composer, Locatelli, who is is reported to have said he would sometimes called the Paganini of never play anywhere “but with the Eighteenth Century, has left us gentlemen.”) In Amsterdam, where only a few works. His compositions, he lived for the last thirty-five years mostly featuring his instrument, of his life, he never performed in the violin, were published in eight public, and he took no pupils. collections during his lifetime. Locatelli is perhaps best known The first is a set of concerti grossi today for his appearance in the modeled on the celebrated op. 6 opening line of Patrick O’Brien’s

ComPoseD FIrsT PerFormaNCe INsTrumeNTaTIoN before 1735 date unknown strings, harpsichord These are the first aPProxImaTe Chicago Symphony PerFormaNCe TIme orchestra performances. 5 minutes

7 novel Master and Commander: “The filled with the triumphant first music room in the Governor’s movement of Locatelli’s C major House at Port Mahon, a tall, quartet.” There are, however, no handsome, pillared octagon, was quartets by Locatelli.

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8 Jean-Féry rebel Born April 18, 1666, Paris, France. Died January 2, 1747, Paris, France.

Chaos from The Elements

ome sixty years before Haydn time-beater, the forerunner of the Swrote the visionary repre- modern conductor) at the Académie sentation of chaos that opens his Royale. He composed music Creation, Jean-Féry Rebel, a now- throughout his career, including forgotten French composer, tried songs and violin sonatas, and, most something very similar, and, at the significantly, a number of works time, nearly as daring. Rebel was in a new form, the “choreographic popular during his life, although symphony,” culminating with The by Haydn’s day his music was no Elements. It was his last work. longer played or perhaps even A fad that scarcely outlived Rebel known. (The eighteenth century himself, the choreographic sym- was a period exclusively of “contem- phony was a multimovement piece porary” music.) of instrumental music to be danced Jean-Féry was a member of a in full costume. For The Elements, large musical family. He was the Rebel composed a “prologue” son of a prominent musician, and titled Chaos, which wasn’t choreo- his own son, François, would carry graphed, the music being dramatic on in the business as a member of enough to stand on its own. Rebel’s Haydn’s generation. Jean-Féry’s subject is the confusion that reigned extensive resume is impressive: between the four elements—water, he began his professional career air, earth, and fire—before the as a violinist at the Paris Opera, moment when “they took their later becoming a harpsichordist in prescribed place in the order of the court orchestra of Louis XIV nature,” as he writes in the preface and the batteur de mesure (literally to his score. Like Haydn at the end

ComPoseD FIrsT Cso INsTrumeNTaTIoN 1737 PerFormaNCe two flutes, one bassoon, November 29, 1962, timpani, harpsichord, strings FIrsT PerFormaNCe orchestra Hall (Suite March 17, 1738, Paris, from The Elements). Hans aPProxImaTe France Rosbaud conducting PerFormaNCe TIme 9 minutes mosT reCeNT Cso PerFormaNCe october 30, 2001, orchestra Hall. william eddins conducting

9 of the eighteenth century, Rebel characteristic. Water is represented relies on extreme dissonance to by the flute in lines that move depict chaos. He begins with a steadily up and down. The piccolos, single chord containing all seven playing long-held notes that end steps of the D minor scale—“all the up as trills, portray Air. Earth is sounds mingled together, or rather suggested by low, sustained bass all the notes of the octave in one notes in the bassoon and strings. chord.” After eight full measures Brilliant, lively runs and patterns of this bewildering sonority, Rebel in the violins suggest Fire. Midway gradually moves toward a simple through, the music turns from D minor triad, “leading, after minor to major, as confusion begins discord, to a perfect chord.” to give way to classical organiza- Rebel next begins to reveal tion. Finally, with all four elements the four elements, separately and in perfect alignment, from the occasionally together, but proceed- high notes of Air to the bass line of ing without apparent direction, Earth, Rebel brings the music to awaiting the moment of final order. an end with the orderly cadences of Each element has its distinctive D major.

10 Wolfgang mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria.

symphony No. 20 in D major, K. 133

ozart’s first compositions, an famous catalog, most of them MAndante and an Allegro for identifying compositions written keyboard, were written down by before Mozart turned twenty-one, Leopold, one of history’s proudest a handful of works stand out. stage fathers, when Wolfgang was K. 183, a remarkable symphony in just five years old. Even earlier, G minor—his twenty-fifth, accord- the boy had tried to write what ing to the standard numbering—is he called a concerto in his own the earliest of his symphonies to system of notation, which, as a have found a place in the standard family friend recalled, consisted repertory. K. 271, a piano concerto mainly of a “smudge of notes, known as the Jeunnehomme, is the most of which were written over first of Mozart’s landmark pieces inkblots that he had rubbed out.” in that form that is still regularly After 1761, music began to flow, played today. (It is sometimes said with increasing frequency, from to mark his musical coming-of- his little hands. Inevitably, despite age.) There are other notable works Wolfgang’s astonishing talent— from these years—the Exsultate, “Everyone whom I have heard says jubilate for soprano and orchestra; that his genius is incomprehen- the Haffner Serenade, the Turkish sible,” Leopold wrote when his son Violin Concerto—all of which have was only six—many of the earliest appeared on Chicago Symphony works in his official catalog are programs over the years. little more than child’s play. With the single exception of Eventually, however, signs of Mozart’s first symphony (K. 16), Wolfgang’s true promise and the symphony performed this week unique, once-in-a-generation gift is the earliest music by Mozart the began to emerge. Of the first three Chicago Symphony has played—it hundred numbers in Köchel’s was composed when Mozart was

ComPoseD INsTrumeNTaTIoN aPProxImaTe 1772 one flute, two oboes, two PerFormaNCe TIme horns, two trumpets, 16 minutes FIrsT PerFormaNCe timpani, strings date unknown These are the first Chicago Symphony orchestra performances.

11 just sixteen, probably a few weeks form. In the festive first movement, before the D major divertimento for example, Mozart returns to the the Orchestra performed in 2009. opening key after a busy develop- As with many of Mozart’s first ment section but not to the opening efforts in big public forms, we theme, which he saves for the very don’t know anything about the end of the movement. The Andante occasion for which he was writ- that follows isn’t in the subdomi- ing. Symphonies flowed with nant (G major) as we would expect, exceptional ease from Mozart’s but in the dominant (A major). The busy Salzburg desk at this point lovely slow movement is scored just in his career. From December for strings (the violins are muted) of 1771 to the middle of 1774, and solo flute. Having recently Mozart composed seventeen works returned from Italy, where he in symphonic form. The D major complained that Italian minuets symphony performed this week, were too slow, too florid, and too now known as no. 20, falls in the long, Mozart here writes one of middle of this youthful outpour- pointed simplicity, brevity, and ing. Mozart signs the manuscript speed. The finale is a grand jig in Amadeo Wolfgango Mozart, a sonata form that drives straight for common rendition of his name at the finish line. the time. The four movements show Mozart playing with the still Phillip Huscher is the program annota- © 2012 Chicago Symphony Orchestra © 2012 Chicago unformalized rules of symphonic tor for the Chicago Symphony Orchestra.