PROGRAM: SYMPHONY MARCH 19 / 7:30 PM BING CONCERT HALL

ARTISTS PROGRAM George Frideric Handel: Water Music Suite No. 1 in F Major (1717) , music director Overture Adagio e staccato Ton Koopman, conductor [No tempo indicated] Mark Inouye, trumpet Andante [No tempo indicated] Air Minuet Bourrée Hornpipe [No tempo indicated]

Joseph Haydn: Trumpet Concerto in E-flat Major, Hob. VIIe: 1 (1796) Allegro Andante Finale: Allegro Mark Inouye, trumpet

INTERMISSION

Joseph Haydn: Symphony No. 98 in B-flat Major, Hob. I: 98 (1792) Adagio – Allegro Adagio Minuetto: Allegro Presto

PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you.

28 STANFORD LIVE MAGAZINE MARCH 2015 PROGRAM: SAN FRANCISCO SYMPHONY

GEORGE FRIDERIC HANDEL clearly his later elaborations of original Water Anton Weidinger. To Weidinger’s art and to (1685–1759) Music items. The source material, therefore, the new possibilities of his instrument there WATER MUSIC SUITE NO. 1 IN F MAJOR goes back only to manuscripts (not in Handel’s are two delightful monuments, the concerto (1717) hand) and printed editions that appeared we hear this evening, by Joseph Haydn, and between 1722 and 1743. A transcription of the one that Johann Nepomuk Hummel wrote Not least among Handel’s gifts was his fluency the Water Music for solo harpsichord, written for him in 1803. In writing his concerto, Haydn in ingesting the traits of various national styles out in the 1720s, lays out the music in three was also motivated by friendship. We know, for popular in the music of his time. In his Water suites, gathering the pieces in F, G, and D example, that he was a witness at the wedding Music, we hear a Handel who seems ever so into separate suites. Because that manuscript of Weidinger’s daughter in February 1797. English, spinning out Purcellian hornpipes happens to be in the hand of Handel’s and country-dances as if he had heard them amanuensis and copyist John Christopher The notoriously fickle Viennese public had since he was in the cradle. Possibly this strikes Smith, this ordering commands considerable begun to lose interest even in Haydn, and the us more forcefully than it did the listeners of authority, and the ordering of that manuscript hall at the first performance of the Trumpet Handel’s time, thanks to the fact that certain was preserved when the Water Music was Concerto, in March 1800, was close to empty. details of Handelian style were so forcefully first published in full orchestral score, in 1788. The work was not printed until 1931. What embraced in Great Britain that they continued In that arrangement, the three suites are finally brought it forward was a 1938 recording to inform that nation’s compositions for further marked by distinct instrumentation: of the second and third movements, played generations, effectively defining the “British woodwinds, two horns, and strings in the by the English trumpeter George Eskdale. sound” as being, at heart, Handelian. F Major Suite; woodwinds, trumpets, horns, Walter Goehr, who conducted, had drastically and strings in the D Major Suite; and reworked Haydn’s orchestration, and it was not The Water Music is the most famous woodwinds and strings in the G Major Suite. until the late 1940s that we got versions that of Handel’s instrumental works, but the were clean as well as complete. documentation of its origin leaves quite a few There are no absolute answers to inform a unanswered questions. There is no doubt that modern performance of Handel’s Water Music, Haydn follows a compact though substantial this music—or at least a good deal of it—was and the fact that Handel himself didn’t bother first movement with an Andante that is performed for the first time to accompany to codify the score during his lifetime gives mellow, even slightly wistful, in tone, and he King George I and his entourage during a today’s interpreters considerable leeway in completes the work with a merrily brilliant royal cruise up and down the Thames on the which to operate. There are many satisfying rondo. He provides the chromatic passages night of July 17–18, 1717. Friedrich Bonet, the “solutions” to the ordering of the movements and trills that show Weidinger could do what Prussian consul in , reported: “About and the formulation of suites, although we are players of unkeyed instruments could not, eight in the evening, the king repaired to his not likely ever to know whether they reproduce and he had, it is clear, as much confidence barge, into which were admitted the Duchess what George I heard from his barge. in his friend’s command of the singing, of Bolton, Countess Godolphin, Mad. de —James M. Keller cantabile style as he had in his agility and Kilmanseck, Mrs. Were, and the Earl of the dependability of his instrument. Orkney, the Gentleman of the Bedchamber —Michael Steinberg in Waiting. Next to the king’s barge was that JOSEPH HAYDN (1732–1809) of the musicians, about 50 in number, who CONCERTO IN E-FLAT MAJOR FOR played on all kinds of instruments…The music TRUMPET AND ORCHESTRA, HOB. JOSEPH HAYDN had been composed specially by the famous VIIE: 1 (1796) SYMPHONY NO. 98 IN B-FLAT MAJOR, Handel…His Majesty approved of it so greatly HOB. I: 98 (1792) that he caused it to be repeated three times The problem with the trumpet in the 18th in all, although each performance lasted an century was how to get it—easily, or at least Hardly ever have an artist and his audience hour—namely twice before and once after reliably—to produce notes outside the natural been so content with each other, so attuned supper. The evening was all that could be harmonic series. Early in the 19th century, a mutually, as were Haydn and the Londoners desired for the festivity; the number of barges satisfactory valve mechanism was constructed, who crowded his concerts at the Hanover and, above all, of boats filled with people and the modern trumpet was born. A keyed Square Rooms and the King’s Theatre in desirous of hearing was beyond counting.” trumpet, invented about 1793, represented a 1791–92 and again in 1794–95. The English transitional stage on the journey toward that were delighted to feel and act possessive Unfortunately, Handel’s original score does not happy and useful solution, and it found a of the most celebrated of living musicians. survive apart from two movements that are persuasive champion in the Viennese virtuoso Haydn, after nearly 30 years at an obscure if

30 STANFORD LIVE MAGAZINE MARCH 2015 prosperous and artistically enlightened court, festively scored; the middle section is more was enchanted by the signs and symbols of gently rustic. The finale, the biggest and public success but far too sane to be crazed most adventurous in any Haydn symphony, by it. The premiere of the Symphony No. 98 steps out briskly with one of those double must have delighted, as Haydn was able to upbeat themes that lend themselves to note in the journal he kept—in part in his newly delightful “so when is it going to come acquired English—that “in the third concert, back?” games. the new Symphony in B-flat was given, and the first and last Allegros encort.” But Haydn has richer jokes in mind. A long silence follows the end of the exposition, and Haydn was the most economical of composers what breaks the silence is something utterly and, in that respect as in so many, the and deliciously unpredictable, in sonority as opposite of the lavish Mozart. He liked, for well as in harmonic placement. After all this, TON KOOPMAN was born in Zwolle, example, to invent simple, terse, open-ended Haydn gives us an expansive coda. This is Cantor Arts Center - Stanford Live: Jan/Febthe Netherlands, & March and 2015 he studied Programs musicology, themes whose harmony and scoring he could the home stretch, but that does not keep organ, and harpsichord in Amsterdam, where easily vary, which he could turn toward new Haydn from springing Due: one 12/5/14 more surprise— he was awarded the Prix d’Excellence for destinations but which stayed unmistakably the sudden emergence for 11 measures of a both instruments. In 1979 he founded the themselves. He begins this great symphony rippling keyboard figuration. Amsterdam Baroque Orchestra, followed f

with just such an idea, a common chord of —Michael Steinberg o by the Amsterdam Baroque Choir in 1992. esy B-flat minor going up, followed by a descent t Program notes © 2015 San Francisco ou r C

As a guest conductor, he has worked with . t n i in quicker notes and in a zigzag that includes r p Symphony leading European orchestras and in the United i a couple of tones outside the common chord. ash t igment P

He engages in rhetorical flourishes and . 200 8

© Gohar D

statements and restatements of ideas, subtly on . detail) , os t ( r B , a y varied, and then returns to the opening key r W

d all e n

G

a n i and makes another flourish, greatly expanded, e f i L s t Kl e ’ preparing us for an event more momentous y od a Robe r T

s e than simply another repetition of his core idea. i and

se r he Bi na , (detail), 2008. Pigment 2008. (detail), Azit a from t ,

t

That event is the releasing arrival of the major- 5 ti s # r a d

mode Allegro, the event against which the he t Untitl e introduction—so astonishingly dramatic and Today’s Life and War and Life Today’s wide-ranging for its economy and brevity—has ashti , been holding us in suspense. Familiar with the Gohar D conventions, Haydn’s audience would have from the series expected a bright, quick movement to emerge from the dark introductory measures, much Untitled #5 like the effect of stepping from a low-ceilinged dark vestibule into the spacious nave of a great Gohar Dashti, © Gohar Dashti Boston. and Robert Klein Gallery, Azita Bina, Courtesy of the artist, print. cathedral. Here, Haydn does not disappoint.

Mozart’s slow movements are often operatic; Haydn’s sometimes suggest hymns. This SHE WHO TELLS A STORY Adagio is of touching solemnity, and Haydn WOMEN PHOTOGRAPHERS FROM IRAN AND THE ARAB WORLD would in fact write music very much like it January 28 – May 4 for the prayer “Sei nun gnädig” (“Be now merciful”) in his oratorioThe Seasons. CANTOR ARTS CENTER AT STANFORD UNIVERSITY 328 LOMITA DRIVE • STANFORD, CA • 94305 650-723-4177 • MUSEUM.STANFORD.EDU The minuet is robust in character, energetic The exhibition was organized by the Museum of Fine Arts, Boston. in its traversal of the harmonic landscape, and We gratefully acknowledge support for the exhibition’s presentation at Stanford from the Clumeck Fund and the Mark and Betsy Gates Fund for Photography.

encoremediagroup.com 31 PROGRAM: SAN FRANCISCO SYMPHONY

SAN FRANCISCO SYMPHONY Michael Tilson Thomas, music director , conductor laureate Donato Cabrera, resident conductor Ragnar Bohlin, chorus director Vance George, chorus director emeritus

FIRST VIOLINS John Schoening OBOES TUBA Alexander Barantschik Joanne E. Harrington & Lorry I. Lokey Mingjia Liu† Jeffrey Anderson Concertmaster Second Century Chair Acting Principal Principal Chair Gina Cooper Chair James Irvine Chair Nadya Tichman Nancy Ellis Jonathan Fischer* Associate Concertmaster David Gaudry Associate Principal HARP San Francisco Symphony David Kim Christopher Gaudi† Douglas Rioth Foundation Chair Christina King Acting Associate Principal Principal Mark Volkert Wayne Roden Pamela Smith Assistant Concertmaster Nanci Severance Dr. William D. Clinite Chair TIMPANI 75th Anniversary Chair Adam Smyla Russ deLuna Alex Orfaly† Jeremy Constant Matthew Young English Horn Acting Principal Assistant Concertmaster Joseph & Pauline Scafidi Chair Marcia & John Goldman Chair Mariko Smiley CELLOS Paula & John Gambs Michael Grebanier CLARINETS PERCUSSION Second Century Chair Principal Carey Bell Jacob Nissly Melissa Kleinbart Philip S. Boone Chair Principal Principal Katharine Hanrahan Chair Peter Wyrick William R. & Gretchen B. Kimball Chair Raymond Froehlich Yun Chu Associate Principal Luis Baez Tom Hemphill Sharon Grebanier Peter & Jacqueline Hoefer Chair Associate Principal & E-flat Clarinet James Lee Wyatt III Naomi Kazama Hull Amos Yang David Neuman In Sun Jang Assistant Principal Jerome Simas KEYBOARDS Yukiko Kurakata Margaret Tait Bass Clarinet Robin Sutherland Catherine A. Mueller Chair Lyman & Carol Casey Jean & Bill Lane Chair Suzanne Leon Second Century Chair BASSOONS Leor Maltinski Barbara Andres Stephen Paulson Margo Kieser Diane Nicholeris The Stanley S. Langendorf Foundation Principal Principal Librarian Sarn Oliver Second Century Chair Steven Dibner Nancy & Charles Geschke Chair Florin Parvulescu Barbara Bogatin Associate Principal John Campbell Victor Romasevich Jill Rachuy Brindel Rob Weir Assistant Librarian Catherine Van Hoesen Gary & Kathleen Heidenreich Steven Braunstein Dan Ferreira† Second Century Chair Contrabassoon Assistant Librarian SECOND VIOLINS David Goldblatt Dan Carlson Christine & Pierre Lamond HORNS Sakurako Fisher Principal Second Century Chair Robert Ward President Dinner & Swig Families Chair Sébastien Gingras Principal Brent Assink Paul Brancato Carolyn McIntosh Nicole Cash Executive Director Acting Associate Principal Anne Pinsker Associate Principal Nicholas Winter Audrey Avis Aasen-Hull Chair Bruce Roberts Director of Artistic Planning John Chisholm BASSES Assistant Principal Oliver Theil Acting Assistant Principal Scott Pingel Jonathan Ring Director of Communications Dan Nobuhiko Smiley Principal Jessica Valeri Rebecca Blum The Eucalyptus Foundation Larry Epstein Kimberly Wright* Orchestra Personnel Manager Second Century Chair Associate Principal Joyce Cron Wessling Raushan Akhmedyarova Stephen Tramontozzi TRUMPETS Manager, Tours and Media Production David Chernyavsky Assistant Principal Mark Inouye Nicole Zucca Cathryn Down Richard & Rhoda Goldman Chair Principal Tours and Media Production Assistant Darlene Gray S. Mark Wright William G. Irwin Charity Foundation Chair Tim Carless Amy Hiraga Lawrence Metcalf Second Century Chair Mark Grisez† Production Manager Kum Mo Kim Charles Chandler Acting Associate Principal Rob Doherty Kelly Leon-Pearce Lee Ann Crocker Peter Pastreich Chair Stage Manager Elina Lev Chris Gilbert Guy Piddington Dennis DeVost Isaac Stern Chair Brian Marcus Ann L. & Charles B. Johnson Chair Stage Technician Sarah Knutson† William Ritchen Jeff Biancalana Roni Jules Chunming Mo Stage Technician FLUTES TROMBONES Polina Sedukh *On leave Chen Zhao Tim Day Timothy Higgins Principal Principal †Acting member of the San Francisco VIOLAS Caroline H. Hume Chair Robert L. Samter Chair Symphony Jonathan Vinocour Robin McKee Timothy Owner† The San Francisco Symphony string section Principal Associate Principal Acting Associate Principal utilizes revolving seating on a systematic basis. Yun Jie Liu Catherine & Russell Clark Chair Paul Welcomer Players listed in alphabetical order change seats Associate Principal Linda Lukas John Engelkes periodically. Katie Kadarauch Alfred S. & Dede Wilsey Chair Bass Trombone Assistant Principal Catherine Payne Piccolo

32 STANFORD LIVE MAGAZINE MARCH 2015 States, with the Boston Symphony, Chicago Houston and Charleston symphonies and has Fast Machine won a 2013 Grammy for Best Symphony, New York Philharmonic, Cleveland performed with the New York Philharmonic Orchestral Performance and an ECHO Orchestra, and San Francisco Symphony. and the Israel Philharmonic. Inouye made Klassik Award. A series of earlier recordings his San Francisco Symphony solo debut in by MTT and the orchestra, for RCA Red Koopman has recorded on the Erato, Teldec, 2010. In 2014 he performed as trumpet soloist Seal, has also won praise, and their collection Sony, Philips, and Deutsche Grammophon with the SFS in Shostakovich’s First Piano of Stravinsky ballets for RCA (Le sacre du labels. In 2002 he created his own record Concerto, with Jean-Yves Thibaudet and printemps, The Firebird, and Perséphone) label, Antoine Marchand, distributed by ; in J. S. Bach’s Jauchzet Gott received three Grammy Awards. Some of Challenge Records. Between 1994 and in allen Landen, led by Ton Koopman, and the most important conductors of the past 2004, he conducted and recorded all the with soprano Carolyn Sampson; and in jazz and recent years have been guests on the existing cantatas by Johann Sebastian Bach, arrangements of works by Ravel, led by Edwin SFS podium, among them Bruno Walter, for which he was awarded the Deutsche Outwater. He has also been a soloist with the Leopold Stokowski, Leonard Bernstein, and Schallplattenpreis, the ECHO Klassik Award, New World Symphony and the Houston Sym- Sir Georg Solti, and among the composers the BBC Award, and the Prix Hector Berlioz, phony. Inouye has toured the United States who have led the orchestra are Stravinsky, as well as Grammy and Gramophone Award with the organ and trumpet duo Toccatas Ravel, Copland, and . The nominations. Koopman recently finished and Flourishes, and he was a member of the SFS Youth Orchestra, founded in 1980, has recording a 30-disc set of the complete works Empire Brass Quintet. At home in both classi- become known around the world, as has the of Dietrich Buxtehude. cal music and jazz, he was a founding member SFS Chorus, heard on recordings and on the of the Juilliard Jazz Sextet at Lincoln Center soundtracks of such films as Amadeus and The Ton Koopman is president of the International and a guest performer at the Hollywood Bowl Godfather III. Adventures in Music, the longest Dietrich Buxtehude Society, and in 2014 he in the Playboy Jazz Festival. He appeared as running education program among U.S. received the Bach Prize of the Royal Academy soloist in Wynton Marsalis’s video production orchestras, brings music to children in grades of Music in London. He has edited the Marsalis on Music. Mark Inouye is also an ac- one through five in San Francisco’s public complete Handel organ concerti for Breitkopf tive composer and his works Tribute to Beaky, schools. Keeping Score, designed to connect & Härtel and has published new editions Find the Cheese, and The Bull behind the audiences with music and the emotions it of Handel’s Messiah and Buxtehude’s Das Horns—A Jazz Suite have all been performed conveys, aired on PBS-TV, is available on Jüngste Gericht for Carus-Verlag. Koopman is on the SFS Chamber Music Series. His debut DVD and Blu-ray, and can be accessed at professor at the University of Leiden and is an jazz album, The Trumpet & the Bull, includes keepingscore.org. SFS radio broadcasts, the honorary member of the Royal Academy of several of his own compositions. first in the nation to feature symphonic music Music in London. He is also artistic director of when they began in 1926, today carry the the French Itinéraire Baroque Festival. THE SAN FRANCISCO SYMPHONY orchestra’s concerts across the country.• gave its first concerts in 1911 and has grown in acclaim under a succession of music directors: Henry Hadley, , , , , Enrique Jordá, , , Edo de Waart, Herbert Blomstedt, and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France’s Grand Prix du Disque and Britain’s Gramophone Award, and the Mahler cycle inaugurated in 2001 on the symphony’s own label has been honored with numerous Grammys, including those for Best Classical Album (Mahler’s Third, MARK INOUYE, Principal Trumpet of the Seventh, and Eighth Symphonies), Best San Francisco Symphony and occupant of the Choral Performance and Best Engineered William G. Irwin Charity Foundation Chair, Classical Album (Mahler’s Eighth), and Best attended the University of California at Davis Orchestral Performance (Mahler’s Sixth and graduated from the . He and Seventh). The SFS recording of John has held principal trumpet positions with the Adams’ Harmonielehre and Short Ride in a

encoremediagroup.com 33