th SEASON PROGRAM NOTES 46 Week 1 July 15-July 21, 2018 Sunday, July 15, 6 pm or the interplay of the two instruments in done in eight days “and three sleepless Monday, July 16, 6 pm L’aube enchantée. The flute and harp have nights” of work. And then there was the distinctive roles here. The harp introduces matter of proper clothing. Ravel was the RAVI SHANKAR (1920 – 2012) the piece and often functions as a drone as most fastidiously dressed composer who L’aube enchantée (The Enchanted Dawn) it accompanies the melodic instrument, the ever lived (for his American tour of 1928, (1976) flute. But it would be a mistake to regard he would take along 20 pairs of pajamas the harp purely as an “accompanying” and 50 pastel shirts); now he hurried to his Ravi Shankar had a profound impact on instrument—it introduces a series of complex tailor to order the proper clothes for a yacht Western music in the 1960s, and musicians rhythmic patterns, often plays by itself, and trip. In his haste, Ravel left the manuscript as diverse as Philip Glass and George is an equal partner in the musical enterprise. of the new harp piece sitting on the tailor’s Harrison have expressed how greatly The flute, the “melodic” instrument, may counter. Fearing the worst, he returned from Shankar impacted their own music. But have a simple melody at first, but its part the trip several weeks later to find that the Shankar was, in turn, just as interested in takes on a complexity of its own as the tailor had carefully saved it for him. Western music. He composed two concertos tempo increases and the evolution of the The harp piece was the Introduction & for sitar and orchestra, collaborated with raga theme grows more sophisticated. Allegro: a brief (10-minute) work for harp Yehudi Menuhin and Jean-Pierre Rampal, That fundamental theme-shape may be, in and a chamber ensemble of flute, clarinet, and sought to create a fusion of Indian and Shankar’s words, “sad,” but L’aube enchantée and string quartet, first performed in Paris Western music. One of the results of this concludes in a great flourish of happy on February 22, 1907. As one might expect, was his L’aube enchantée (The Enchanted energy. given the source of the commission, it Dawn), which Shankar composed in 1976. This music has also been arranged for features the harp prominently, but the L’aube enchantée is scored for two Western flute and guitar, and listeners interested in Introduction & Allegro is not, despite instruments—flute and harp—yet it makes L’aube enchantée should know that Jean- what some have claimed, a miniature harp use of some of the techniques of Indian Pierre Rampal has recorded this version concerto, though it has a cadenza for that music, specifically its use of a raga as its with guitarist Alexandre Lagoya. Today’s instrument near the close. Rather, it is a fundamental theme. A raga is one of the concert, however, offers L’aube enchantée in genuine chamber work that contrasts three ancient melodic patterns of Indian music. Shankar’s original version for flute and harp. quite different sonorities: the smooth sound There are hundreds and hundreds of ragas —Eric Bromberger of woodwinds, the percussive sound of and each has a name, but they are not harp, and the warm resonance of strings. melodies. Instead, they are simply sequences MAURICE RAVEL (1875 – 1937) In fact, one of the most impressive things of notes—they may be 4, 5, 6, 7 notes long, Introduction & Allegro for Harp, Flute, about the Introduction & Allegro is the and they may be as simple as a fragment of Clarinet & String Quartet (1905) range of different sounds Ravel achieves a scale. But those notes—the raga—are just with this small ensemble—the music seems the starting point: they are the framework In the spring of 1905, Ravel—then 30 years to shimmer and glow throughout. Ravel for the performers to improvise and turn old—was invited to go on a yacht trip. The asks the strings for tremolos, pizzicatos, them into expressive and beautiful music of composer had just come through a bruising harmonics, and sul tasto bowing (over the their own. scandal. He had been denied the Prix de fingerboard to produce an especially soft Shankar based L’aube enchantée on the Rome for the third consecutive year, and the sound). The winds are given rapidly repeated six-note raga Todi. Todi has been described resulting outcry had forced the resignation staccatos and swirling arpeggios, while the as a “mourning melody,” and Shankar of the director of the Paris Conservatory. writing for harp is thoroughly idiomatic, himself described it as “sad and devotional.” Now he was anxious to put this strain making imaginative use of pedaling and The musical progress of L’aube enchantée is behind him and go sailing to Amsterdam, harmonics. straightforward. The mood may be somber then up the Rhine as far as Frankfurt, and The very opening makes clear Ravel’s and subdued at the beginning, but over back to Le Havre. intention to contrast these sounds. the music’s 12-minute span the tempo But complications stood in the way of Woodwinds introduce the haunting opening gradually eases ahead until the music Ravel’s yachting holiday. First, the Érard theme (Ravel marks it expressif), strings reaches a spirited and upbeat conclusion. Company, maker of harps and pianos, had answer them, and the harp, in turn, responds Such a description, while generally accurate, commissioned a work for harp that he had to the strings. The Introduction is quite does little to suggest the evolution of the to finish before he could go. Usually a slow brief, and, at the Allegro, the music surges raga, the growing rhythmic complexity, and meticulous worker, Ravel got this piece ahead as the harp alone introduces the

Program notes for Music at Noon Concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. playful main theme. The music builds to an string quartet in history). Apparently a the sketches of this movement that we can animated climax and suddenly breaks off fine amateur violinist himself, his greatest glimpse Beethoven’s ongoing battle with for the harp’s cadenza, which is beautifully contributions to Western civilization were how to deal with his growing deafness: he written for the instrument. Especially certainly in the realm of patronage, scrawls at one point: “Make no secret of your effective are its closing moments, where the not diplomacy. deafness, even in art.” Thank heavens he did left hand has the main theme in harmonics Schupanzigh and his Quartet premiered that and so much more. while the right hand accompanies with the majority of Beethoven’s middle and late —Greg Hettmansberger high and very faint glissandos. The other quartets, and there were certainly bumps instruments rejoin the harp for the rush to in the road: Schupanzigh would complain the colorful cadence. to the composer about certain difficulties, —Eric Bromberger and Beethoven would reply something to the effect that he did not take into account MAGNUS LINDBERG (b. 1958) Schupanzigh’s trials when he, Beethoven, String Trio (2018) was inspired—“when the spirit speaks to me.” (Commissioned by the Santa Fe Chamber When commissioned the Music Festival) (world premiere) Opus 59 set, he stipulated that Beethoven incorporate a Russian or Ukrainian tune into (Magnus Lindberg will discuss his new String each work. Beethoven duly notes a “thème Trio at the pre-concert talk taking place at russe” in each of the first two but not in the 5 pm in the Women’s Board Room of the third. There is some evidence that the second New Mexico Museum of Art) movement does draw on a Russian folk influence, admitted by Beethoven or not. (1770 – 1827) Overall, the work is one of heroic power String Quartet in C Major, Op. 59, No. 3, to the point where many commentators “Razumovsky” (1805) make the connection between Beethoven’s continuing struggles with his worsening Beethoven may have taken his sweet time in deafness and the tensions in this Opus 59, getting around to writing string quartets—he No. 3. The first movement opens in was 30 years old before he published his first mystery, the notes seemingly hanging six as Opus 18—but once the ice was broken, suspended despite the introduction’s there was plenty more to come. What the marking of Andante con moto. The bulk of first listeners of those early quartets in the movement is built upon a short note 1801 could not have foreseen was how jump to a sustained note motif, which also quickly, and how far, Beethoven would begin dominates the development while each stretching the boundaries of Classical player gets plenty of virtuosic work to do. form, while setting the early markers of The recap skips the opening theme Romantic style. entirely, but Beethoven caps it all with a Of course, there were plenty of clues in dazzling coda. the four short years between Opus 18 and The second movement has led some of the Opus 59: the first two symphonies, already best-known Beethoven musicologists to wax pushing the envelope before the mighty rather intense: Joseph Kerman describes it “Eroica” Symphony exploded on the scene as “the mystery of the primitive,” and J.W.N. (Op. 55); the Piano Concertos Nos. 3 and 4 Sullivan finds in it “some forgotten and (Opp. 37 and 58), which, likewise, say a final alien despair.” Certainly the violin’s opening farewell to Mozart and then point toward a melody is dreary enough, intoned over an new direction; and the turbulent “Waldstein” insistent cello pizzicato. Relief comes with Sonata for solo piano, Op. 53, which a contrasting second theme, but instead continued Beethoven’s crusade for a new of a predictable recapitulation, Beethoven way of conceiving the evolving keyboard. reviews the materials in reverse order. Still, the impetus for the next three The Menuetto is the least prepossessing quartets in Beethoven’s canon was a movement of the work, and the case can be practical one, a commission from a man who made that Beethoven eschewed his usual has been immortalized by his discerning boisterous scherzo so as to maximize the patronage of great new music in early 19th- effect of the great finale suddenly upon century . Posterity can be grateful us. This finale is a decidedly individual that Count Andrey Razumovsky was exiled adaptation of quasi-fugal writing; the viola by Catherine the Great of , for he opens the proceedings, and as the others was the founder and benefactor of the enter, we are treated to a whirlwind of Schupanzigh Quartet (the first professional musical and emotional development. It is in

2 2018 Program Notes Week One Tuesday, July 17, noon Rzewski did much the same thing. For of that song; and from the challenges the his theme he chose the song “El Pueblo pianist must overcome. This music demands FREDERIC RZEWSKI (b. 1938) Unido Jamás Será Vencido!” (“The People a Herculean effort from its performer, who 36 Variations on “The People United Will United Will Never Be Defeated!”) by the must unleash great torrents of sound one Never Be Defeated!” (the Chilean song “El Chilean composer and teacher Sergio Ortega. moment and wispy delicacy the next, project Pueblo Unido Jamás Será Vencido” by Sergio Ortega (1938 – 2003), a strong supporter of the most innocent tunes alongside heroic Ortega) (1975) Salvatore Allende, had composed Allende’s declamation, and keep the original theme campaign theme song “Venceremos.” During in hand throughout. At the end of the In 1975 Ursula Oppens, that great champion a period of gathering political turmoil in 36th variation, Rzewski offers pianists the of contemporary music, asked American Chile in June 1973, Ortega heard a phrase—it opportunity to improvise a cadenza if they composer Frederic Rzewski for a piece to go would become the title of the song—shouted so choose, and he then concludes on the same program with her upcoming repeatedly at a rally in Santiago. Very quickly, these variations—as Bach had 250 years performance of Beethoven’s Diabelli Ortega set that slogan to music, and his song earlier—with a simple reprise of his Variations. Working very rapidly across found immediate international success–it fundamental theme. September and October 1975, Rzewski has been adopted for leftist (and other) —Eric Bromberger composed what has become a modern causes all over the world in the four decades keyboard classic, a set of variations on the since its creation. In the meantime, a coup Chilean protest song “El Pueblo Unido Jamás deposed Allende in September 1973, and Será Vencido.” The story of the original Ortega fled to France, where he lived for the theme, Rzewski’s variations, and their rest of his life. place in the piano literature is a very Rather than beginning with a “trifle,” interesting one. as Beethoven had, Rzewski instead took First, a word about Rzewski. He studied as his theme a piece that was already at Harvard and Princeton with some of famous, and it should be noted that that the greatest composer-teachers of the theme is, in fact, Ortega’s complete song, 20th century, including Walter Piston, which spans about 90 seconds. That song is Roger Sessions, and Milton Babbitt before quite powerful, and it has several distinct going to Italy, where he studied with Luigi components: its firm beginning (Rzewski Dallapiccola. In Italy he became interested marks this “with determination”) is followed in electronic music and in improvisation by a haunting melodic response, which itself and performed with various ensembles in incorporates elements of the very beginning, Europe for some years. Rzewski has taught and these ideas develop across the span of in Belgium, the Netherlands, and London the song. For Oppens, Rzewski composed and in the United States at Yale, Cal Arts, a set of 36 variations on Ortega’s song, the University of California at San Diego, and these stretch out to about 50 minutes and other universities. A first-class pianist, in performance. In that other great set of Rzewski has been animated throughout his keyboard variations, the Goldberg Variations, career by a commitment to social justice, a Bach arranged his variations in groups of passion that has shaped much of his music. three, of which the third is always a canon When Ursula Oppens asked for a piece based on an interval one step larger than to go with the , Rzewski in the previous group. Rzewski set himself responded by composing what might be similar challenges. He grouped his 36 considered a 20th-century counterpart variations in six groups of six, and in his own to Beethoven’s masterpiece. Beethoven’s program note for this piece the composer Diabelli Variations happened almost by described the sequence of variations within accident. The Viennese publisher Anton each of these six sets: “1 simple events, Diabelli had written a theme and asked for 2 rhythms, 3 melodies, 4 counterpoints, a single variation on it from 50 composers, 5 harmonies, 6 collections of all these.” and these were to be published as a These variations generate a huge range of collaborative work. Beethoven was at first music. Some sing, some dance, some weave uninterested in the project—he called together complex contrapuntal strands, Diabelli’s theme a Schusterfleck: “a trifle.” some shout, and some whisper, as Ortega’s But the more Beethoven looked at the stirring melody is extended and transformed theme, the more interested he became, and across a long musical journey. he eventually wrote 33 variations on it, a The appeal of this music comes from set of variations that spans an hour. It is an many sources: from Ortega’s rousing song extraordinary musical journey, as Beethoven itself, one of those powerful melodies that found unexpected promise in that “trifle” stays to haunt the memory; from Rzewski’s and turned it into great music. endless and imaginative transformations

3 2018 Program Notes Week One Wednesday, July 18, 6 pm as one of the most original creative artists of dance, and the original ensemble of flute, the 20th century, and a persuasive argument oboe, clarinet, trumpet, two trombones, could be made that he is simply the most string quartet, and accordion is completed (1756 – 1791) unique. Here’s a starting point to give one by four to six percussion players—some of Flute Quartet in C Major, K. 285b (1781) a frame of reference: his Patria, a series them performing on instruments made from of music dramas, dwarfs Wagner’s Ring the designs included in the score. Did you ever find yourself in a situation cycle both in the years it has taken to bring One of the many websites that reveal where you had been offered a pretty good them to life in the first place and in the the endlessly fascinating facets of Schafer’s amount of money to do something that you requirements of their production. career states, “The only production to date just couldn’t whip up the enthusiasm to Born in Sarnia, Ontario, and raised in has been a concert version with orchestra, buckle down and finish? Mozart did, possibly Toronto, Schafer’s turning point may have chorus, actors, and projected slides of more than once, and certainly in the case come in the early 1950s while attending conceptual drawings.” Fortunately, Schafer of composing a number of works featuring the University of Toronto, when the young extracted some of the music in 1986 for the flute. The commissioner was a wealthy and quickly evolving artist met Marshall harp, percussion, and tape. There may yet be Dutchman who was an avid flute player: McLuhan. The late 1950s found Schafer first more arrangements to come—just last fall Willem DeJean (as Mozart refers to him in a in Vienna and then in England, and before Schafer was named composer-in-residence letter to his father; his full name may have his return to Canada in 1961 his career as an at the Royal Conservatory of Music been Willem Britten De Jong). For a price of author began. in Toronto. 200 florins, the young Mozart was to supply But it was after he assumed a position at —Greg Hettmansberger “3 small, light, short concertinos and one or Simon Fraser University (British Columbia) two flute quartets.” in 1965 that two major developments took GIDEON KLEIN (1919 – 1945) Mozart got off to his usual quick start, place: with help from UNESCO and the String Trio (1944) finishing the D-Major Quartet, K. 285 by Donner Canadian Foundation, he founded Christmas Eve, 1777. But by the following the World Soundscape Project to study Gideon Klein studied composition at the Valentine’s Day, he wrote to Leopold the relationships between people and the Prague Conservatory and musicology complaining that he has only collected acoustics of their environment. And in 1966 and philosophy at Charles University, but 96 florins, made excuses about finding he began the truly epic Patria. his studies were broken off when Czech the right time to get some work done, From the Latin word for “homeland,” universities were shut down shortly after and admitted, “Moreover, you know that I Patria is a series of music dramas that have the beginning of World War II. For two can become quite obtuse when obliged to something of a collective cosmic goal. In years Klein led what amounted to an write perpetually for an instrument that I Schafer’s words, “My idea was that two “underground” life and musical career, but cannot bear; so from time to time I scribble principal characters, a man and a woman, in December 1941, when he was 22, he something else.” Leopold was quick to rebuke would engage in a search for one another was arrested and transported to the Nazis’ his son, accusing him of lying about his full through a labyrinth of different cultures “model” concentration camp at Terezín (or obligation and exhorting him to fulfill and social twistings almost as if they Theresienstadt). There, Klein plunged into his responsibilities. represented the split halves of the same work, lecturing, composing, and contributing In the end, of course, Mozart left DeJean— being…They might return with various guises to the vitality of the remarkable musical and posterity—four works for flute and and different names, but the quest for unity community at that camp. But on strings, two flute concertos, and the real and the homeland they were seeking would October 1, 1944, he was taken to Auschwitz gem, the Concerto for Flute & Harp. But it always be the same.” and then on to Fürstengrube in the coals did take some time. K. 285b uses themes Here is a glimpse of what makes full mines of Silesia. There, he died a few weeks from The Abduction from the Seraglio performances of some of the 12-part series after his 25th birthday and only three and the K. 360 Serenade, both of which so rare: RA, which is Patria 6, requires at months before the camp was liberated. date from 1781, just after Mozart settled least an 11-hour presentation—literally from The String Trio was Klein’s final in Vienna. The Seraglio themes appear in dawn to dusk—illustrating the descent to the composition—he completed it at the end the first of the Quartet’s two movements, underworld and resurrection of the Egyptian of September 1944, just days before he with the theme for the ensuing variations sun god of the title. The Toronto premiere was transferred to Fürstengrube. The Trio movement appearing in the better-known took place at the Ontario Science Centre, has become much better known in an Serenade. For some years, a number of where the audience was led through 29 arrangement for string orchestra made in scholars felt that the authenticity of K. 285b different performance sites over the course 1990 by Czech composer Vojtˇech Saudek might be in question, but the discovery of a of the 11 hours. But the conclusion of (Saudek titled his orchestral version Partita 10-bar sketch for the C-Major Quartet in the the cycle is intended to unfold over an for Strings), but at this concert the music is late 20th century put that argument to rest. entire week! performed in its original form. —Greg Hettmansberger Patria 5: The Crown of Ariadne, with text The Trio is in three movements in the by Schafer, is intended for staging on an expected fast-slow-fast sequence, though R. MURRAY SCHAFER (b. 1933) ocean beach, and the tale of Theseus and the slow middle movement dominates Patria No. 5: The Crown of Ariadne, Ariadne, the labyrinth, and the Minotaur is the work—it is longer than the two outer Suite for Harp, Percussion & Tape (1986) as rich in symbolism as any part of the cycle. movements combined. The opening Allegro First composed between 1979 and 1982, and rides along a shaft of non-stop energy. This R. Murray Schafer can rightly be described revised in 1995, much of the work relies on concise sonata-form movement contrasts a 4 2018 Program Notes Week One perpetual-motion-like opening rush with a work—Variations on a Nursery Tune—has Thursday, July 19, noon second subject reminiscent of the folk music made it into the standard repertory. But the of Eastern Europe. Its energy spent, the majority of his output, which includes three VIRKO BALEY (b. 1938) movement slips into silence. operas, two symphonies, four concertos, and Orpheus Singing for Oboe and String Marked Lento, the second movement is a a vast amount of piano and chamber music, Quartet (1994) set of variations on the Moravian folk song remains little-known. “Ta knˇeždubská” (“The Spire of Knezdub”). Dohnányi’s Piano Quintet in C Minor was Virko Baley’s life could have ended during That folk tune—slow, dark, heavily- published as his Opus 1, though he had childhood, and for that matter, his family life inflected—is heard at the beginning, and written many works before it. The Quintet’s could easily have been snuffed out before eight variations follow. Some of these are first performance took place in Vienna in there was time to grow up with his parents. melodic variations, some harmonic; two are 1895. That premiere was arranged by Brahms Born in , Baley had not yet celebrated quite fast, one is played pizzicato. But the himself, then only two years from death, and his first birthday when the Nazis invaded somber character of the folk-song melody it should come as no surprise that the Piano , and World War II commenced. Baley remains intact through all the variations, Quintet shows the strong influence of the was an only child but along with his mother, and at the end Klein offers a climactic older composer, particularly in its romantic uncles, aunts, and grandmother was sent to recall of that theme before the movement richness and a harmonic language quite . His father was taken to Auschwitz concludes quietly. It has become well-known similar to Brahms’s own. but survived; the family was eventually in its version for string orchestra, which is The Quintet is dominated by the stirring reunited in a camp in in 1947. sometimes performed separately. opening theme of the first movement, It was a move to southern California that Klein rounds matters off with a Molto heard immediately in the piano. This very eventually shaped Baley’s early musical vivace that returns to the manner and Brahmsian melody—with its characteristic training, as he came under the tutelage mood of the opening movement. Its main drop of a fourth—will recur in many forms of Earle C. Voorhies at the Los Angeles subject, which powers its way above steady throughout the Quintet. Strings present the Conservatory (today the California Institute accompaniment, feels like a folk-dance lyric second theme-group, also of Brahmsian of the Arts). Following his draft into the tune, and while matters grow more complex spaciousness; Dohnányi marks it dolce. A Army in 1963, Baley spent some time in rhythmically as the movement proceeds, the long development leads to the close on a Germany and even upon his return to high spirits of the opening prevail and drive triumphant restatement of the opening idea, California concentrated on teaching instead the Trio to a most emphatic close. now in C Major. of composing. —Eric Bromberger The Scherzo is in ABA form: its outer But his move to Nevada in 1970 proved sections hurry along busily, while the trio is a catalytic moment that spurred his ERNST VON DOHNÁNYI (1877 – 1960) Schubert-like in its songfulness. The Adagio, compositional creativity once more. Joining Piano Quintet in C Minor, Op. 1 (1895) quasi andante takes some of its somber the faculty of the University of Nevada, character from the dark color of the lower Las Vegas, Baley completed a distinguished It is hard to believe that this accomplished strings, which often dominate textures here, 46-year career there while expanding his music was written by a 17-year-old boy. e.g., the viola announces the long opening compositional catalogue. But Ernst von Dohnányi was a prodigy idea of this ternary-form movement. A more Baley has commented, “My interest is to of many talents: he became a composer, animated middle section in D-flat Major say profound things but with a graceful and a virtuoso pianist, and a conductor (and soars into the violins’ high registers before light touch. Or, to put it another way, to grandfather of Christoph von Dohnányi, the return of the opening material and the create enough space around each metaphor former music director of the Cleveland quiet close. The finale brings back the mood so it can grow and turn on its own in the Orchestra). Dohnányi truly was one of those and manner of the opening movement: the listener’s ear.” Certainly, Orpheus Singing figures whose careers span different eras. main theme here is closely related to the contains several elements of that statement. Born when Hungary was part of the Austro- Quintet’s beginning. Much of the writing According to the composer’s website, “That Hungarian Empire and Liszt and Wagner is for unison strings, and Dohnányi quickly same lyrical feeling [as in the Violin Concerto were still alive, Dohnányi (as a boy) met alternates meters, with the music leaping No. 1] stretches deeper into Orpheus Singing Brahms, who encouraged his composition between 5/4 and 6/4 almost by measure. (1994) for Oboe and String Quartet, a and helped guide his career. Concert tours A variation of the opening idea becomes single-movement instrumental work in the throughout Europe and the United States the basis for a brief fugato, and the first Italian recitative-aria-cabaletta form. True established his reputation as a pianist, and movement’s opening theme comes back to its title, the oboe demands lyrical playing, later he became a conductor, leading the in all its glory to bring the Quintet to a with some added spice from glissandi, Budapest Philharmonic Orchestra from 1919 dramatic conclusion. double trills, and harmonics. Its third section, until 1944. Following World War II, Dohnányi If imitation is the sincerest form of entitled Cabaletta: Kolomyikas, borrows a settled in the United States, where he flattery, Brahms had every reason to feel Western Ukrainian strophic song-form, and taught for years at Florida State University. flattered by this work. But Dohnányi’s Piano the oboist must play at times with the reed He died the year John F. Kennedy was Quintet in C Minor is remarkable music in its entirely in the mouth, rather than on the elected president. own right and a stunning achievement by lips, mimicking the rustic tones of double- Dohnányi’s music has always hovered a young man still several years short of his reed folk instruments. The work exists in right on the edge of genuine popularity. 20th birthday. two additional versions: for oboe and string He has had passionate advocates among —Eric Bromberger orchestra and oboe and piano.” performers and critics, and at least one — Greg Hettmansberger 5 2018 Program Notes Week One WITOLD LUTOSŁAWSKI (1913 – 1994) offers a poised flute melody above the quiet again, something of a disappointment for Three Fragments for Flute & Harp (1953) harp. Lutosławski rounds off the set with an a composer of 35 operas, among many energetic Presto that concludes on a great other works. “Dance of the Blessed Spirits” The years following World War II were a very upward sweep of sound. has been arranged and re-arranged for just difficult time to be a composer in Poland. —Eric Bromberger about any instrument or combination one Concert life had been banned during the can imagine. The flute-harp duo we enjoy five-year Nazi occupation, and performers CHRISTOPH WILLIBALD GLUCK (1714 – 1787) at today’s concert is a perfect pairing, with went underground. Lutosławski supported “Dance of the Blessed Spirits” from the flute representing the original choice of himself during the war by playing piano in Orfeo ed Eurydice (1762; rev. 1774) the composer and the harp reminiscent of nightclubs and cabarets. The end of the war Orfeo’s own lyre. brought not freedom but a different kind Considering the enormous impact Gluck had —Greg Hettmansberger of repression. Poland found itself under the in reforming operatic style in the mid-18th domination of the Soviet Union, and in the century, it remains surprising that the bulk LUDWIG VAN BEETHOVEN (1770 – 1827) icy early days of the Cold War the Polish of his work stubbornly languishes in the String Quartet in A Major, Op. 18, No. 5 government laid down a set of strictures on shadow of Mozart (principally). Perhaps it (1799-1800) its composers: music was to be accessible to is a musico-historical example of “no good the masses, inspiring, and uncomplicated. deed goes unpunished.” For it was Gluck’s Wherever he applied his early efforts Anything that deviated from that model determination to break opera free of both to assimilate the wit of Haydn and the was forbidden—when Lutosławski’s First fossilization and the tyranny of the singers deceptively suave grace of Mozart into Symphony was premiered in 1949, Russian that directly influenced Mozart’s first his own unique depth of expression and critics walked out, one of Poland’s cultural great opera Idomeneo. The rest, as they constantly evolving visionary structure, commissars remarked that the composer say, is history. the young Beethoven usually seemed to should be thrown under a streetcar, Gluck was born in the Bavarian region of outstrip the finished product before the and further performances were banned. Germany, spent some time in Bohemia, and ink was dry. In his piano trios, string trios, Lutosławski, then in his mid-30s and still eventually lived in Prague and Italy before sonatas for piano and also violin—even searching for his own voice as a composer, settling in Vienna. The Italian opera of the perhaps his Symphony No. 1—the young found himself largely limited to writing mid-18th century, whether “buffa” (comic) artist appears to have nearly outgrown his film scores, children’s songs, and or “seria” (tragic), had long been taken away creative breeches even as he added his own folk-song settings. from the guiding hand of the composer. stylistic touches to the winning models of One other avenue open to composers The plots were formulaic, to say the least, the Classical style. was incidental music, and in the early with the humor of the opera buffa painfully Until the six string quartets of Opus 18, 1950s the Polish Radio Theatre invited predictable and the characters of opera seria that is. Composed principally from 1798- Lutosławski to compose the music for several stultifying. In both styles, the lead singers 1800 and published the following year, the of their productions. Most of this music has of the day, castrati or otherwise, had seized set was dedicated to Prince Joseph Franz von disappeared, but Lutosławski liked some of full power in using every aria as merely a Lobkowitz, whose Friday morning soirées it enough to rescue it from its radio origins starting point for florid vocal displays that were the occasions of the first performances. and reshape it as concert music. His Three smothered any sense of pacing or plot. With the release of Opus 18, the 30-year- Fragments for Flute & Harp, completed Gluck was determined to change all of old Beethoven announced to the world in November 1953, draw on music he this, and probably the greatest breakthrough that he was both the rightful heir to the composed for two different productions: the came in 1762 with Orfeo ed Eurydice (it was achievements of Haydn and Mozart as well first movement, titled Magic, is from music so popular that a revised French version was as the voice of a new generation. to Theocritus’s play The Spell, while the final produced in 1774). The story is one of the It was the latter master, in fact, whose two movements are from Jan Parandowski’s classics of mythology, where Orfeo who has influence is most apparent in the fifth work radio drama Odysseus in Ithaca. These lost his beloved to Hades, treads where no of this landmark set of quartets. Mozart’s three “fragments” are very short, lasting mortals dare go, and rescues his Eurydice Quartet, K. 464, is also in A Major, and to say just over a minute each, and they have by the power of his song. The year 1761 that Beethoven knew the work inside and a consciously “pastoral” sound—the flute had seen the premiere of one of Gluck’s out is no overstatement—he copied the work echoes the sound of the shepherd’s pipe, important ballets, Don Juan, and he recycled out in his own hand to fully understand while the accompanying harp takes the some of the music for the “Dance of the it. When Beethoven produced his own role of a lyre. This music recalls Debussy’s Furies” at the midpoint of Act II of Orfeo. Quartet in that key, however, the overall music for flute, though this is not the This is followed at once by the balm of the style was not so apparent. One does notice Debussy of Prelude to the Afternoon of a “Dance of the Blessed Spirits.” Unfolding in that Beethoven opts to place the Menuetto Faun, but rather the composer of Syrinx and the Elysian Fields, the original begins as a second in the order of movements instead the Sonata for Flute, Viola & Harp—these soothing minuet for two flutes accompanied of third, as is more often the case, just as miniatures are gentle but lively, understated, by strings, with the famous flute solo in the Mozart had. Another obvious nod to Mozart and endlessly beautiful. The opening Magic trio section. In the 1774 version of the opera is that both men chose theme and variations certainly sounds like Debussy, with its long- Gluck expanded the section to a miniature for their third movement. And the last spanned flute melody over whirring harp four-movement suite. Ultimately this music reference to Mozart’s K. 464 is in the second accompaniment, while Odysseus in Ithaca became the single “greatest hit” by Gluck— theme of the finale, which Beethoven

6 2018 Program Notes Week One “borrows” with scant modification from the Saturday, July 21, 5 pm Bonn. In fact, those two performances took development section of the first movement place at the end of March and so preceded of Mozart’s work. It is also interesting to FRANZ (1732 – 1809) the Cádiz ceremony (and it is likely that one note that Mozart’s K. 464 is the fifth of a The Seven Last Words of Christ of the performers in the Bonn orchestra was series of six quartets—the half-dozen which on the Cross for String Quartet, a 16-year-old violist named Beethoven). Mozart dedicated, with supreme modesty, Hob. lll:50-56, Op. 51 (1787) Alert to the commercial possibilities of this to Haydn. music, Haydn quickly arranged it for string As to Beethoven’s own first movement, Haydn may have claimed that his 30 years quartet—the version heard on this program— Allegro, the first theme unfolds as a series as kapellmeister to the Esterházy princes and oversaw its transcription for solo of three ideas, rich for development. The forced him to work in isolation, but from piano. Some years later—in 1796, as he was aforementioned Menuetto is indeed far more that quiet isolation his fame spread steadily beginning work on his oratorios—he made Mozartean in its refinement than the rough across Europe. One of the clearest signs of a further arrangement for soloists, chorus, and tumble scherzos Beethoven employed this came in 1784 when Haydn received a and expanded orchestra. He regarded The from early in his career. handsome commission from Paris for six Seven Last Words of Christ on the Cross as The variations of the third movement symphonies, and he worked on these “Paris” one of the greatest successes he ever had as derive from the simplest material, a symphonies (Nos. 82-87) during the years a composer, and he conducted it at his last descending scale, followed by a short 1785-86. At exactly this same moment public performance in 1803. ascension and then down again. The came an even more remarkable commission. There is no question about Haydn’s devout fascinating journey that ensues ventures A Spanish cleric wrote to Haydn to ask for Catholic faith: he inscribed the words into a minor key only once, in the fourth music to accompany the reading on Good Laus Deo (“Praise God”) at the end of the variation, which evinces a hymn-like quality. Friday, 1787, of the seven final statements of manuscripts of all of his symphonies. But Apparently this movement was so popular in Christ on the cross. while he welcomed this commission, he the 19th century it was arranged and often Haydn rarely commented on his music, found it a challenge, noting that “it was not performed alone on orchestral concerts. but in 1801 he recalled the circumstances of an easy matter to compose seven Adagios to The finale finally gives us the unleashed, this work’s creation, and it is worth quoting last 10 minutes each, and follow one after seemingly boundless passion and energy him at length: “About 15 years ago I was the other without fatiguing the listener . . which Beethoven was already known for requested by a canon of Cádiz to compose .” Uncertain how to proceed he consulted in his piano sonatas—until the closing bars, instrumental music on the Seven Words of his friend, the Abbé Maximilian Stadler, who which die away softly. Jesus on the Cross. It was the custom of the suggested building the main theme of each —Greg Hettmansberger Cathedral of Cádiz to produce an oratorio movement on the rhythm of its Latin text, every year during Lent, the effect of the and this proved a useful procedure. performance being not a little enhanced Haydn said of The Seven Last Words of by the following circumstances. The walls, Christ on the Cross: “Each [movement], or windows, and pillars of the church were rather each setting of the text, is expressed hung with black cloth, and only a large lamp only by instrumental music but in such hanging from the center of the roof broke a way that it creates the most profound the solemn obscurity. At midday the doors impression on even the most inexperienced were closed, and the ceremony began. After listener.” The challenge for him as a an appropriate prelude, the bishop ascended composer was to capture the spirit of these the pulpit, pronounced one of the Seven solemn words and to create music suitable Words, and delivered a discourse thereon. for meditation on each of them, yet still This ended, he left the pulpit and knelt engage a listener’s interest across the span prostrate before the altar. This pause was of seven slow movements. He addressed filled with music. In like manner, the bishop the last of these in several ways: by making then pronounced the second word, the third, sharp contrasts between the character of the and so on, the orchestra falling in at the movements (some are lyric and lamenting, conclusion of the discourse.” others dramatic), varying keys effectively, It should further be noted that the Good and contrasting sonorities—muting the Friday observances in Cádiz took place not strings for one movement, using pizzicato in the cathedral but in the Chapel of Santa at other points. Haydn frames these seven Cueva, a cave carved in a hillside beneath slow movements with contrasted outer the cathedral, so this music was first movements. He establishes a suitably performed in profound darkness. solemn atmosphere with an Introduction Haydn wrote this set of musical in D Minor that he marks Maestoso ed meditations for large orchestra (one that Adagio, and he concludes with a musical included four horns and timpani), and it was depiction of the earthquake that rocked performed in Cádiz on April 6, 1787. But Calvary after the crucifixion. At last we have it is a telling indication of the fame of the a fast movement—it is marked Presto e con 55-year-old composer that it was performed tutta la forza—and it brings The Seven Last almost simultaneously in both Vienna and Words to a conclusion that is satisfying both 7 2018 Program Notes Week One emotionally and musically. Haydn’s arrangement of this orchestral ERIC BROMBERGER earned his doctorate in music for string quartet is particularly American Literature at UCLA and taught for successful, and the music is most often 10 years before quitting to devote himself to heard today in this version. At the time he his first love, music. A violinist, Bromberger made this transcription, he had already writes program notes for the Minnesota written 43 of his 83 string quartets, and Orchestra, Washington Performing Arts the music is beautifully conceived for the at The Kennedy Center, San Francisco four instruments in this version. The seven Performances, University of Chicago meditative movements do not really require Presents, La Jolla Music Society, San Diego detailed description. Each is in sonata form, Symphony, and many other organizations. which allows Haydn the scope to develop He has been a pre-concert lecturer for the the implications of his opening theme, much Los Angeles Philharmonic since 1999. as a meditation expands on its fundamental idea. These movements do not offer GREG HETTMANSBERGER has contributed scene painting but instead are emotional criticism and features to the Los Angeles correlatives to the words of the dying Christ, Times, L.A. Weekly, Los Angeles Daily News, and listeners might best approach them as Performing Arts, and the Santa Barbara did the listeners at the first performance in News-Press and was a staff writer for Los Cádiz: by reading the text of each movement Angeles Opera, for which he has written and being aware of it as they listen to two yearbooks. This is his 23rd season Haydn’s musical response. of writing program notes for the Santa —Eric Bromberger Fe Chamber Music Festival. He currently contributes articles to Madison Magazine and writes the blog WhatGregSays at www.whatgregsays.wordpress.com, co-hosts the radio program “Sacred Choral Classics,” and provides annotations for the New Mexico Symphonic Chorus.

HANNELORE N. ROGERS has been the editor of the Santa Fe Chamber Music Festival’s program book for 11 years. A writer/editor based in Omaha, Nebraska, her current and past clients also include the New York Philharmonic, the Hong Kong Philharmonic Orchestra, the National Arts Centre Orchestra (Canada), the National Arts Centre English Theatre (Canada), Handel and Haydn Society, Choral Arts Philadelphia, and Omaha Chamber Music Society, among others. Prior to her work as a freelance writer she was the marketing director of the Pittsburgh, Milwaukee, and New Mexico symphony orchestras.

8 2018 Program Notes Week One