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Home , Concerto, Gennady Rozhdestvensky, Orchestra, Rodion Shchedrin

Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair

Concerto for No. 1, Naughty Limericks

odion Shchedrin became an import- Prize (1993), and outside Rant figure in Russian not only his homeland he had been granted honor- through his compositions but also through ary membership in the International Music his involvement in the complicated politics Council (1985), corresponding memberships of the Soviet musical establishment. As ear- in the Bavarian Academy of Fine Arts (1976) ly as 1955, the year he graduated from the and Academy of Fine Arts of the German Conservatory, he was advocating Democratic Republic (1983), and member- for the government to loosen restrictions ship in the Berlin Academy of the Arts (1989). on performing such essential as More recent entries in his roster of awards Mahler, Debussy, and Ravel. Although he include the Russian Federation State Order managed to avoid joining the Communist (2002) and the Russian State Order 2nd Class Party, he negotiated a course that inspired “for services to his country” (2007), as well necessary reforms without being so strident as honorary professorships at the St. Peters- that his voice would be silenced. In 1973 he burg Conservatory (2005) and Beijing’s Cen- succeeded Dmitri Shostakovich as chairman tral Conservatory of Music (2008) and such of the Composers’ Union of the Russian Fed- recording awards as Germany’s Echo Klassik eration, a post he held until 1990. (2008) and ’s Golden Mask (2009). By that time cracks were widening in the Shchedrin’s compositions cover a remark- Soviet political hierarchy and Shchedrin be- able range of musical styles, drawing inspira- came active in the perestroika movement. In tion from folk influences, liturgical music, ex- 1989 he joined the dissident scientist Andrei perimental modernism, neo-Romanticism, Sakharov and soon-to-be Russian President postmodern recontextualizing, and much as members of the forward- else. His notable works for the include looking Inter-regional Group of People’s Dep- uties in Support of Perestroika, which helped In Short open the door to the new Russia of the post- 1991 political restructuring. With the nor- Born: December 16, 1932, in Moscow, Russia malizing of Russian relations with the West, Resides: in Moscow, and , Germany Shchedrin expanded his activities in Western Work composed: 1963; dedicated to Europe. For many years he has divided his time between Moscow and Munich. In 1997 he was named honorary profes- World premiere: September 1963 in Warsaw, sor of the , where he , by the Radio and Television Large Orchestra, Gennady Rozhdest- had taught composition from the mid to late vensky, conductor 1960s. That was one of many honors that have been bestowed on Shchedrin. He had already premiere: these received the USSR State Prize (1972), Lenin performances Prize (1984), State Prize of Russia (1992), and Estimated duration: ca. 9 minutes

26 | NEW YORK PHILHARMONIC seven ; one of them, The Enchanted They may include an unexpected plot twist Wanderer (2002), an “ for the and they delight in the off-color, yet they stage,” was commissioned and premiered by do not share the limerick’s poetic structure. the New York Philharmonic. (The Orchestra Mischievous Melodies and Dirty Ditties have also commissioned his Chimes: been floated as possible translations for this for Orchestra No. 2; led work, but Naughty Limericks has stuck. its premiere in 1968.) has appealed Shchedrin makes fragmentary allusions greatly to Shchedrin, who was married to the to dozens of chastushki, and if non-Russians ballerina from 1958 until are unlikely to grasp that aspect of the piece, her passing in 2015. Two of his most popu- listeners can still appreciate its high jinks. Vi- lar scores were written for dance: Konyok- olinists attack their music stands with their gorbunok (The Little Hunchbacked Horse) bows, horn players slap their mouthpieces, and Karmen-Syuita (his colorful transcrip- the pianist imitates a balalaika, and the tion of portions of Bizet’s Suite). proposes some of the rudest sounds Good humor is at the heart of his Naugh- in the orchestral repertoire. Can Petrushka be ty Limericks, the first of what are now five far away? pieces titled “.” Its Russian title is Ozornïye chastushki. Chas- Instrumentation: two and , two tushki are not really limericks — the Russian and English horn, three (one word is too specific to translate precisely — doubling bass ), two and con- although they invoke similar assumptions. trabassoon, four horns, four , four They are short vernacular of irrever- , , wooden spoons, , ent intent, their humor often taking an iron- whips, snare , , , tam- ic, satirical, or politically subversive stance. tam, , , and strings.

In the ’s Words

Rodion Shchedrin elaborated on the use of irreverent Russian songs known as chastushki:

In a chastushka there is always humor, irony, and sharp satire of the status quo, its defend- ers, and the “leaders of the people.” Brevity is its chief characteristic. Its specifically musical traits are a four-square and asymmetric structure, a deliberately primitive melody of few notes, driving syncopated rhythm, impro- visation, repetition involving variation, and most of all a sense of humor pervading both words and music. Unfortunately, the chastushka is associated in the minds of many with simple tunes of eight bars, suggesting noth- ing but boredom. I like to think, however, that this modest and unassuming form may be likened to a door opening, as in an old fairy tale, upon a world of most varied and inexhaustible musical riches. In Naughty Limericks, conceived as a virtuosic orchestral work, I treat only the comic and dance chastushka tunes. The concertante style and virtuosic effects are, to my mind, inherent in this type of chastushka.

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