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ORANGE COUNTY PERFORMING ARTS CENTER RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday, Friday & Saturday, November 12–14, 2009, at 8:00 p.m. Preview talk with Alan Chapman at 7:00 p.m.

PRESENTS

2009–2010 HAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICS SERIES

GRANT LLEWELLYN, CONDUCTOR JAN VOGLER, CHRISTOPH BULL, ORGAN

WALTON Orb and Sceptre C.P.E. BACH Concerto for Cello in A Major (1902–1983) (1714–1788) Allegro Largo ELGAR Serenade in E Minor for String Allegro assai (1857–1934) Orchestra, Op. 20 JAN VOGLER Allegro piacevole Larghetto ELGAR Variations on an Original Theme, Allegretto (1857–1934) Op.36 (“Enigma”Variations) Enigma: Andante TCHAIKOVSKY Variations on a Rococo Theme, Variation I:“C.A.E.” L’’istesso tempo (1840–1893) Op. 33 Variation II:“H.D.S.- P.” Allegro Arr. Fitzenhagen Moderato assai quasi Andante - Variation III:“R.B.T.”Allegretto Thema: Moderato semplice Variation IV:“W.M.B.”Allegro di molto Variation I:Tempo della Thema Variation V:“R.P.A.” Moderato Variation II:Tempo della Thema Variation VI:“Ysobel” Andantino Variation III: Andante sostenuto Variation VII:“Troyte” Presto Variation IV: Andante grazioso Variation VIII:“W.N.”Allegretto Variation V: Allegro moderato Variation IX:“Nimrod” Moderato Variation VI: Andante Variation X:“Dorabella - Intermezzo” Variation VII e Coda:Allegro vivo Allegretto JAN VOGLER Variation XI:“G.R.S.”Allegro di molto Variation XII:“B.G.N.”Andante —INTERMISSION— Variation XIII:“*** - Romanza” Moderato Variation XIV:“E.D.U.” - Finale

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PROGRAM NOTES BY PETER LAKI, Program Annotator for Pacific Symphony and the Cleveland Orchestra

Orb and Sceptre (1953) lack of success. dreams, conjuring up the far-away and BY WILLIAM WALTON The Serenade in E minor was a prod- the long-ago. (OLDHAM, LANCASHIRE, ENGLAND, 1902 - ISCHIA, uct of these hard years in Elgar’s life. It His “Rococo Variations” for cello and ITALY, 1983) was a work of which the composer him- orchestra evoke the world of the 18th self thought most highly; it remained one century.The term “rococo” belongs to Instrumentation: 3 flutes (third doubling piccolo), of his favorites even late in life. He was the vocabulary of French art history, 2 oboes, English horn, 3 clarinets (third doubling confident enough of its worth to offer it where it refers to a specific style of archi- bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, organ to a foreign publisher, the prestigious tectural decoration.The word comes (optional), and strings. Breitkopf and Härtel no less, for publica- from rocaille, French for “shell”—the shell Performance time: 7 minutes. tion.The Serenade, which received its was an ornamental motif frequently premiere in Antwerp, was one of the first encountered on Rococo artworks. William Walton, the composer of works to make Elgar’s name known on Tchaikovsky intended his work as a little Façade and Belshazzar’s Feast, wrote the continent. “diversion” (in the sense of divertimento, ceremonial marches for two English a beloved genre at the time). He kept his coronations: he honored George VI with WHAT TO LISTEN FOR orchestra small, as it had been in the Crown Imperial in 1936 and Elizabeth II The Serenade is in three movements, 18th century, and devised a theme for his with Orb and Sceptre in 1953.Although of which the central Larghetto is variations that respected certain Classical the first of the two is by far the better unquestionably the most important. It is conventions—though this melody is not known, Orb and Sceptre is a gem well framed by an Allegro piacevole (a “pleas- really typical of Haydn or Mozart. It is, worth rediscovering. ant”Allegro), and an equally charming rather, exactly what Tchaikovsky wanted Allegretto.The two movements’ thematic it to be: a nostalgic look at the past from WHAT TO LISTEN FOR materials are related: the main melody of a hundred years later. Both of Walton’s coronation marches the Allegro piacevole comes back in the follow the tradition established by Elgar’s finale.The outer movements are written WHAT TO LISTEN FOR Pomp and Circumstance marches. in a lilting 6/8 or 12/8 meter.The The work opens with a short orches- Following a long-standing custom, the melodies flow easily in both movements; tral introduction followed by the first Trio section is set off by a more expan- the idyll is not disrupted by any discor- presentation of the theme. Some of the sive melody in a slower tempo, after dant sounds.The Larghetto is a “song variations make use of the cello’s ability which the first section returns. without words,” built upon a single to sing long lyrical melodies, while oth- beautiful melody that keeps unfolding ers are extremely virtuosic in character. Serenade in E Minor for for the entire movement before reaching There is no shortage of spectacular trills, Orchestra, Op. 20 (1893) its peaceful conclusion. BY EDWARD ELGAR (BROADHEATH, NR. WORCESTER, ENGLAND, 1857 – Variations on a Rococo Theme, WORCESTER, 1934) Op. 33 (1876) BY PIOTR ILYICH TCHAIKOVSKY Instrumentation: string orchestra. (KAMSKO-VOTKINSK, RUSSIA, 1840 – Performance time: 12 minutes. ST. PETERSBURG, 1893)

It was only slowly and gradually that Instrumentation: solo cello, 2 flutes, 2 oboes, Edward Elgar rose to fame as the fore- 2 clarinets, 2 bassoons, 2 horns, and strings. most English composer of his time. He Performance time: 20 minutes. first attempted to make his way in London’s musical circles in 1889, at the Sometimes, when the realities of the age of 32.A little more than a year after present become too much to deal with, moving to the capital, the composer and we all like to escape into the past. hony. his wife Alice retreated to the country, Tchaikovsky was no different: prone to disappointed by what seemed an utter depression and a repressed homosexual, he loved to take refuge in a world of

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PROGRAM NOTES (continued)

double stops, and other technical stunts, son became synonymous with Empfindsamkeit for more than a century now, but they yet they never cover up the ingratiating (“sensitivity”), a term denoting the have been equally intrigued by what he melody. heightened emotional charge of many of had withheld, namely that the work had Although Tchaikovsky’s original version C. P.E’s works. It would be no exaggera- a secret that he refused to divulge. has survived, the “Rococo Variations” are tion to consider him a precursor of The story of the “‘Enigma’Variations” still almost always played in the adaptation Romanticism. began one night late in 1898 when Elgar of its dedicatee, German cellist Wilhelm was improvising at the piano at home in Fitzenhagen, who was Tchaikovsky’s col- WHAT TO LISTEN FOR Worcestershire. His wife,Alice, was struck league at the Moscow Conservatory. All three of C. P.E. Bach’s cello con- by a particular melody and asked her hus- Fitzenhagen changed the order of the vari- certos exist in versions where the solo band what it was. Elgar replied: ations and even cut one that Tchaikovsky part is played either by a harpsichord or “Nothing—but something could be made had written, despite the composer’s vehe- a flute.The musical material could be of it.”As he continued to develop his ment protests.Yet it was in this form that adapted for different instruments, with short theme, Elgar started to toy with the the work conquered the world. relatively minor adjustments, because the idea of how it could be made to reflect emphasis is not on instrumental color the personalities of some of his friends. but on the melodies and their develop- With one exception, each of the four- ment.And C. P. E. Bach, one of the fore- teen variations that follow the theme is most composers of his generation, pos- preceded by a heading that identifies the sessed a unique musical style. Initially people behind the music. influenced by his father, he quickly The theme consists of two ideas: an moved beyond the Baroque and closer to expressive string melody that is constant- what we call the “classical style” today. ly interrupted by rests on the downbeat The present concerto is a good exam- (and that fits the words “Edward Elgar” ple of C. P.E. Bach’s ingenious and ener- surprisingly well), and a second melody getic writing. Characterized by great that is more continuous, and is built of rhythmic vigor and requiring a great deal parallel thirds played by strings and of virtuosity.A recent reference book on woodwinds. cello literature calls it an “especially attractive” work with a wide range of Variation 1, “C.A.E.” is a portrait of sometimes quite quirky expression.” Caroline Alice Elgar, the composer’s wife. Variations on an Original Theme, Op. 36 (“Enigma” Variation 2, “H.D.S-P.” Hew David Cello Concerto in A Major, Variations) (1899) Steuart-Powell was a pianist and Elgar’s H. 439 (1753) BY EDWARD ELGAR chamber music partner. BY CARL PHILIPP EMANUEL BACH (WEIMAR, 1714 - HAMBURG, 1788) Instrumentation: 2 flutes (second doubling piccolo), Variation 3, “R.B.T.” Richard Baxter 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, Townshend, a writer and scholar who Instrumentation: solo cello, strings. 4 horns, 3 trumpets, 3 trombones, tuba, timpani, lived in Oxford and used to ride his tri- Performance time: 20 minutes. percussion, organ (optional), and strings. cycle around town with the bell con- Performance time: 30 minutes. stantly ringing. After Tchaikovsky’s imagined Rococo, we shall hear a work from the time peri- At its premiere led by Hans Richter Variation 4, “W.M.B.” Elgar recalled od the Russian Romantic master was in London on June 19, 1899, Elgar’s William Meath Baker as “a country dreaming of.Yet,while some sources call “Variations” were greeted as the greatest squire, gentleman and scholar.This C. P.E. Bach a “Rococo” composer, his composition for large orchestra ever Variation was written after... [he] had ... music is actually weightier than the label written by an Englishman.Audiences hurriedly left the music-room with an suggests.The name of J. S. Bach’s second have delighted in what Elgar had written inadvertent bang of the door.”

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Variation 5. “R.P.A.” Richard Penrose and the wholehearted way they were put Arnold, son of the poet Matthew at the disposal of his friends, particularly Arnold, was “a great lover of music endeared him to the writer.” which he played (on the piano-forte) in a self-taught manner, evading difficulties Variation 13. “***” (Romanza) but suggesting in a mysterious way the The identity of the person behind the real feeling. His serious conversation was asterisks is the first, and smaller, enigma continually broken up by whimsical and in Elgar’s work. Elgar himself only said witty remarks.” that the “asterisks take the place of the name of a lady who was, at the time of Variation 6. “Ysobel” Isabel Fitton composition, on a sea voyage.The drums was a viola player—thence the special suggest the distant throb of the engines treatment of the viola, both as a section of a liner...” Since some sketches contain and as a solo instrument. the initials L.M.L., this would seem to refer to Lady Mary Lygon, an acquain- Variation 7. “Troyte” Arthur Troyte tance of Elgar’s who was a member of Griffith was an architect and a close the aristocracy, but several people who friend of Elgar’s.“The uncouth rhythm knew Elgar intimated that the variation hunter” mentioned in Genesis 10:9.) of the drums and lower strings was really had to do instead with a youthful Elgar turned the original theme into a suggested by some maladroit essays to “romanza” of the composer’s. hymn-like, soaring melody with a certain play the pianoforte; later the strong Beethovenian quality. rhythm suggests the attempts of the Variation 14. “E.D.U.” (Finale,Allegro, instructor (E.E.) to make something like G major, 4/4) “Edu” was the nickname Variation 10. “Dorabella” Dora Penny order out of chaos, and the final despair- Alice Elgar had given to her husband, was a young woman in her early twen- ing ‘slam’ records that the effort proved who disguised it as a set of initials, to ties, to whom Elgar gave an affectionate to be vain.” camouflage the fact that the last variation nickname taken from Mozart’s Così fan was a self-portrait.The theme is turned tutte. Variation 8. “W.N.” The initials stand here into a march with a sharp rhythmic for Winifred Norbury, but the variation profile.There are two slower, lyrical Variation 11. “G.R.S.” George was inspired more by the 18th-century episodes, after which the work ends with Robertson Sinclair was organist of house where this lady (co-secretary of a grandiose climax. Hereford Cathedral.“The first few bars the Worcestershire Philharmonic Society) were suggested by his great bulldog Dan lived—in the words of musicologist (a well-known character) falling down Julian Rushton, the “epitome of an ideal the steep bank into the River Wye (bar civilisation in a rural environment.” 1); his paddling up stream to find a land- ing place (bars 2 and 3); and his rejoicing Variation 9. “Nimrod” This is the bark on landing (second half of bar 5). most famous variation in the set, often G.R.S. said ‘set that to music.’ I did; here performed separately in England as a it is.” memorial to deceased celebrities. “Nimrod” was August Jaeger, a German- Variation 12. “B.G.N.” Basil Nevinson born musician and Elgar’s closest friend. was a cellist who, with Steuart-Powell He worked for Novello, the publisher of (variation 2), often played trios with Elgar’s music, and was the recipient of Elgar, a violinist.This is why in this vari- the composer’s above-quoted letter ation the melody is entrusted to a solo announcing the Variations as a work in cello, in “tribute to a very dear friend progress. (Jäger means “hunter” in whose scientific and artistic attainments, German, and Nimrod is the “mighty

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ABOUT THE GUEST CONDUCTOR

GRANT LLEWELLYN United States and the United Kingdom. CONDUCTOR As music director of the ,America’s leading period orchestra, from 2000-06, Llewellyn quickly Music director of the North Carolina gained a reputation as a formidable Symphony as well as principal conductor interpreter of music of the Baroque and of the Handel & Haydn Society, Grant classical periods. Llewellyn is known throughout the An equally accomplished opera con- world as a musician of great talent, versa- ductor, Grant Llewellyn has appeared at tility and passion. Born in Tenby, South the opera companies of English National , Llewellyn won a Conducting Opera (The Magic Flute) and the Opera Fellowship to the Tanglewood Music Theatre of Saint Louis, where his reper- Center in in 1985 where toire has ranged from Alexander Goehr’s he worked with such major artists as Arianna to The Magic Flute and Handel’s Bernstein, Ozawa, Masur and Previn.As Radamisto. In 2001, Llewellyn embarked assistant conductor of the on a collaboration with the acclaimed Symphony Orchestra he conducted con- Chinese director Chen-Shi Zheng in a certs at the Tanglewood Festival and the production of at the Boston Subscription Series as well as BBC Symphony Orchestra and the BBC Spoleto Festival.This was followed by a concerts in the Boston Pops. National Orchestra of Wales, with whom staged version of Monteverdi’s Vespers Llewellyn began his tenure as North he continues to undertake numerous tel- with the Handel & Haydn Society. In Carolina Symphony music director in evision, radio, and recording projects. In 2003, Llewellyn made his debut with 2004 after a 32-month international September 2004 he was invited by the Opera North in a new production of search.The Symphony’s fifth music BBC Proms to conduct the BBC Massenet’s Manon, and in June 2005 he director since its organization in 1932, National Orchestra of Wales at the Royal conducted at the BBC Cardiff Singer of his sophisticated perspective has captured Albert Hall, with a program including the World, one of the world’s most pres- the interest and imagination of everyone the world premiere of Joby Talbot’s tigious singing competitions. he encounters. Critics and audiences Sneaker Waves and Shostakovich’s alike have noted the passion and concen- Symphony No. 9. In 2002, Llewellyn’s tration of the orchestra under his baton conducting career became the subject of and praise his “transcendent performances,” a BBC Wales TV documentary. “masterful pacing and control,” and his Llewellyn has conducted many major “graceful and expressive direction.” North American orchestras, including To date, Llewellyn has held positions the symphonies of Boston, Houston, with three European orchestras: principal Montreal, Milwaukee, Saint Louis, conductor of the Royal Flanders Calgary,Toronto and Nashville. His Philharmonic, principal guest conductor appearance in 2003-04 with the Boston of the Stavanger Symphony Orchestra Symphony Orchestra included a major and associate guest conductor with the new work by Thea Musgrave commis- BBC National Orchestra of Wales. sioned by the orchestra. In 2005-06 he Notable recent European guest engage- returned to the Calgary Philharmonic ments have included the Frankfurt Radio and made debuts with the Colorado Symphony Orchestra, the City of Symphony as well as the Florida Birmingham Symphony, the SWR Orchestra. Llewellyn’s first complete sea- Radio Symphony Orchestra Stuttgart son as music director of the North and the Helsinki Philharmonic. He has Carolina Symphony included a series of also conducted the Johannesburg (South concerts called “Crossing the Atlantic” Africa) Symphony Orchestra. featuring composers and works from the Llewellyn retains close links with the

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ABOUT THE GUEST ARTIST

Vogler has also worked with many Classics). He has also recorded the contemporary composers including John Haydn cello concertos (with Virtuosi Harbison,Tigran Mansurian and Udo Saxoniae, directed by L. Güttler), the Zimmerman all of whom are writing Schumann and Widmann cello concertos concertos for him to be premiered over (with , the next few seasons. Christoph Poppen) and the concerto by Future engagements include the Camille Saint-Saëns (with Hannover Boston Symphony with James Levine, Radio Orchestra), the complete works the Pittsburgh Symphony with Manfred by Beethoven, Schumann and Brahms Honeck, the Cologne Radio Orchestra with pianist Bruno Canino and the cello and Semyon Bychkov, the Cincinnati sonatas by Weill, Shostakovich and de Symphony Orchestra and the BBC Falla. His recording with violinist Mira Scottish Symphony. Wang features the Duos by Ravel, Eisler A prolific and multi-award-winning and Kodaly and his solo recording works recording artist,Vogler currently records by Solo Suites by Bach and Reger. exclusively for SONY Classical.Among A cello prodigy at age 6,Vogler first his recent releases is the multiple award- studied with his father, Peter Vogler, and winning Dvorákˇ Cello Concerto with the subsequently with Josef Schwab in Berlin, JAN VOGLER conducted by and .At CELLO David Robertson; My Tunes, a selection the age of 20 he won the principal cello of short favourites for cello and orchestra; position of the Staatskapelle Dresden and Recognized for his “rapturously Concerti Brillanti featuring 18th-century became the youngest concertmaster in heartfelt” playing (Washington Post) Jan concertos; and TANGO! with the the history of this orchestra. However, his Vogler has rapidly established himself as Moritzburg Festival Artists that spotlights dream of a solo career gradually became one of the best young cellists on the the music of Astor Piazzolla.Vogler’s reality and he left his position in Dresden world stage.The modern representative newest CD includes Shostakovich’s in 1997.That same year, certain that the of the German cello tradition which famous Cello Concerto No. 1, a selec- roots of old European music-making goes back to Emanuel Feuermann and tion of his waltzes arranged for cello and were to be found in America, he moved Julius Klengel, Jan shares his time orchestra, and Machine Gun by Jimi to New York,where he has remained, between Dresden, Germany and New Hendrix in a special arrangement for sharing his home with his wife, violinist York City, combining the roots of his cello and orchestra.This recording also Mira Wang, and their two children. He traditional musical education with a features the young New York ensemble, has won the Echo-Award (German contemporary style of interpretation. The Knights, in their SONY Classical equivalent of the Grammys) and the Vogler 's distinguished career has debut.This live CD was recorded at Le 2006 European Cultural Award. featured concerts with some of the Poisson Rouge, more famously known as Vogler is the new General Director of world’s most pre-eminent conductors, the Village Gate, home to many Hendrix the Dresden Musikfestspiele and founder and internationally renowned orchestras concerts. and Artistic Director of the Moritzburg such as the New York Philharmonic, His extensive discography also features Chamber Music Festival. Dresden Staatskapelle, Montreal Symphony Cello Concerti by Barber, Korngold, Vogler plays the 1721 Domenico Orchestra, the Bavarian and Frankfurt Bürger (Berlin Classics), Schumann and Montagnana cello “Ex-Hekking.” Radio Orchestras, and the Vienna Fauré Piano Quintets (Sony Classical) Symphony.As a passionate recitalist and with James Ehnes, Mira Wang, Naoko chamber musician, he has performed Shimizu and Louis Lortie and extensively with pianists Bruno Canino, Mendelssohn's Cello Sonatas (Berlin Louis Lortie, Hélène Grimaud and Classics) also with Louis Lortie. His Andrea Lucchesini, with violinists Mira recording of the Schumann Cello Wang and James Ehnes and soprano Concerto and world premiere recording Angelica Kirschschlager. of Jörg Widmann’s Concerto (Berlin

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