Russian Festival: Pictures at an Exhibition This weekend marks the first of three subscription concerts dedicated solely to Russian composers. This evening, we’ll enjoy music by Mussorgsky, Prokofiev, Schnittke, and Shostakovich. What a great way to start the new year!

DIMITRI SHOSTAKOVICH Born 25 September 1906; St. Petersburg, Died 9 August 1975; , Russia

Festive Overture, Opus 96 Composed: 1954 First performance: 6 November 1954; Moscow, Russia Last MSO performance: March 2009; Erich Kunzel, conductor Instrumentation: 2 flutes; piccolo; 3 oboes; 3 clarinets; 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, snare drum, triangle); strings Approximate duration: 7 minutes

Widely regarded as the greatest symphonist of the mid-20th century, wrote 15 works in that genre. Additionally, his impressive compositional catalogue includes six for various instruments, chamber music (including 15 string quartets), solo piano music, two and an operetta, several cantatas and oratorios, three ballets, 36 film scores, incidental music for 11 plays, choral music, and songs. Like Brahms’s Academic Festival Overture, Shostakovich’s Opus 96 is an occasional piece. It was written to commemorate the 37th anniversary of the 1917 Revolution. Premiered at Moscow’s Bolshoi Theater, it has survived its original purpose to become part of the stan- dard orchestral repertoire. The composer patterned his brief work on the overture to Mikhail Glinka’s Ruslan and Lyudmila (1842). Set in the sunny key of A major, it opens with a ceremonial fanfare, then launches into toe-tapping music that is – by turns – lyrical, playful, and pompous. Perfect as a concert curtain-raiser, it also continues to be heard at celebratory events such as the 1980 Summer Olympics in Moscow and the 2009 Nobel Prize Concert in Stockholm. Recommended recording: Neeme Jarvi, Scottish National Orchestra (Chandos)  Russian Festival: Pictures at an Exhibition PROGRAM NOTES Composed:

Piano ConcertoNo.3inCmajor, Opus26 Died 5March 1953;Moscow, Russia 23April1891;Sontsovka,Russia Born SERGEI PROKOFIEV The composeroffered thefollowingprogram notes: in therepertory. that diagnosishassincechanged:hisThird isnowoneofthemostpopularpianoconcertos public excitement.Americans,Prokofiev said,“didnotunderstandthework.”Thankfully, northesubsequentonesinNewYorksolo part.Neitherthatperformance aroused much ed theChicagoSymphonyOrchestra inthe work’s premiere, withthecomposerplaying became hisbase–andwasfinallycompletedinAmerica1921.Fr and forconcertizing–in1918,heleftRussiantheUnitedStates;then,fr Prokofiev commencedwork onhisOpus26in1917,butitgotlaidasideforotherprojects 20th century’s mostdistinguishedcreators ofsymphonies,concertos,andpiano sonatas. regime. Throughout hislife,heoccupiedhimselfwithmusicforthestage,andwasoneof the SovietUnion,however, bothspurred onandrestrained bytheculturalpoliciesofStalin’s more settledand,onemightsay, more polished.Hespentthelast17yearsofhislifebackin mainly intheUnitedStatesandthenParis,hismodeofexpression progressively became composer ofmusicbothweightyandsardonic. FollowingtheRevolution,makinghishome In thelastyearsoftsaristRussia,Sergei Prokofiev, stillinhis20s,madenameasa Recommended recording: work. This material is developed, and there is a brilliant coda. abrilliant is there and developed, is material This work. of the humor caustic the with keeping in more is that atheme with replies piano The winds. wood the in introduced is theme alternative an of tempo, slackening and of tone reduction a With it climax. to a develops and theme first the up key. takes piano regards the Eventually as of opinion differences frequent with of argument, deal however, agood is there and theme, opening the with own its holds orchestra The piano. of the entry blustering by the ed interrupt is which strings, pizzicato and bassoons for theme staccato a with begins finale The piano. the in embroidery chordal delicate with orchestra, by the theme of the into arestatement pause without giusto). leads It (Allegro energetic is Variation Five fashion. meditative and aquiet in theme the on discourse orchestra and piano the and Andante, again once is tempo the Variation Four In orchestra. the in there and here introduced are theme the of snatches while figures, brilliant has piano the and variations, third the and second the for to Allegro changes tempo The phrase. ing clos the repeats orchestra the as of trills, into achain resolves and fashion, quasi-sentimental in theme the of opening the treats piano the variation, first the In alone. orchestra by the announced is theme The variations. five with of atheme consists movement second The crescendo. exciting an with ends movement the and brilliance, increased with developed are subject second the and theme chief the Allegro, the resuming In treatment. broad impressively to an subjected is theme the in, and joins piano ff.The theme first the out gives orchestra the and to Andante, reverts tempo the section, of this climax At the triplets. in passage way to abravura giving eventually length, at some developed and piano by the up taken is This accompaniment. apizzicato with oboe the in heard subject, second expressive more to the leads alone piano the for chords in passage matter. the to on A say deal agood having orchestra the and manner, piano lively the both a in on carried is theme of this Discussion piano. by the subject principal of the statement to the 16th in leads which notes, apassage having strings the to Allegro, changes tempo the Soon bars. afew for violins by the continued is and clarinet unaccompanied by an nounced an is theme (Andante). The introduction short a with quietly opens movement first The Last MSOperformance: Approximate duration: First performance: Instrumentation:

1917-21 (Deutsche Grammophon) Grammophon) (Deutsche Philharmonic Berlin Abbado, Claudio Argerich; Martha 27 minutes percussion (bassdrum,castanets; cymbals;tambourine);strings 2trumpets;3trombones;2 bassoons;4horns; timpani; 2 flutes(2nddoublingpiccolo);oboes;clarinets; Jeffrey Biegel,piano January 2008;Edward Gardner, conductor; 16 December1921;Chicago,Illinois  ederick Stockconduct- om 1920,France

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(K)ein Sommernachtstraum Died 3August1998;, Germany 24November1934;Engels,Russia Born ALFRED SCHNITTKE the proceedings. ing astupefiedsilence,theopeningmelody soundingsomewhattraumatizedby returns, on havingitsowncacophonousway, finallycrashingintoawallofclusterchords. Follow- orous, there isamomentaryvainattempttorestore order. Theorchestra, however, insists styles, includingafugueandboisterous march. Asthemusicbecomesevermore clam- Sommernachtstraum (K)ein piece,” heconfessed.“Ifakedthem.” posed in1974foraviolinistfriend’s 50thbirthday. “Ididnotstealallthe‘antiquities’inthis masters.Intruth,though,itistaken fromViennese Schnittke’s own Gratulationsrondo shared withfluteandharpsichord –soundslikeitmighthavebeenpennedbyoneofthe The work’s maintheme–agentleminuetfirstsoundedbysoloviolin andpiano,then Fischer-Dieskau singingexcerptsfrom AribertRiemann’s operaLear concert onwhichitwaspremiered featured Shakespeare-themed works,includingDietrich Festival. Hiscrypticstatement(above)waspresumably tongue-in-cheek,though the1985 mernachtstraum Som music andlightmusic,evenifIbreak myneckindoingso,”heoncewrote. (K)ein music, bothpastandpresent –andhedoes sohere. “Thegoalofmylifeistounifyserious Schnittke sometimesemployed“polystylism”–atechniquethatjuxtaposesvariousstylesof to holdswayoverhismusicalaesthetic. Conservatory. masters,nottheRussians,whocontinued Nevertheless,itwastheViennese Russia andSchnittkecompletedhismusicaleducation–beguninAustriaattheMoscow his reference of “taste, manner, point in terms and style.” In 1948,the family moved back to there thathefellinlovewiththemusicofMozartandSchubert,twomasterswhoprovided Itwas inRussia,butbythemid-1940sfamilywaslivingVienna. Schnittke wasborn concertos, chambermusic,choralandsoloinstrumentalmusic. tonal style.Hisextensivelistofworksincludesoperas,ballets,filmmusic,symphonies, sequently embraced12-tonecompositionforatime,before settlingintoamore traditional decades. Theworksfrom hisstudentdays show theinfluenceofShostakovich,andhesub- al.), Alfred Schnitte’s across compositionalstyleunderwentanumberoftransformations the Like othercomposersofthe20thcentury(thinkSchoenberg, Stravinsky, Penderecki, Pärt,et Recommended recording: Last MSOperformance: Approximate duration: First performance: Instrumentation: [“(Not)aMidsummerNight’s Dream”] wascommissionedfortheSalzburg – Alfred Schnittk rondo. related my Mozart-Schubert to about say is there all is that And [“(Not)aMidsummerNight’s Dream”]. Sommernachtstraum (K)ein called is it that Yet reason that for Shakespeare. not is with it connection direct no has it though settings, of Shakespeare aconcert in played be should piece The reveals itself to be a set ofvariations,employingany numberof 1984-85 (Chandos) Valery Polyansky, RussianStateSymphonyOrchestra 10 minutes celeste; harpsichord; piano;strings cymbals, glockenspiel,tamtam,triangle,vibraphone);harp; 4 trombones; tuba; timpani;percussion (bassdrum,chimes, 4trumpets; (4th doublingbassclarinet);2bassoons;4horns; 4 flutes(4thdoublingpiccolo);oboes;clarinets MSO Premiere 12 August1985;Salzburg, Austria  (1978). , com- - Russian Festival: Pictures at an Exhibition PROGRAM NOTES Composed:

Pictures atanExhibition Died 28March 1881;St.Petersburg, Russia 21MarchBorn 1839;Karevo, Russia MODEST MUSSORGSKY the marketplace bustles with the peasant women’s hyperactivity. peasant the with bustles marketplace the Limoges: Schmuyle. beggar the from agitation servile and Goldenberg archal patri the from proclamations by snobbish men two the Poor,” parodies Other Mussorgsky “Two Samuel Goldenberg Rich, the titled and One Schmuyle: Polish Jews, Sometimes like on helmets.” put heads canary ofarmor, with suits in as eggs “enclosed in attire, dance their in dressed children depicts scherzo brief this ballet, 1871 a for Hartmann’s on designs Based costume Shells: Their in Chicks Little of Ballet “cattle.”) (“Bydlo” for Polish word the is distance. the Bydlo: well. it to know got and atime for Paris in lived Tuileries: music. folk Russian of influence clear the shows melody haunting Mussorgsky’s castle, ofthe location the Despite song. lonely sad, his singing France, in castle amedieval before stands Atroubadour Castle: Old The shrieks.” savage with movements droll his accompanies gnome The tocrack. anut put you mouth whose into of nutcracker, agnome Gnomus: toanother. ofart work one from disposition in achange mirroring it, through strolls Promenade The 1992, in York New whole.”the Philharmonic sleeker and “is adarker conduct Masur Kurt hearing after Ross Alex result,” stated “The sonorities. and textures deeper so, created he doing in percussion; and brass, woodwinds, tothe weight more ing by giv and cellos) the (especially strings lower the on by concentrating character Russian amore at aimed –Gorchakov Impressionism ofFrench palette its by Ravel –with tration (1905-1976). Gorchkaov Sergei composer orches by familiar Russian tothe contrast In one the hear we concerts, these On piece. ofthe orchestrations Ravel –created Maurice Tushmalov, Mikhail Wood, and –including Henry Sir musicians several years, the Across lifetime. composer’s the in pieces piano of the performance ofapublic We have gallery. record no art the through progress Mussorgsky’s “Promenade,” portrays –by the which separated occasionally and – introduced is set the works; ofHartmann’s one depicts cycle the in piece character Each Pictures composed Mussorgsky inspiration, manic of afit In piano. solo for Exhibition at an Pictures tocreate him led friend, ofhis memory in apiece towrite wish his with coupled showing, public tothe visit Mussorgsky’s sketches. architectural and tumes, cos drawings, paintings, ofHartmann’s ofover 400 exhibition aposthumous spearheaded Stassov Vladimir critic the spring, following the St. Petersburg In grief-stricken. profoundly 1873 Mussorgsky 39 August in age at left death Hartmann’s composer. ofthe friend close (1834-1873), Hartmann ofVictor those are a suite ofMussorgsky’s title the in pictures The Last MSOperformance: Approximate duration: A Polish ox-cart with large, heavy wheels lumbers toward us and then retreats into into retreats then and us toward lumbers wheels large, heavy with APolish ox-cart According to Stassov’s commentary in the catalogue, Hartmann depicts “a kind depicts Hartmann catalogue, the in commentary toStassov’s According Children squabble and play free-spiritedly in the famous Parisian park. Hartmann Hartmann park. Parisian famous the in free-spiritedly play and squabble Children In 1866, Hartmann painted more than 150 watercolors of the French city. Here, city. French ofthe 150 than more watercolors painted 1866, In Hartmann Instrumentation: takes Mussorgsky into the exhibition and later accompanies him as he he as him accompanies later and exhibition the into Mussorgsky takes 1874 (forsolopiano);orchestrated byGorchakov in1954 31 minutes triangle, woodblock,xylophone);harp;celeste;strings drum, chimes,cymbals,glockenspiel,snare drum,tamtam, 3 trumpets;trombones; 2tubas;timpani;percussion (bass bass clarinet;2bassoons;contrabassoon;4horns; 3clarinets(3rdEnglish horn); doubling sopranosaxophone); 3 flutes(3rd doublingpiccolo); 3oboes(3rd doubling MSO Premiere in just 20 days in June 1874. June in days 20 just in - -

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“The Great Gate of Kiev” has few rivals. few has ofKiev” Gate Great “The display, orchestral sheer for cymbals, crashing and brass blazing its and nobility opulent its With moments: symphonic great ofthe one constructed together Gorchakov and sorgsky Mus Nevertheless, built. never was gate any the event in but contest, the win not did plan ofKiev. architectural His city Ukrainian the in constructed tobe style, Russian old immense gate, the in stone ahuge for design his submitted Hartmann Kiev: of Gate Great The prey.human her of pursuit in mortar in a about tofly and legs by chicken supported ahut to live on said was who folklore, Yaga, ofBaba ofRussian hag amalevolent Mussorgsky reminded clock bronze elaborate an for design friend’s His Hen’s Legs: on Yaga Hut Baba –The Language). aDead in Dead the (With morta” lingua in “Cum mortius labeled Mussorgsky that Promenade ofthe transformation a being second the sections, two into falls music The Paris. in sepulchre a Roman-era Catacombae: Recommended recording: Hartmann’s picture shows the artist, a friend, and a guide with a lamp inside inside alamp with aguide and afriend, artist, the shows picture Hartmann’s

Program notes by J. Mark Baker. by J. notes Mark Program Kurt Masur, London Philharmonic Orchestra (Teldec) (Teldec) Orchestra Philharmonic Masur, London Kurt  -