Chicago Symphony Orchestra Riccardo Muti Zell Music Director

PROGRAM

ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, December 18, 2014, at 8:00 Friday, December 19, 2014, at 1:30 Saturday, December 20, 2014, at 8:00

Carlos Miguel Prieto Conductor Cynthia Yeh Percussion Prokofiev Suite from Lieutenant Kijé, Op. 60 The Birth of Kijé Romance Kijé’s Wedding Troika The Burial of Kijé MacMillan Veni, Veni, Emmanuel CYNTHIA YEH First Chicago Symphony Orchestra subscription concert performances

INTERMISSION

Revueltas Sensemayá First Chicago Symphony Orchestra performances

Lutosławski Concerto for Orchestra Intrada Capriccio, Notturno and Arioso Passacaglia, Toccata and Chorale

The Chicago Symphony Orchestra is grateful to 93XRT and RedEye for their generous support as media sponsors of the Classic Encounter series. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by PhillipDaniel HuscherJaffé and Phillip Huscher

Sergei Prokofiev Born April 23, 1891, Sontsovka, Ukraine. Died March 5, 1953, Moscow. Suite from Lieutenant Kijé, Op. 60

Prokofiev’s first film would find it hard to coordinate with the score, written in 1933 for Leningrad studio to meet production deadlines. one of the earliest Soviet Furthermore, for much of the 1920s, he had sound features, is today cultivated a dissonant style with such modernist one of the most celebrated works as the Second Symphony and the Quintet, of that era (more famous and Prokofiev was seen in some quarters as than, say, Max Steiner’s politically suspect: when his “Soviet” ballet Le almost contemporary pas d’acier had been auditioned by Moscow’s King Kong score). Already Bolshoi Theater in 1929, it was condemned by a composer of interna- the Russian Association of Proletarian Musicians tional fame, Prokofiev’s involvement in (RAPM) as a “a counterrevolutionary composi- Lieutenant Kijé was a tremendous coup for the tion bordering on fascism.” Leningrad-based Belorussian State Film Studio But by then, Prokofiev was seriously reconsid- (Belgoskino). Prokofiev fulfilled beyond expecta- ering his style. Homesickness and the shock of tion by creating one of his most infectiously having his ballet rejected no doubt played their tuneful works (in the last forty years or so, at part, as did his faith in Christian Science (which least two chart-topping popular songs have caused his revulsion against such earlier expres- borrowed from the suite: Greg Lake’s “I Believe sionistic works as his opera The Fiery Angel), in Father Christmas” and Sting’s “Russians”), and a genuine desire to reach a wider audience. and—perhaps less often recognized—one of the Already in 1929, he was telling the press that most forward-looking scores of the decade. he was making his music “simpler in form, less Yet to many, even to the Belgoskino adminis- complex in counterpoint, and more melodic” and tration, Prokofiev had seemed a far from obvious was aspiring to “a new simplicity.” choice for Kijé. Notwithstanding his Classical Then, in 1932, the RAPM was suddenly Symphony (which had persuaded the author of abolished by a Central Committee Resolution; Kijé, Yuri Tinyanov, that Prokofiev would be this also stipulated that musical works should ideal for its eighteenth-century subject), he had be expressed in a readily understood language yet to compose such international hits as Romeo addressed to the people at large. According to and Juliet or Peter and the Wolf; there was concern, fellow émigré Nicolas Nabokov, Prokofiev wel- too, that, as a Paris-based émigré, Prokofiev comed the Resolution as “a realization of some

COMPOSED MOST RECENT APPROXIMATE 1933–34 CSO PERFORMANCES PERFORMANCE TIME February 25 & 26, 1977, Orchestra Hall. 20 minutes FIRST PERFORMANCE Claudio Abbado conducting December 21, 1934, Moscow CSO RECORDINGS July 29, 2005, Ravinia Festival. Leonard (radio broadcast) 1957. Fritz Reiner conducting. RCA Slatkin conducting 1977. Claudio Abbado conducting. FIRST CSO PERFORMANCES INSTRUMENTATION Deutsche Grammophon July 14, 1939, Ravinia Festival. Vladimir two flutes and piccolo, two oboes, Golschmann conducting two clarinets, two bassoons, tenor February 3 & 4, 1944, Orchestra Hall. saxophone, four horns, two trumpets Désiré Defauw conducting and cornet, three trombones, tuba, percussion, piano, celesta, harp, strings

2 of his own ideas about the function of music. ‘I since he had to make substantial movements out always wanted to invent melodies which could be of the original succinct cues. The suite, composed understood by large masses of people—simple, in 1934, roughly follows the dramatic outline of singable melodies.’ ” the film: The prospect of finding a wider audience Birth of Kijé: A distant fanfare opens the suite. through film was therefore most enticing, so Then, accompanied by a side drum, a piccolo when Belgoskino told Prokofiev that Lieutenant pipes a march, twice over. A near climax subsides Kijé was likely to get international distribution, to a shimmering string tremolando and soft he was effectively hooked. Prokofiev also was brass “stabs,” as if to prompt the next theme: a attracted by its satirical story, especially written quirky leitmotif—associated with the nonexistent for film by the Soviet historical novelist Yuri Kijé—played by flutes accompanied by saxo- Tinyanov. The plot hinges on a clerk’s slip of the phone. The movement is rounded off with the pen while writing a list of soldiers for Tsar Paul I piccolo’s march, and then the distant fanfare. (who reigned from 1796 to 1801), inadvertently Romance: This is based on two chansons, of adding a nonexistent lieutenant, “Kijé.” The which the first needs little introduction thanks tsar is subsequently enraged when woken by a to Sting’s “Russians.” Both chansons originally scream from one of his courtiers (whose bottom were composed to be sung, and Prokofiev extends was pinched by a coquette), demanding that the them through several repetitions with various culprit be punished. “Lieutenant Kijé” receives accompaniments and delicious orchestral colors the blame and is sent to Siberia, only to be found (rather than just harp and celesta in the film). innocent when the guilty party confesses. The Kijé’s Wedding: In the film, this accompanies tsar then decides to promote Kijé to his elite a farcical ceremony in which the absent groom’s guard—which his subordinates, too terrified to “presence” is indicated by the priest holding a admit the truth about the nonexistent lieutenant, crown over the supposed head of the protagonist. proceed to enact. Each episode opens with a pompous brass and woodwind choir, answered by a free ranging cor- nusually for film scores of that era, net solo. Kijé’s theme also is heard, rather forlorn Prokofiev composed not a continuous and in a key distant from the rest. symphonic tapestry, but several short Troika: This famous number describes a swift Ucues: some are leitmotifs as requested by the three-horse sleigh ride with bells. Like the director Alexander Fayntsimmer (under the Romance, this was originally written as a song, close supervision of Tinyanov himself); others one of a gallant nature for a guard officer, with more (or sometimes less) directly part of the Kijé’s characteristic theme as punctuation. action, such as the military parades or Kijé’s The Burial of Kijé: The cornet fanfare returns, wedding music. The result is strikingly ahead followed by a lugubrious rendition of Kijé’s of its time: much of the film is unaccompanied, leitmotif. Themes from Romance and Kijé’s with music only used to enhance the drama of Wedding are recalled, juxtaposed to create a a scene or as ironic comment—a style of scor- striking aural equivalent of double-exposed film ing more akin to Bernard Herrmann (whose (where two contrasting scenes are superimposed first film, Citizen Kane, was released in 1941) to dreamlike effect). The music eventually peters than to Max Steiner or even Shostakovich. out before a final fanfare. Prokofiev confessed he spent longer creating the suite than he had composing the film music, Daniel Jaffé

3 James MacMillan Born July 15, 1959, Kilwinning, Scotland. Veni, Veni, Emmanuel

In the five years after its acMillian did not grow up in a musi- premiere in 1992, James cal home, but he became passionate MacMillan’s Veni, Veni, about music early on. He remembers Emmanuel was performed Mbeing excited watching an opera by Benjamin more than a hundred Britten on his family television. “I was just crazy times around the world. for music,” he recalled recently. “I knew the At the time, the idea of a whole Ring cycle by the time I was eleven.” As percussion concerto was he studied music at Edinburgh and Durham novel (even though universities, he became a rigid modernist, in Bartók had paved the way the line of Boulez and Berio, two composers as long ago as the 1930s with his Concerto for whose works he examined in depth. But even- Two Pianos and Percussion), and MacMillan tually, as he began to make a name for himself recalls that “composers in the 1980s and ’90s as a composer, he took a very individual stance knew it had enormous potential.” So much so against “the old guard of the avant-garde,” and that MacMillan followed the great success of started writing music with a powerful emotional Veni, Veni, Emmanuel with a second percussion message, a more embracing view of tonality, and concerto, which was premiered last month in the a strong desire to communicate very directly. Netherlands, that even calls for an instrument, He also quickly found his voice as a passionate the aluphone, that wasn’t around in 1992. advocate of stating a strong religious viewpoint “I’ve always loved the sonorities of percussion in public life. Composition after composition, and continue to be impressed with the range including Veni, Veni, Emmanuel as well as the of possible colors,” MacMillan said in a recent new Saint Luke Passion that was premiered in interview. Veni, Veni, Emmanuel has become March, has had a religious component. That sen- something of a landmark score over the past sibility has unfairly branded him as a composer twenty-two years—it has received some five of exclusively sacred music, as if he has chosen to hundred performances at last count—launching a isolate himself, as a church musician, from the widespread interest among composers in writing complexities of contemporary music. MacMillan increasingly complex and soloistic music for sees his position simply as a recorder of the percussion, and inspiring a new generation of human condition in our times. “Just because I’m performers to new heights of technical aplomb. a religious composer doesn’t mean the conflict “When I hear young players performing it in and stress you get in modernism isn’t relevant,” competitions today,” MacMillan recently said, “it he recently told The Telegraph. “In fact, it’s the still astonishes me—they have an amazing ability reverse. For me, religious faith is rooted in the to tackle a piece which seemed so complicated to mess of real life, and my music has to be true to me in the 1990s.” that experience.”

COMPOSED These are the Chicago Symphony (bass drum, tom-toms, bongos, 1991–92 Orchestra’s first subscription con- timbales, congas, cowbells, sizzle cert performances. cymbal, large cymbal, woodblocks, FIRST PERFORMANCE temple blocks, log drum, gongs, August 10, 1992; London, England INSTRUMENTATION marimba, vibraphone, mark trees, two flutes and piccolo, two oboes and tam-tam, tubular bells) FIRST CSO PERFORMANCE english horn, two clarinets and bass August 4, 2002, Ravinia Festival. clarinet, two bassoons and contra- APPROXIMATE Evelyn Glennie as soloist, Christoph bassoon, two horns, two trumpets, PERFORMANCE TIME Eschenbach conducting trombone and bass trombone, 29 minutes timpani, strings, and solo percussion

4 JAMES MacMILLAN ON VENI, VENI, rises above ppp. Over and over again, the orches- EMMANUEL tra repeats the four chords which accompany the words “Gaude, Gaude” from the plainsong’s eni, Veni, Emmanuel, a concerto for per- refrain. They are layered in different instrumental cussion and orchestra, is in one continu- combinations and in different speeds evoking a ous movement and lasts about twenty-five huge distant congregation murmuring a calm Vminutes. Dedicated to my parents, it is based prayer in many voices. on the Advent plainsong of the same name and A huge pedal crescendo on E-flat provides a was started on the First Sunday of Advent 1991 transition to section four, which reintroduces and completed on Easter Sunday 1992. These material from the “hocket” section under a vir- two liturgical dates are important as will be tuoso vibraphone solo. Gradually, one becomes explained later. The piece can be discussed in two aware of the original tune floating slowly behind ways. On one level, it is a purely abstract work all the surface activity. The climax of the work in which all the musical material is drawn from presents the plainsong as a chorale followed by the fifteenth-century French Advent plainchant. the opening fanfares, providing a backdrop for On another level, it is a musical exploration an energetic drum cadenza. In the final coda, of the theology behind the Advent message. the all-pervasive heartbeats are emphatically Soloist and orchestra converse throughout as pounded out on drums and timpani as the music two equal partners and a wide range of per- reaches an unexpected conclusion. cussion instruments is used, covering tuned, The heartbeats which permeate the whole untuned, skin, metal, and wood sounds. Much piece offer a clue to the wider spiritual priori- of the music is fast, and, although seamless, can ties behind the work, representing the human be divided into a five-section arch. It begins presence of Christ. Advent texts proclaim the with a bold, fanfare-like “overture” in which the promised day of liberation from fear, anguish, soloist presents all the instrument types used and oppression, and this work is an attempt to throughout. When the soloist moves to gongs mirror this in music, finding its initial inspiration and unpitched metal and wood, the music melts in the following from Luke 21: into the main meat of the first section—music of a more brittle, knottier quality, propelled There will be signs in the sun and moon forward by various pulse rates evoking an and stars; on earth nations in agony, bewil- ever-changing heartbeat. dered by the clamor of the ocean and its Advancing to drums and carried through waves; men dying of fear as they await what a metrical modulation, the music is thrown menaces the world, for the powers of heaven forward into the second section characterized by will be shaken. And they will see the Son fast “chugging” eighth notes, irregular rhythmic of Man coming in a cloud with power and shifts, and the “hocketting” [In the medieval great glory. When these things begin to take practice of hocket, a single melody is shared place, stand erect, hold your heads high, between two (or occasionally more) voices so because your liberation is near at hand. that alternately one voice sounds while the other rests.] of chords between one side of the orchestra At the very end of the piece, the music takes a and the other. Eventually, the music winds down liturgical detour from Advent to Easter—right to a slow central section which pits cadenza-like into the Gloria of the Easter Vigil, in fact—as if expressivity on the marimba against a floating the proclamation of liberation finds embodiment tranquillity in the orchestra which hardly ever in the Risen Christ.

5 Silvestre Revueltas Born December 31, 1899, Durango, Mexico. Died October 5, 1940, Mexico City, Mexico. Sensemayá

Born on the last day of Revueltas’s music until after Borowski’s death in the nineteenth century, 1956, denying him the pleasure of writing about Silvestre Revueltas helped his own student’s progress.) to lead the music of Revueltas returned to Mexico in 1920, and, Mexico into a new era. although he later spent more time in Chicago His was a brief, difficult, and elsewhere in this country, Mexico remained and colorful life. He lived his home for the rest of his life. In 1929, Carlos and worked in Mexico Chávez, an influential composer, conductor, City; Mobile, Alabama; and pianist, asked Revueltas to serve as assistant San Antonio, Texas; and conductor of the Mexico Symphony Orchestra. Chicago. He fought for the Republicans in the (They had toured together in the mid-twenties, Spanish Civil War, periodically spent time in giving twenty-six recitals of music for violin and mental institutions, and died of alcoholism at the piano.) Revueltas settled in Mexico City, became age of forty. Revueltas did not begin to compose one of the principal players in the development seriously until the last ten years of his life, and of musical life there, and began to devote more of his career is largely one of unfulfilled promise. his time to serious composition. He is something of a tragic figure, like the alcoholic hero of Under the Volcano, the Mexican n many ways, Revueltas was a self-made novel by Malcolm Lowry, who lived in composer. Despite his training in conser- Cuernavaca during Revueltas’s final years. vatories in Mexico City and Chicago, he “I do not think I was a child prodigy,” Ialways said he never learned much there, but Revueltas has written, “but I showed some later “found better teachers in the Mexican inclination for music quite early, as the result people and my country.” He remained indifferent of which I became a professional musician.” to many of the conventions of music and musical Silvestre started to play the violin at the age of form. The novelist and composer Paul Bowles seven, and at thirteen, he went to Mexico City to has remarked how Revueltas epitomized the study violin and composition. Three years later, true revolutionary to a younger generation of he decided to further his studies abroad—not in Mexican musicians, because he “went straight Europe, but in the United States, first at Saint toward the thing to be said, paying as little Edward College in Austin, Texas, and then, attention as possible to the means of saying it.” for two years beginning in 1918, at Chicago Revueltas’s musical style draws from many Musical College, where he studied violin under sources. “I like all kinds of music,” he said. “I Sametini and composition under Felix Borowski, can even stand some of the classics, and some who also was the program annotator for the of my own works, but I prefer the music of the Chicago Symphony. (The Orchestra did not play people of the ranches and villages of my country.”

COMPOSED OTHER CSO PERFORMANCES INSTRUMENTATION 1937–38 December 16, 17 & 18, 2010, Orchestra two flutes and two piccolos, two oboes Hall. Michael Mulcahy conducting and english horn, two clarinets, E-flat FIRST PERFORMANCE the Chicago Symphony Orchestra clarinet and bass clarinet, three bas- December 15, 1938, Mexico City. The Brass Ensemble (arranged for brass by soons and contrabassoon, four horns, composer conducting Bruce Roberts) four trumpets, three trombones, tuba, timpani, percussion, piano, strings FIRST CSO PERFORMANCES These are the Chicago Symphony APPROXIMATE Orchestra’s first performances. PERFORMANCE TIME 7 minutes 6 The way his attention—though not until Leopold Stokowski compositions recorded it in New York in 1947. At the time reflect the music of his death in 1940, Revueltas still remained of Mexico and largely unknown outside Mexico. the spirit of its people has always ensemayá is based on the Afro-Cuban writer attracted notice. Nicolás Guillén’s poem about a ceremony “I have never for the sacrifice of a serpent. Revueltas’s used popular or Sthumping ostinato is the musical echo of folkloric themes,” Guillén’s refrain: “mayombé, bombe, mayombé.” Nicolás Guillén he said by way of With its thrilling, obsessive rhythmic thrust—it clarification, “but is written throughout in 7/8 or 7/16—and most of the tunes, powerfully dissonant harmonies, this extraor- or rather motifs, that I have used have a popular dinary little score is as original as anything in character.” Like the great Spaniard Manuel de European music of the time, but it owes nothing Falla, Revueltas’s absorption of his country’s to those distant schools or celebrated composers. indigenous style is complete. As Paul Bowles It represents one of the signal moments when writes, “there was an intuition functioning that American music unmistakably came into its own. transformed folk music into art music with a “All his music seems preceded by something minimum of purity lost.” that is not joy and exhilaration, as some believe, Revueltas’s major works all date from the or satire and irony, as other believe,” the Mexican 1930s (he completed his first orchestral score, poet Octavio Paz wrote of Revuletas’s output. Cuauhnahuac, in 1930). This was an unusually “That element, better and more pure . . . is his rich and exciting time for the Mexican arts, with deep-felt but also joyful concern for man, animal, the painter Diego Rivera, recently married to and things. It is the profound empathy with his Frido Kahlo, at the height of his powers, and surrounding which makes the works of this man, the country’s young film industry particularly so naked, so defenseless, so hurt by the heavens active and adventuresome. Sensemayá, composed and the people, more significant than those of for small orchestra in 1937 and expanded into a many of his contemporaries.” full-scale orchestral work the following year, is the piece that brought Revueltas to international —Phillip Huscher

7 Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra

Witold Lutosławski’s was Lutosławski, Shostakovich represented a major the first important composer responding through his music to a concerto for orchestra political crisis—a concern he understood only too composed in the shadow well. In 1948, Lutosławski’s First Symphony was of Bartók’s great work, banned by the Polish government; the music but that appears to have written during the next years, culminating in inspired rather than this Concerto for Orchestra, was his response. In intimidated him—Bartók 1988, Lutosławski talked with Allan Kozinn of served as a touchstone, a The New York Times about this period: reminder of what could be done within a certain style and with a specific The government stopped interfering with our aim. For Lutosławski, as for Bartók, the concerto musical life very early, probably because they for orchestra was intended as a reflection of the decided that music is not an offensive art. It’s unprecedented virtuosity of the modern orches- not semantic. It doesn’t carry meaning in the tra. The hallmarks of Bartók’s masterwork are same way literature, poetry, theater, and film here as well—the arch form of the first move- do. So they are not interested in it. I have ment: the broad chorale of the last; a certain never felt any pressure to write a certain way. similarity of gesture, tone, and language that’s But after my First Symphony, I realized that easy to hear, although less simple to pinpoint in I was writing in a style that was not leading the score—and yet Lutosławski’s score is entirely me anywhere. So I decided to begin again— his own. (Lutosławski’s Musique funèbre, written to work from scratch on my sound language. four years later, was dedicated to Bartók’s memory.) Still another composer links Bartók’s Obviously, I could not immediately begin and Lutosławski’s concertos. In the fourth writing concert works, so I wrote functional movement of his work, Bartók parodies the battle music—children’s music, easy piano pieces, music from Dmitri Shostakovich’s Leningrad and small ensemble works. I did it with plea- Symphony. In the toccata section of his finale, sure, because Poland was devastated after the Lutosławski inscribes Shostakovich’s well-known war and this educational music was nec- musical monogram—DSCH, or D, E-flat, C, essary. Eventually, I developed a style that B-natural, as translated into musical notation. combined functional music with elements of But the references are quite different. Bartók folk music, and occasionally with nontonal intended a sly comment about artistic merit. For counterpoints and harmonies.

COMPOSED MOST RECENT drum, bass drum, cymbals, tam-tam, 1950–1954 CSO PERFORMANCES tambourine, xylophone, bells, piano, November 16, 17 & 18, 2006, Orchestra celesta, two harps, strings FIRST PERFORMANCE Hall. Paavo Järvi conducting November 26, 1954; Warsaw, Poland APPROXIMATE INSTRUMENTATION PERFORMANCE TIME FIRST CSO PERFORMANCES three flutes and two piccolos, three 29 minutes February 6 & 7, 1964, Orchestra Hall. oboes and english horn, three clarinets Paul Kletzki conducting and bass clarinet, three bassoons CSO RECORDINGS and contrabassoon, four horns, four 1970. Seiji Ozawa conducting. Angel trumpets, four trombones, tuba, 1992. Daniel Barenboim conducting. timpani, snare drum, side drums, tenor Erato

8 he Concerto for Orchestra was the drums in the beginning, the tinkling celesta at climax of this nationalistic, folk-based the end. (Structurally, the movement is most music—a work that not only spoke to closely modeled on the opening of Bartók’s aT politically defeated people at the time, but Music for Strings, Percussion, and Celesta.) also continues to touch musicians of many Midway, the music reaches several big, engulfing lands today. Shortly after writing the concerto, climaxes, punctuated by screaming brass. At Lutosławski’s sound language changed again. least two themes are based on Polish folk songs, In 1960, he heard part of a radio broadcast of although Lutosławski, unlike Bartók, treats them John Cage’s Piano Concerto, a work that leaves like raw material rather than cultural artifacts. much to chance, and is, therefore, different at The middle movement captures something every performance. Lutosławski remembers of Bartók’s famous Night Music, although for that “those few minutes were to change my Lutosławski night is a time of furtive activity life decisively. It was a strange moment . . . I rather than mysterious calm. Again the form suddenly realized that I could compose music is symmetrical, with quickly moving music differently from that of my past. . . .” for strings and winds framing a slower section And so the rest of his career—including the for brass. This central Arioso, sung first by the Third Symphony commissioned by the Chicago trumpets, brings the movement to a terrifying Symphony Orchestra—was spent exploring and climax. From there the music flickers and dies— perfecting this new language, one that is based the final bars are a duet for tenor drum and bass on the juxtaposition of ad lib passages with drum, ppp. strictly controlled music. The harps and double basses quietly launch the In an interview given in 1973, Lutosławski finale, eventually stating the passacaglia theme expressed surprise at the continuing interest (based on a folk song) that will serve as the foun- in his early Concerto for Orchestra, calling it dation for fifteen variations, all carefully dove- “the only serious piece among the folk-inspired tailed and growing in intensity and activity until works” of the period immediately following the the last, which recedes into silence. Lutosławski war. On another occasion he said, “I wrote as I then launches a powerful, bustling toccata. The was able, since I could not yet write as I wished.” music finally dissolves to reveal a solemn chorale His dismissive attitude recalls Bartók, who kept intoned by the winds—the ghost of Bartók again reassigning opus numbers to his scores, each (the resemblance to the chorale in the second time excluding the earliest works that no longer movement of Bartók’s Concerto for Orchestra is pleased him. clearly intentional)—before the music turns lively In this respect, the concertos for orchestra by and sweeps to its conclusion. Bartók and Lutosławski differ. Bartók’s came very late in his career—it is, technically, the last —Phillip Huscher music he finished, although the Third Piano Concerto was nearly complete at his death—and finds him at the summit, commanding the language in a way that only years of work and Daniel Jaffé is a regular contributor to BBC Music understanding make possible. Lutosławski’s early Magazine and a specialist in English and Russian Concerto for Orchestra in no way suggests the music; he is author of a biography of Prokofiev direction his music would take. (Phaidon) and the Historical Dictionary of Russian Music Borrowing Bartók’s favored arch form, the (Scarecrow Press). first movement begins and ends with imitative Phillip Huscher is the program annotator for the Chicago writing set against repeated F-sharps—pounding Symphony Orchestra.