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Chicago Symphony Orchestra Pittsburgh Symphony Orchestra 2015-2016 Season Specials February 27, 2016 MANFRED MARIA HONECK, CONDUCTOR ALEC BALDWIN, HOST CAMERON CARPENTER, ORGAN RICHARD STRAUSS Opening Theme from Also Sprach Zarathustra, Opus 30 HECTOR BERLIOZ Finale (V. Dream of the Witches’ Sabbath: Larghetto — Allegro) from Symphonie Fantastique, Opus 14 PIOTR ILYICH TCHAIKOVSKY “Pas de Deux” from The Nutcracker, Opus 71 LUDWIG VAN BEETHOVEN Finale (IV. Allegro con brio) from Symphony No. 7 in A major, Opus 92 GUSTAV MAHLER Adagietto from Symphony No. 5 in C-sharp minor SERGEI PROKOFIEV “The Death of Tybalt” from Romeo and Juliet, Opus 64 GEORGE GERSHWIN Fascinating Rhythm arr. Powers Mr. Carpenter DMITRI SHOSTAKOVICH Finale (IV. Allegro non troppo) from Symphony No. 5, Opus 47 April 16, 2016 (Baldwin’s Playlist), page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA RICHARD STRAUSS Born 11 June 1864 in Munich; died 8 September 1949 in Garmisch-Partenkirchen. Opening Theme from Also Sprach Zarathustra (“Thus Spake Zarathustra”), Opus 30 (1896) Though Strauss borrowed the title of his 1896 tone poem Also sprach Zarathustra from Nietzsche’s philosophical novel, the music and the poem actually share little more than a name and a few pretentious ideas. “I did not intend to write philosophical music or to portray in music Nietzsche’s great work,” Strauss wrote. “I meant,” he continued modestly, “to convey by means of music an idea of the development of the human race from its origin, through the various phases of its development, religious and scientific, up to Nietzsche’s idea of the Superman. The whole symphonic poem is intended as my homage to Nietzsche’s genius, which found its greatest exemplification in his book Thus spake Zarathustra.” It seems probable that Nietzsche’s book was little more than the source of generating in Strauss what he called “a poetical idea,” a literary hook upon which to hang a piece of music. In his exhaustive biography of the composer, Norman Del Mar brought out the most important point in this matter: “Ultimately it is the sheer quality of the musical material and its organization which counts, while the greater or lesser degree to which it succeeds in the misty philosophizing which conjured it into being is wholly immaterial.” The work’s magnificent opening, inextricably wedged into the public consciousness by 2001: A Space Odyssey (1968), Stanley Kubrick’s visionary Oscar-winning meditation on man’s place in the universe, was meant, according to the composer, to portray “Sunrise, Man feels the power of God. Andante religioso.” HECTOR BERLIOZ Born 11 December 1803 in Côte-Saint-André, France; died 8 March 1869 in Paris. Finale (V. Dream of the Witches’ Sabbath: Larghetto — Allegro) from Symphonie Fantastique, Opus 14 (1830) By 1830, when he turned 27, Hector Berlioz had won the Prix de Rome and gained a certain notoriety among the fickle Parisian public for his perplexingly original compositions. Hector Berlioz was also madly in love. The object of his amorous passion was an English actress of middling ability, one Harriet Smithson, whom the composer first saw when a touring English theatrical company performed Shakespeare in Paris in 1827. During the ensuing three years, this romance was entirely one-sided, since the young composer never met Harriet, but only knew her across the footlights as Juliet and Ophelia. He sent her such frantic love letters that she never made responded to any of them, fearful of encouraging a madman. Berlioz was still nursing his unrequited love for Harriet in 1830 when, full-blown Romantic that he was, his emotional state served as the germ for a composition based on this “Episode from the Life of an Artist,” as he subtitled the Symphonie Fantastique. In this work, the artist visualizes his beloved through an opium-induced trance, first in his dreams, then at a ball, in the country, at his execution and, finally, as a participant in a witches’ sabbath. She is represented by a musical theme that appears in each of the five movements, an idée fixe (a term Berlioz borrowed from the just-emerging field of psychology to denote an unhealthy obsession) that is transformed to suit its imaginary musical surroundings. The idée fixe is treated kindly through the first three movements, but after the artist has lost his head for love (literally — the fourth movement, March to the Scaffold, represents his execution on the guillotine), the idée fixe is transmogrified into a jeering, strident parody of itself in the finale. Berlioz did in fact marry his Harriet–Ophelia–Juliet in 1833, but their happiness faded quickly and he was virtually estranged from her within a decade. Berlioz wrote of the finale, “Dream of the Witches’ Sabbath. The artist sees himself at the Witches’ Sabbath, amid ghosts, magicians and monsters of all sorts, who have come together for his obsequies. April 16, 2016 (Baldwin’s Playlist), page 2 He hears strange noises, groans, shrieks. The beloved melody reappears, but it has become an ignoble, trivial and grotesque dance-tune; it is she who comes to the Witches’ Sabbath.... She takes part in the diabolic orgy ... Funeral knells, burlesque parody on the Dies Irae [the ancient ‘Day of Wrath’ chant from the Roman Catholic Requiem Mass for the Dead]. Witches’ Dance. The Witches’ Dance and the Dies Irae together.” PETER ILYICH TCHAIKOVSKY Born 7 May 1840 in Votkinsk; died 6 November 1893 in St. Petersburg. “Pas de Deux” from The Nutcracker, Opus 71 (1891-1892) The Nutcracker opens with a Christmas party at the home of the President of the Town Council and his wife. The door bursts open and Clara and Fritz, the President’s children, run in, accompanied by some of their playmates. Clara receives a giant Nutcracker as a Christmas gift. When the guests depart and everyone else is in bed, Clara steals back into the living room, where the Nutcracker springs to life and leads a battalion of gingerbread men in battle against an invading army of mice. The Nutcracker is confronted by the Mouse King himself, and he appears about to meet his fate when Clara hurls her slipper at the rodent-monster and kills him. The mice, leaderless, flee, and the Nutcracker is transformed into a gallant Prince. As reward for saving his life, he invites Clara to visit his kingdom. She accepts. Act II is set in the great hall of the castle, where the Prince describes to the assembled court how Clara saved his life. At a sign from the Sugar-Plum Fairy, a sumptuous banquet appears. Clara is ushered to a throne at the head of the table, and a divertissement in her honor begins. Among the many highlights of the divertissement is the Pas de Deux, in which the Prince dances with the Sugar Plum Fairy. LUDWIG VAN BEETHOVEN Born 16 December 1770 in Bonn; died 26 March 1827 in Vienna. Finale (IV. Allegro con brio) from Symphony No. 7 in A major, Opus 92 (1811-1812) In the autumn of 1813, Johann Nepomuk Mälzel, the inventor of the metronome, approached Beethoven with the proposal that the two organize a concert to benefit the soldiers wounded at the recent Battle of Hanau — with, perhaps, two or three repetitions of the concert to benefit themselves. Beethoven was eager to have the as-yet-unheard A major Symphony of the preceding year performed, and thought the financial reward worth the trouble, so he agreed. The concert consisted of this “Entirely New Symphony” by Beethoven, marches by Dussek and Pleyel performed on a “Mechanical Trumpeter” fabricated by Mälzel, and an orchestral arrangement of Wellington’s Victory, a piece Beethoven had concocted the previous summer for yet another of Mälzel’s musical machines, the “Panharmonicon.” The evening was such a success that Beethoven’s first biographer, Anton Schindler, reported, “All persons, however they had previously dissented from his music, now agreed to award him his laurels.” In the sonata-form finale, Beethoven produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey). So intoxicating is this music that some of Beethoven’s contemporaries were sure he had composed it in a drunken frenzy. An encounter with the Seventh Symphony is a heady experience. Klaus G. Roy, the late distinguished musicologist and program annotator for The Cleveland Orchestra, wrote, “Many a listener has come away from a hearing of this Symphony in a state of being punch-drunk. Yet it is an intoxication without a hangover, a dope-like exhilaration without decadence.” To which the composer’s own words may be added. “I am Bacchus incarnate,” boasted Beethoven, “appointed to give humanity wine to drown its sorrow.... He who divines the secret of my music is delivered from the misery that haunts the world.” GUSTAV MAHLER Born 7 July 1860 in Kalist, Bohemia; died 18 May 1911 in Vienna. April 16, 2016 (Baldwin’s Playlist), page 3 Adagietto from Symphony No. 5 in C-sharp minor (1902, revised through 1911) In November 1901, Gustav Mahler (met Alma Schindler, daughter of the painter Emil Jacob Schindler, then 22 and regarded as one of the most beautiful women in Vienna. Mahler was 41. Romance blossomed. They were married in March and were parents by November. Their first summer together (1902) was spent at Maiernigg, Mahler’s country retreat on the Wörthersee in Carinthia in southern Austria. It was at that time that the Fifth Symphony was composed, incorporating some sketches from the previous summer. He thought of this work as “their” music, the first artistic fruit of his married life with Alma. But more than that, he may also have wanted to create music that would be worthy of the new circle of friends that Alma, the daughter of one of Austria’s finest artists and most distinguished families, had opened to him — Gustav Klimt, Alfred Roller (who became Mahler’s stage designer at the Court Opera), architect Josef Hoffmann and the rest of the cream of cultural Vienna.
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