Friday, March 20, 2015, 8pm hertz hall

2014–2015 orchestra residency Saint Paul Chamber Orchestra Martin Fröst, director and

PROGRAM A

(1882–1971) (1941–1942) Marche: introduction Pas d’action thème varié Pas de deux Marche: conclusion steven copes, leader and violin

John adams (b. 1947) shaker Loops (1978; rev. 1982) i. shaking and trembling ii. hymning slews iii. Loops and Verses iV. a Final shaking (Performed without pause ) Kyu-young Kim, leader and violin

INTERMISSION

Wolfgang amadeus Mozart (1756–1791) concerto in a major for clarinet and orchestra, K. 622 (1791) allegro adagio rondo: allegro Martin Fröst, director and clarinet

Major support for this performance is provided by The Bernard Osher Foundation. This performance is made possible, in part, by Patron Sponsor Patrick McCabe. Cal Performances’ " !#–" !$ season is sponsored by Wells Fargo.

CAL PERFORMANCES 15 PROGRAM A NOTES

Igor Stravinsky (CJJD–CKIC) section is tender and diffuse, and the playful Danses concertantes, for Chamber variations and shuffling coda bear little sur - Orchestra (CKFC–CKFD) face resemblance to the theme. the Pas de deux borrows another dance convention: a First performed on February S, LTOM, in dance for two, often for the romantic leads. . here, the oboe and clarinet take the spotlight, their duet surrounded by other reveries. the igor stravinsky suffered what he called “the concluding March revisits the opening music. most tragic year of my life” in 1939. his daugh - © Aaron Grad ter, wife, and mother all died within months of each other, and the outbreak of World War ii sent him into exile for the second time, from John Adams (b. CKFI) his adopted home in Paris to the United states. Shaker Loops (CKIJ; rev. CKJD) he married his longtime mistress, Vera, in 1940, and together they settled in West First performed in April LTSN, in New York. hollywood in 1941. stravinsky soon accepted a commission from a local conductor, Werner John Adams was raised in New England and Janssen, and began what would be his first studied at Harvard University, but he left the major work composed en tirely in the United Eurocentric East Coast in LTRL and settled in states, Danses concertantes . California. His earliest successes drew upon the the musical language of Danses concer - Minimalism of Steve Reich and Philip Glass, tantes is typical of stravinsky’s neoclassical and his palette expanded to incorporate rich style, full of quick character changes, crisp echoes of Romanticism and mischievous refer - rhythms, bone-dry textures, and tight har - ences to jazz and popular music. Through his monies. With its small orchestra and ample in - and diverse concert works, as well as his strumental solos, Danses concertantes exhibits activities as a conductor and writer, Adams has a kinship to the “dumbarton oaks” concerto established himself as a defining voice in con - from 1938; the two works have been called temporary American music. He wrote the fol - stravinsky’s “Brandenburgs,” after Bach’s fa - lowing description of shaker Loops . mous set of mixed-ensemble concertos. even © Aaron Grad though stravinsky designed Danses concer - tantes for the concert stage, it did not take long Shaker Loops began as a string quartet with for its inherent dance sensibility to be recog - the title Wavemaker . at the time, like many a nized. stravinsky’s friend and longtime collab - young composer, i was essentially unaware of orator was the first to the nature of those musical materials i had choreograph the work when he created a ver - chosen for my tools. having experienced a few sion in 1944 for the Ballet russe de Monte of the seminal pieces of american carlo, a successor to diaghilev’s . Minimalism during the early 1970s, i thought Danses concertantes begins with an intro - their combination of stripped-down har - ductory March , its steady meter obscured by monic and rhythmic discourse might be just shifting layers and displaced accents. the only the ticket for my own unformed yearnings. i extended solo in this preparatory movement gradually developed a scheme for composing is for the leader of the six-member violin sec - that was partly indebted to the repetitive pro - tion. the second movement is a Pas d’action , cedures of Minimalism and partly an out - borrowing a term from ballet for an ensemble growth of my interest in waveforms. the dance. the third movement, taking the form “waves” of Wavemaker were to be long se - of a theme and variations, is the longest and quences of oscillating melodic cells that cre - most abstracted of the work. the thematic ated a rippling, shimmering complex of

PLAYBILL PROGRAM A NOTES patterns like the surface of a slightly agitated prefer the orchestral version for its added den - pond or lake. But my technique lagged behind sity and power. the piece has several times my inspiration, and this rippling pond very been choreographed and even enjoyed a mo - quickly went dry. Wavemaker crashed and ment of cult status in the movie Barfly , an au - burned at its first performance. the need for tobiographical account of the poet charles a larger, thicker ensemble and for a more flex - Bukowski’s down and out days on Los ible, less theory-bound means of composing angeles’s skid row. in a famous scene, became very apparent. Bukowski (Mickey rourke), having been bat - Fortunately i had in my students at the san tered and bloodied by his drunken girlfriend Francisco conservatory of Music a working (Faye dunaway), holes up in a flophouse laboratory to try out new ideas, and with the room, writing poems in a fit of inspiration to original Wavemaker scrapped i worked over the accompaniment of the insistent buzz of the next four months to pick up the pieces and “shaking and trembling.” start over. i held on to the idea of the oscillat - John Adams ing patterns and made an overall structure that could embrace much more variety and emotional range. Most importantly the quar - (CIGH–CIKC) tet became a , thereby adding a sonic Concerto in A major for Clarinet and and the potential for more acoustical Orchestra, K. HDD (CIKC) power. the “loops” idea was a technique from the era of tape music where small lengths of First performed on October LQ, LRTL, in Prague. prerecorded tape attached end to end could repeat melodic or rhythmic figures ad infini - the music that Mozart wrote for his friend tum. (steve reich’s It’s Gonna Rain is the par - anton stadler, a clarinetist and fellow adigm of this technique.) the shakers got into Freemason, was instrumental in establishing the act partly as a pun on the musical term “to the clarinet as an equal to its older cousins in shake,” meaning either to make a tremolo with the woodwind family. Mozart’s first composi - the bow across the string or else to trill rap - tion for stadler was the “Kegelstatt” trio from idly from one note to another. 1786, scored for clarinet, viola, and . the flip side of the pun was suggested by (Mozart played the viola part himself in the my own childhood memories of growing up first performance.) next came a quintet for not far from a defunct shaker colony near clarinet, two violins, viola, and , com - canterbury, new hampshire. although, as pleted in 1789. this work required a basset has since been pointed out to me, the term clarinet in the key of a, an instrument with a “shaker” itself is derogatory, it nevertheless low-range extension designed by stadler. summons up the vision of these otherwise Mozart went on to write stadler a concerto pious and industrious souls caught up in the featuring the same instrument, completed two ecstatic frenzy of a dance that culminated in months before the composer’s untimely death. an epiphany of physical and spiritual tran - the solo part in the opening movement scendence. this dynamic, almost electrically demonstrates Mozart’s keen understanding of charged element, so out of place in the orderly the clarinet’s range and agility, especially when mechanistic universe of Minimalism, gave the rendered on a basset clarinet, as in this per - music its raison d’être and ultimately led to the formance. (to play the concerto on a modern full realization of the piece. clarinet, the player must transpose certain Shaker Loops continues to be one of my passages into higher octaves.) the tonal qual - most performed pieces. there are partisans ity of the clarinet changes through its range, who favor the clarity and individualism of the from the deep resonance of the extended bass solo septet version, and there are those who notes, through the warm and hollow

CAL PERFORMANCES PROGRAM A NOTES midrange of the chalumeau register, and up could imitate the human voice to such perfec - into the brilliant clarity of the highest octaves. tion.” the slow movement that Mozart at times, the soloist acts like several penned for stadler demonstrates the com - characters engaged in dialogue, leaping from poser’s accord with that assessment. range to range; other times, a single scale or the finale contains a bit of haydn’s sense of arpeggio journeys across all four octaves of humor, as in the playful held notes that draw the instrument’s compass. out unresolved tension. With dramatic inter - a critic, in 1785, wrote of anton stadler, jections and minor-key pathos, this rondo once “one would never have thought that a clarinet again shows off Mozart’s operatic tendencies.

PLAYBILL saturday, March 21, 2015, 8pm hertz hall

2014–2015 orchestra residency

Saint Paul Chamber Orchestra Benjamin Shwartz, conductor Martin Fröst, clarinet

PROGRAM B

John adams (b. 1947) son of chamber (2007) i. Quarter note = 116 ii. eighth note = 92 iii. Presto Benjamin shwartz, conductor

anders hillborg (b. 1954) concerto for clarinet and orchestra, “Peacock tales” (1997–1998) Martin Fröst, clarinet Benjamin shwartz, conductor

INTERMISSION

Ludwig van Beethoven (1770–1827) symphony no. 3 in e-flat major, op. 55, “eroica” (1803) allegro con brio Marcia funebre: adagio assai : allegro vivace Finale: allegro molto — Poco andante — Presto steven copes, leader and violin

Major support for this performance is provided by The Bernard Osher Foundation. This performance is made possible, in part, by Patron Sponsor Patrick McCabe. Cal Performances’ " !#–" !$ season is sponsored by Wells Fargo.

CAL PERFORMANCES PROGRAM B NOTES

John Adams (b. CKFI) opportunity to do really interesting, virtuoso Son of Chamber Symphony (DBBI) writing that i would never attempt with a large orchestra.” (Put another way, both chamber First performed on November NK, MKKR, at are damned hard to play.) Stanford University, by Alarm Will Sound, con - adams hasn’t offered much in the way of ex - ducted by Alan Pierson. plaining the work’s playful title (“it came time to write another chamber symphony. instead of american composer John adams ranks calling it chamber symphony no. 2, i figured among the most eminent musical voices of i’d give it that name.”). the work serves also as our time. a new england native displaced to the ballet score to Mark Morris’s Joyride , a more the Bay area, adams was a vital force in that vividly descriptive title of the music’s kinetic community’s contemporary music scene dur - energy—particularly in the first movement, ing the 1970s and 1980s, becoming new music whose buoyant, off-kilter rhythm to start advisor to the in quickly becomes frenetic. this movement 1978. in this role, alongside then-music di - bears a strong filial resemblance to Chamber rector edo de Waart, adams created the new Symphony ’s more cartoonish moments. Son of and Unusual Music series, establishing the Chamber Symphony ’s second movement recalls reputation as one of america’s most adven - adams’s Naïve and Sentimental Music (1997 ) turous orchestras that san Francisco contin - and Klinghoffer ’s “chorus of the exiled ues to enjoy today. Palestinians,” with its sinewy, lyrical melody in since that period, adams has become espe - the winds supported by a pulsating accompa - cially known for his operas based on contem - niment in the strings. But this music’s naïveté po rary subjects, including Nixon in China (1987), and sentimentality soon enough give way to Doctor Atomic (2005), and The Death of bizarrerie. the caffeinated Presto finale alludes Klinghoffer (1991), whose political sensitivity has to the “news” aria from Nixon in China . sparked protests throughout its performance his - © Patrick Castillo tory, most recently directed towards new york’s in october 2014. From 1988 to 1990, adams served as Anders Hillborg (b. CKGF) creative chair of the sPco. his numerous Concerto for Clarinet and Orchestra, honors include the Pulitzer Prize, “Peacock Tales” (CKKI–CKKJ) Grawemeyer award, and Musical America ’s designation as composer of the year in 1997. First performed on November NK, MKKR, at Stanford University, by Alarm Will Sound, con - * * * ducted by Alan Pierson

Please see notes for Program C for a discus - the clarinet has always had an important role sion of John Adams’s Chamber Symphony . in my music. in Lamento (1982) for clarinet and strings, the soloist is faced with extreme shifts John adams composed Son of Chamber regarding emotional content and expression. Symphony 15 years following his Chamber in a number of pieces i’ve focused on the Symphony . as with the elder work, Junior is clarinet’s ability to embody a grotesque and tautly scored: “it presents certain balance prob - sometimes demonic character, for instance in lems,” the composer has conceded, “because the orchestral piece Liquid Marble, the you have a trombone and a , and only /varieté-song En gul böjd banan, and es - one violin instead of sixteen. But i like that pecially in Paulinesian Procession, where 11 challenge. i like the challenge that the players in an extremely high register produce feel, that each one is a soloist. it gives me an a quite incredible sound…

PLAYBILL PROGRAM B NOTES

Peacock Tales —written during three intense angrily scratched out the dedication with a months in 1998, and premièred in october the knife, tearing a hole in the paper. When the same year by Martin Fröst with Leif segerstam grand symphony was published in 1806 , it conducting the swedish radio orchestra—is appeared as Sinfonia Eroica , “…composta per preceded by a number of smaller pieces, all festeggiare il sovvenire di un grand Uomo ” written for Martin Fröst, such as: Close Up (heroic symphony…composed to celebrate the (1990 ) for clarinet (or other instrument ad lib.) , memory of a great man). Tampere Raw (1991 ) for clarinet and piano, Befitting the grandeur of the composer’s in - Nursery Rhymes (1996 ), and The Peacock spiration before his eventual disillusionment, Moment (1997) for clarinet and piano/tape. the Eroica symphony loudly broke new ground originally intended to be a 15-minute for the symphonic form; it is not hyperbolic to piece, Peacock Tales , scored for clarinet and credit the Eroica with changing the course large orchestra, rapidly grew to become a Western music at large. indeed, for Beethoven, 35-minute drama, incorporating mime/dan ce where napoleon disappointed, his musical vi - and lighting. sion would soar. the Eroica is one of the first that mime/dance should be an integral part works to distance Beethoven from the influ - of the work was suggested by Martin from the ence of haydn and Mozart, as evidenced by the outset, hence an important aspect of the com - baffled critical responses it elicited. one re - position was to make use of his unique combi - viewer wished that “herr van B. would employ nation of instrumentalist and mimer/dancer. his admittedly great talents in giving us works after the introductory very soft solo clarinet like his symphonies in c and d, his ingratiating music, the strings gradually come in and the septet in e-flat, the ingenious Quintet in c, and clarinet explodes in shrieks and wild glissandos. others of his early works that have placed him here starts a journey through many differ - forever in the ranks of the foremost instru - ent musical and emotional “stations,” where mental composers”—works, in other words, the soloist sometimes appears masked, some - that continued the tradition of 18th-century times unmasked. classicism. Beethoven had something else in Anders Hillborg mind. in 1803 , he had declared to a friend, “i am not satisfied with what i have composed up to now. From now on i intend to embark on a Ludwig van Beethoven (CIIB–CJDI) new path.” Symphony No. E in E-flat major, Op. GG, With the Eroica , Beethoven realized his in - “Eroica” (CJBE) tention. among the symphonic repertoire, it is without precedent in magnitude and in the de - First performed on April R, LSKP. gree of virtuosity required of the orchestra. each of its four movements is an individually in May 1804, napoleon Bonaparte, whom colossal statement; together, they form a work Beethoven had admired as the embodiment of twice as long as many early symphonies of the ideals of the French revolution, crowned haydn and Mozart. surrounded by similarly himself emperor. “so he is no more than a epic works in various genres, including the common mortal!” an outraged Beethoven ex - “Waldstein” and “appassionata” sonatas, the claimed to his confidant Ferdinand ries. “razumovsky” Quartets, the Fourth Piano “now, too, he will tread under foot all the concerto, and the Fourth and Fifth sym - rights of man, indulge only his ambition; now phonies, the Eroica is the signature work of he will think himself superior to all men, be - what has become known as Beethoven’s come a tyrant!” on the composer’s desk lay the “heroic” period. manuscript to his recently completed third the symphony’s iconic opening gesture of symphony, “ intitolata Bonaparte ”; Beethoven two forceful e-flat major chords sets the tone

CAL PERFORMANCES PROGRAM B NOTES for the monumental opus that ensues. the cel - after further drama, marked by numerous los introduce the first theme: a seemingly in - harmonic twists and turns, the movement ends nocuous melodic arpeggiation of the same quietly defeated. would later e-flat major chord—but, agitated by urgent write of this affecting Adagio assai , “i know few syncopations in the first violins, the melody examples in music of a style in which grief has dips strangely to c-sharp, placing the listener been so consistently able to retain such pure immediately on notice that convention will form and such nobility of expression.” not contain Beethoven’s imagination. the caffeinated energy of the scherzo draws What strikes the listener as the Allegro con a measure of anxious expectancy from the brio unfolds is the combination of its majestic whispered staccato of its opening measures. its sonority and thematic coherence with the eventual fortissimo outburst is resplendent, constant, jarring defiance of melodic, har - leading some commentators to hear it as the monic, and rhythmic expectations. a propul - hero’s resurrection. indeed, the horn chorale in sive sequence of two-beat chords over the the trio section is a triumphant transfiguration movement’s triple-meter tempo (with the true of the second movement funeral-march theme. downbeat never accented) sets up a grand re - the finale provides the culmination of the statement of the theme by the full orchestra; Eroica ’s magnificent scope, solidifying the this passage is outdone at the end of the ex - symphony’s spirit of heroism that would come position with an utterly disorienting series of to define this period of Beethoven’s career. it is dissonant sforzando chords. the development a set of variations on a theme Beethoven section is equally bewildering, not least of all had previously used in The Creatures of for the notorious “wrong” entrance by the first Pro metheus and in his 15 Variations and a horn, which quietly anticipates the recapitu - for Piano, op. 35 (henceforth often lation two measures before the rest of the or - called the “eroica” Variations). the theme chestra. (in intended commiseration with itself—whose melody and bass line Beethoven Beethoven, ries asked during a rehearsal, extensively works over throughout the “can’t that damned horn player count?”— movement—is not only repurposed material but, nearly earning him a box on the ears from the considered on its own, frankly unre markable. temperamental composer.) But in the theme’s straightforwardness lies the second movement is a funeral march its potential, and especially so given the breadth for the mythical hero at the center of the sym - of Beethoven’s imagination: for, just as in such phony. the theme appears first in the violins, works as the Fifth and ninth symphonies— pianissimo e sotto voce , and then is taken over whose melodic ideas cannot themselves be with especial poignancy by the oboe, accom - called inspired, while Beethoven’s treatment of panied by somber triplet drumbeats in the them is transcendent—the magic resides not in strings. the sobriety of this music is only the bricks and mortar but in the monument. modestly relieved by a gentle secondary how fitting a conclusion indeed do these vari - theme. a contrasting middle section in c ations provide—an obvious melody, put major takes a moment of lyrical respite to an through the paces of a traditional classical exultant climax of and timpani. the form but thereby transfigured beyond what any march returns, quickly giving way to a con - but a visionary on the order of Beethoven could templative fugue on an inversion of the sec - have foreseen—for a landmark symphony con - ondary theme. ceived on the premise of heroism and revolu - tion and whose mammoth compass would chart a new horizon in Western music history. © Patrick Castillo

PLAYBILL sunday, March 20, 2015, 3pm hertz hall

2014–2015 orchestra residency

Saint Paul Chamber Orchestra Benjamin Shwartz, conductor Ying Fang,

PROGRAM C

John adams (b. 1947) chamber symphony (1992)

Mongrel airs aria with walking bass roadrunner

INTERMISSION

Gustav Mahler (1860–1911) symphony no. 4 in G major (1892, 1899–1900, rev. 1901–1910)

arranged for chamber ensemble by Klaus simon (2007)

Bedächtig, nicht eilen in gemächlicher Bewegung, ohne hast ruhevoll (Poco adagio) sehr behaglich

ying Fang, soprano

Major support for this performance is provided by The Bernard Osher Foundation. This performance is made possible, in part, by Patron Sponsor Patrick McCabe. Cal Performances’ " !#–" !$ season is sponsored by Wells Fargo.

CAL PERFORMANCES PROGRAM C NOTES

John Adams (b. CKFI) chamber symphony, op. 9, of arnold Chamber Symphony (CKKD) schoenberg. the choice of instruments is roughly the same as schoenberg’s, although First performed on January R, LTTN, Dr. Anton mine includes parts for synthesizer, percussion Philipszaal, The Hague, by the Schoenberg (a trap set), trumpet, and trombone. however, Ensemble, conducted by John Adams. whereas the schoenberg symphony is in one un - interrupted structure, mine is broken into three american composer John adams ranks discrete movements, “Mongrel airs”; “aria with among the most eminent musical voices of Walking Bass” and “roadrunner.” the titles give our time. a new england native displaced to a hint of the general ambience of the music. the Bay area, adams was a vital force in that i originally set out to write a children’s piece, community’s contemporary music scene dur - and my intentions were to sample the voices of ing the 1970s and 1980s, becoming new music children and work them into a fabric of advisor to the san Francisco symphony in acoustic and electronic instruments. But before 1978. in this role, alongside then-music di - i began that project, i had another one of those rector edo de Waart, adams created the new strange interludes that often lead to a new and Unusual Music series, establishing the piece. this one involved a brief moment of reputation as one of america’s most adven - what Melville called “the shock of recognition”: turous orchestras that san Francisco contin - i was sitting in my studio, studying the score to ues to enjoy today. schoenberg’s chamber symphony, and as i was since that period, adams has become espe - doing so i became aware that my seven-year- cially known for his operas based on contem - old son sam was in the adjacent room watching po rary subjects, including Nixon in China (1987), cartoons (good cartoons, old ones from the Doctor Atomic (2005), and The Death of 1950s). the hyperactive, insistently aggressive, Klinghoffer (1991), whose political sensitivity has and acrobatic scores for the cartoons mixed in sparked protests throughout its performance his - my head with the schoenberg music, itself hy - tory, most recently directed towards new york’s peractive, acrobatic, and not a little aggressive, Metropolitan opera in october 2014. and i realized suddenly how much these two From 1988 to 1990, adams served as traditions had in common. creative chair of the sPco. his numerous For a long time, my music has been con - honors include the Pulitzer Prize, ceived for large forces and has involved broad Grawemeyer award, and Musical America ’s brushstrokes on big canvases. these works designation as composer of the year in 1997 . have been either symphonic or operatic, and © Patrick Castillo even the ones for smaller forces like Phrygian Gates , Shaker Loops , or Grand Pianola Music * * * have essentially been studies in the acoustical Chamber Symphony , written between power of massed sonorities. Chamber september and december 1992, was commis - Symphony , with its inherently polyphonic and sioned by the Gerbode Foundation of san democratic sharing of roles, was always diffi - Francisco for the san Francisco contem - cult for me to compose. But the schoenberg porary chamber Players, who gave the symphony provided a key to unlock that door, american première on april 12. the world and it did so by suggesting a format in which première performance was given in the the weight and mass of a symphonic work hague by the schoenberg ensemble in could be married to the transparency and mo - January 1993. bility of a chamber work. the tradition of Written for 15 instruments and lasting 22 american cartoon music—and i freely ac - minutes, Chamber Symphony bears a suspicious knowledge that i am only one of a host of peo - resemblance to its eponymous predecessor, the ple scrambling to jump on that particular

PLAYBILL PROGRAM C NOTES bandwagon—also suggested a further model turn of the 20th century. With each of his for a music that was at once flamboyantly vir - colossal symphonies and song cycles, Mahler tuosic and polyphonic. there were several created a vast musical world, into which he other models from earlier in the century, most poured heartrending expressions of profound of which i come to know as a performer, joy and sorrow, love and fear, wonder and anx - which also served as suggestive: Milhaud’s La iety at the world around him, and deep reflec - création du monde , stravinsky’s and tions on the human condition, in turns L’Histoire du Soldat , and hindemith’s mar - fatalistic and sublime. velous Kleine Kammermusik , a little known Mahler’s Fourth symphony, completed in masterpiece for woodwind quintet that pre - 1900, presents something of an anomaly dates ren and stimpy by nearly 60 years. among the composer’s other symphonies. despite all the good humor, my Chamber especially in contrast to the unrelenting Symphony turned out to be shockingly diffi - second symphony and the sprawling third, cult to play. Unlike Phrygian Gates or Pianola , whose massive opening movement alone out - with their fundamentally diatonic palettes, lasts any of Mozart’s symphonies in their en - this new piece, in what i suppose could be tirety, Mahler’s Fourth is limpid and compact. termed my post- Klinghoffer language, is lin - its character, too, surprised listeners of ear and chromatic. instruments are asked to Mahler’s time: having stunned audiences with negotiate unreasonably difficult passages and the expressive enormity of his first three sym - alarmingly fast tempi, often to inexorable click phonies, Mahler now turned to an almost of the trap set. But therein, i suppose, lies the childlike naïveté with the Fourth. “it is basi - perverse charm of the piece. (“discipliner et cally different from my other symphonies,” he Punire” was the original title of the first move - admitted. “But it must be that way; it would be ment, before i decided on “Mongrel airs” to impossible for me to repeat myself, and just as honor a British critic who complained that my life moves on, i likewise explore new paths in music lacked breeding.) every new work.” to his wife, alma, the com - Chamber Symphony is dedicated to sam. poser added, “my Fourth will be very strange John Adams to you. it is all humorous, ‘naïve,’ etc.; it repre - sents the part of my life that is still the hardest for you to accept and which in the future only (CJHB–CKCC) extremely few will comprehend.” Symphony No. F in G (CJKD, CJKK–CKBB, While work on the symphony proper took rev. CKBC–CKCB) place between 1899 and 1900, the Fourth took Arr. for Chamber Ensemble by Klaus Simon for its finale a song composed in 1892: Das (MKKR) himmlische Leben (“the heavenly Life”), whose text comes from the collection of First performed in Munich, on November MP, German folk poetry Des Knaben Wunderhorn. LTKL. Motifs from this song run throughout the symphony’s preceding three movements, thus one of the mightiest musical voices of the late prefacing the work’s conclusive statement—a romantic period is that of the austrian com - vision of heaven—with prefigurations of that poser and conductor Gustav Mahler. Mahler’s vision. Mahler: “it contains the cheerfulness epic cycle of nine symphonies stands among of a higher and, to us, an unfamiliar world the most powerful and intensely personal state - that holds for us something eerie and horrify - ments in the Western canon. in addition to his ing. in the final movement, although already symphonies, Mahler left a significant catalogue belonging to this higher world, the child ex - of vocal pieces, many with orchestra, which plains to us how everything is meant to be.” likewise rank among the definitive works of the © Patrick Castillo

CAL PERFORMANCES ORCHESTRA ROSTER

SAINT PAUL CHAMBER ORCHESTRA ARTISTIC PARTNERS roberto abbado, conductor Julia Bogorad-Kogan, Principal Jeremy denk, piano alicia McQuerrey Martin Fröst, clarinet Patricia Kopatchinskaja, violin OBOE christian Zacharias, conductor and piano Kathryn Greenbank, Principal thomas Zehetmair, conductor and violin Sewell Family Chair Barbara Bishop* VIOLIN steven copes, Concertmaster CLARINET John M. and Elizabeth W. Musser Chair richie hawley † ruggero allifranchini, Associate Concertmaster Jonathan cohen* John H. and Elizabeth B. Myers Chair Philip H. and Katherine Nason Chair Kyu-young Kim, Principal Second Violin Bruce H. Coppock Chair daria t. adams charles Ullery, Principal sunmi chang carole Mason smith nina tso-ning Fan cheryl Kelley † elsa nilsson Luosha Fang* HORN Kayla Moffett* rené Pagen † sarah Grimes † Zohar schondorf † John Marcus † Matt Wilson † robin scott † TRUMPET VIOLA sycil Mathai* Maiya Papach, Principal, Lynn erickson Alfred and Ingrid Lenz Harrison Chair shuangshuang Liu* TROMBONE Maurycy Banaszek † thomas hutchinson † Jinsun hong † TIMPANI CELLO Michael israelievitch, Principal Julie albers, Principal Hulings Chair Bill and Hella Mears Hueg Chair Joshua Koestenbaum, Associate Principal PERCUSSION Ruth and John Huss Chair Michael israelievitch † sarah Lewis Jared soldiviero John and Karen Larsen Chair Jane cords-o’hara † KEYBOARD Mary Jo Gothmann † † BASS Pedja Muzijevic Zachary cohen, Principal * Guest musician for the MKLO–MKLP season rachel calin † † Guest musician

all solo performances by sPco musicians are endowed by the redleaf Family chair.

in addition to those listed above, we extend our deepest thanks to the Family of alice Preeves and the hrK Family for endowing positions in the orchestra.

PLAYBILL ABOUT THE ARTISTS y h p a r g o t o h P s e m a J

& h s A N L K M

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HE SAINT PAUL CHAMBER ORCHESTRA and internationally, including performances t(sPco), having begun its 56th season in in premier venues in europe, asia, and september 2014, is widely regarded as one of south america. the finest chamber orchestras in the world. in the sPco is nationally recognized for its collaboration with a team of six artistic part - commitment to broad community accessibil - ners—roberto abbado, Jeremy denk, Patricia ity and innovative audience outreach. regular Kopatchinskaja, Martin Fröst, christian subscription series are performed in twelve Zacharias, and thomas Zehetmair—its virtu - different venues across the twin cities metro - oso musicians present more than 130 concerts politan area each season, a unique commit - and educational programs each year, and are ment to geographic accessibility for a major regularly heard on public radio’s Performance orchestra. the sPco also offers the most af - Today , which reaches 1.3 million listeners fordable tickets of any major orchestra in the each week on 289 sta tions, and SymphonyCast , United states, with over 50% of tickets avail - reaching 250,000 listeners each week on 143 able for $12 or less. the orchestra also recently stations nationwide. the sPco has released launched an innovative new ticket member - 67 recordings, commissioned 142 new works, ship model in which members pay $5 per and performed the world premières of 49 ad - month to attend unlimited concerts. ditional compositions. the sPco has earned Launched in 1994, the sPco’s award- the distinction of 17 ascaP awards for ad - winning connect education program venturous programming. renowned for its reaches over 5,000 students and teachers artistic excellence and remarkable versatility annually in twelve Minneapolis and saint Paul of musical styles, the sPco tours nationally public schools.

CAL PERFORMANCES ABOUT THE ARTISTS

in 2013 , conductor institute: Bellini’s , rossini’s Il Benjamin Shwartz viaggio a Reims , and Gounod’s Faust . was appointed Music Born in Los angeles in 1979 and raised director of the both there and in israel, Mr. shwartz attended orkiestra symfoniczna the curtis institute of Music in Philadelphia, nFM, Wrocław. where he worked closely with christoph during his initial four- eschenbach. he was appointed resident year tenure, he will see conductor of the san Francisco symphony, the orchestra move to a and led the european tour of the san new state-of-the-art Francisco symphony youth orchestra during concert hall (due for completion in 2015– summer 2008. he also stud ied composition 2016), as well as participate in the orchestra’s with James Primosch at the University of celebrations in the occasion of the european Pennsylvania, with in capital of culture Wrocław in 2016. Germany, and at ircaM in Paris. he is cur - Mr. shwartz has collaborated with various rently based in Berlin. orchestras, including the BBc scottish as a committed advocate of new music, symphony, the royal scottish national, the Mr. shwartz has led many world premières of iceland symphony, the trondheim symphony, works by such composers of his generation as the new World symphony and the oregon , nathaniel stookey, and Zhou symphony. shwartz recently gave début per - tian. he is the conductor of Mercury soul formances with the Los angeles (www.mercurysoul.org), a new music project Philharmonic, the tokyo symphony, the which he curates together with Mr. Bates and duisburg Philharmonic, the tiroler the visual artist, designer, and director anne symphonieorchester innsbruck, the Georgian Patterson. the ensemble presents new music chamber orchestra, and the Queensland for acoustic and electronic instruments in symphony orchestra, among others. clubs and other unusual locations, effectively during the 2014–2015 season he presents blurring the lines between classical, experi - his thought-provoking project Age of Anxiety mental, and electronic music. with the aarhus symphony orchestra and Mr. shwartz has received numerous awards turku Philharmonic, devised with distin - for his work, including the Presser Music guished visual artist alexander Polzin: based award, and was a prize-winner in the 2007 on the auden’s poem, the music and the Bamberg symphony orchestra’s international paintings combine to show how the momen - Gustav Mahler conducting competition. tous events at the beginning of the 20th cen - tury, culminating with the start of the Great Winner of the 2014 War, irreversibly changed music and above all Léonie sonning Music the perception we have of life. Further en - Prize, clarinetist Martin gagements include a début on tour with the Fröst will make his saint Paul chamber orchestra in Minneapolis début this season with and Berkeley, and a return invitation to the tonhalle-orchester tampere Philharmonic, following a promis - Zürich (herbert

ing début last season. r Blomstedt), orchestre e l k c

in the field of opera, Mr. shwartz has con - ä de la suisse romande B

s t ducted a new production of Berlioz’s Béatrice a (neeme Järvi), and M et Bénédict at the deutsches nationaltheater houston symphony (andrés orozco-estrada). und staatskapelle Weimar and strauss’s Die the rotterdam Philharmonic orchestra has Fledermaus at the royal swedish opera, as re-engaged him for a concert with the con - well as three new productions at the curtis ductor thomas søndergård, and he will

PLAYBILL ABOUT THE ARTISTS return as well for performances with the in the Metropolitan opera and the Juilliard cincinnati symphony orchestra (Louis school’s production of “a concert of comic op - Langrée), for which he serves as artist in resi - eras,” conducted by , in which dence. he is also artist in residence at she sang Konstanze, teresa, and adina. amsterdam’s concertgebouw, the Gothenburg Ms. Fang made her Metropolitan opera début symphony, and London’s Wigmore hall. high in their 2013–2014 season singing the role of points of his 2013–2014 season included débuts Madame Podtochina’s daughter in with the royal concertgebouw orchestra (Xian shostakovich’s opera The Nos e. the roles she Zhang), orchestre national de France (david performed include: contessa di Folleville in Zinman), national symphony orchestra rossini’s Il viaggio a Reims with Wolf trap Washington (osmo Vänskä), and opera company; the leading role in Mozart’s chamber orchestra. opera Zaide with the new World symphony; his upcoming tours include those with the and Bellezza in handel’s oratorio Il trionfo del Gewandhausorchester Leipzig (riccardo Tempo e del Disinganno with Juilliard 415 chailly), camerata salzburg (Louis Langrée) under the baton of William christie at alice and the academy of st. Martin in the Fields. tully hall. she was also heard in the role of Mr. Fröst also undertakes tours to the United Pamina in Mozart’s Die Zauberflöte with the states with the australian chamber orchestra aspen opera theater center, sang Maria in and spain with the swedish chamber Bernstein’s West Side Story with the aspen orchestra (thomas dausgaard). in addition, opera theater center, and made her alice he works as a conductor in association with the tully hall début performing handel’s motet norrköping symphony and with saint Paul Silete Venti with conductor steven Fox leading chamber orchestra. Mr. Fröst has an exten - the Juilliard 415 . she sang the soprano solo in sive discography; his two most recent releases orff’s with the national on Bis are an all-Mozart cd and Brahms’s symphony orchestra at the Filene center in clarinet Quintet. this year marks the tenth Wolf trap. in Juilliard opera productions, she season of Vinterfest in Mora, sweden, of which has been feathered as Zerlina in Mozart’s Don Mr. Fröst is artistic director. he is also artistic Giovanni , Fanny in rossini’s La Cambiale di director of the international Matrimonio , and the spirit of the Boy in Festival in stavanger, norway. Britten’s Curlew River . a native of ningbo, china, Ms. Fang most soprano Ying Fan g recently won the Gail robinson award of the has been hailed by sullivan Foundation, the opera index award The New York Time s of the 2013 opera index Vocal competition, for her “pure and and First Prize at the 2013 Gerda Lissner moving soprano, international Vocal competition. in 2009, she phrasing with scrupu - won one of china’s most prestigious awards, lous respect for the the seventh chinese Golden Bell award for line and traveling with Music, one of the youngest singers ever ac - assurance through the corded this honor. she has been hailed as “the mercurial moods,” as most gifted chinese soprano of her genera - well as “singing with a fresh, appealing so - tion” ( Ningbo Daily ). prano and acting with coquettish flair.” she is Ms. Fang holds a master’s degree from blooming as a well-rounded singer. the Juilliard school and a bachelor’s degree from Ms. Fang has most recently performed the shanghai conservatory of Music. she is a cleopatra in Wolf trap opera’s production of member of the Metropolitan opera’s Linde - handel’s Giulio Cesare . she has been featured mann young artist development Program.

CAL PERFORMANCES