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Jazz @ Lincoln Center (ROSE) Thursday Evening, March 29, 2018, at 7:30 Leon Botstein , Conductor Performance #85: Season 3, Concert 22 WALTER BRAUNFELS (1882–1954) Phantastische Erscheinungen eines Themas von Hektor Berlioz , Op. 25 (1914–17) Einleitung: Allegretto con fuoco Thema Moderato Gemessen Mit Breite, doch nicht zu langsam und etwas frei Andante Ruhig Sehr schnell Lebhaft—Sehr schnell Lebhaft Moderato Breit und wuchtig Finale: Lebhaft Intermission HECTOR BERLIOZ (1803–69) Symphonie fantastique , Op. 14 (1830, rev. 1832) Rêveries, Passions: Largo—Allegro agitato e appassionato assai—Religiosamente Un bal: Valse; Allegro non troppo Scène aux champs: Adagio Marche au Supplice: Allegretto non troppo Songe d’une nuit du Sabbat: Larghetto—Allegro Today’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. Jazz at Lincoln Center’s Please make certain your cellular phone, Rose Theater pager, or watch alarm is switched off. Frederick P. Rose Hall jazz.org Jazz at Lincoln Center Notes on the Music Phantastische Erscheinungen eines furor, which leads into a dramatic fugato Themas von Hektor Berlioz , Op. 25 passage. The 11th is a heavy, slow funeral WALTER BRAUNFELS march, alluding to the composer’s war experience, and it leads to the final Braunfels’ piece consists of a brief intro - Erscheinung , which quotes the melody of duction, 12 independent appearances, and “Fürs Vaterland zu sterben” (“To perish for a finale. The appearances are loosely varia - one’s Fatherland”). The finale brings together tions on a theme by Berlioz—the well- recollections of the previous appearances known “Song of the Flea” from his opera The and closes the work with a final rendition Damnation of Faust —which is announced of the flea song. by the cornet in the first appearance, and later developed by the full orchestra. - Braunfels described his inspiration: “During TON’s Kelly Mozeik my young years Frank Wedekind had spo - on Berlioz’s ken to me about his flea ballet. Nothing Symphonie fantas - R came of the composition at the time. But E tique, Op. 14 D A M when I later heard La damnation de Faust , N U I could not stop thinking of Mephisto’s flea A Berlioz was one of the H song, and I began to compose a piece: life, S first composers to tell deeds, and opinions of a flea. The Fantastic a complete story through orchestral music. Appearances later developed from this….” It was a reaction to Beethoven’s Ninth Symphony, where Berlioz wanted to break Braunfels also drew upon his own impres - with the norms of the traditional sym - sions and personal experiences during the phony. This piece sounded like nothing First World War for inspiration in this piece. written before. It has five movements that Written from 1914–17, Braunfels had been tell the story of an artist with a lively imag - drafted into the German army and was ination who falls desperately in love with wounded while fighting in France, leaving his perfect woman (based partly on his him traumatized by his wartime experi - own life and obsession with actress ences. The work begins with an ominous, Harriet Smithson). He’s tormented by demonic introduction, evocations of scream - thoughts of her, and in a fit of despair he ing, and a quotation of the main theme, poisons himself with opium. In a drug- Mephistopheles’ flea song. A series of induced nightmare he witnesses his own Erscheinungen (or appearances) follow, execution, and then witnesses a witches’ which are not so much variations as Sabbath, where his love appears as a motivic explorations and imaginative exper - witch herself. iments. The third Erscheinung conjures up a thunderstorm out of the flea song motif I have a long history with this work. I first and whips the music into a frenzy reminis - played it when I was 16 with the Pittsburgh cent of the overture to Wagner’s The Flying Youth Symphony at Heinz Hall. I love the Dutchman . The fourth is an extended slow unique moment in the third movement movement that may remind listeners of where there is an offstage oboe solo. The Strauss. The sixth is calmer and more movement, Scene in the Fields , opens up restrained, with a solo cello introducing a in a field where a playful pastoral duet new espressivo theme. The seventh fea - takes place between the offstage oboist tures a solo violin possessed with demonic and the onstage English horn. The English Jazz at Lincoln Center horn is very present while the oboe is a Harriet, to these insane, manic moments. mysterious, lingering echo, and it’s such a In the last movement, Dream of a Witches’ serene moment. I love the fact that Berlioz Sabbath , these witches appear in a was so in love with this woman Harriet grotesque dance, and in the center of it all that he would do anything to be with her— is Harriet, as a witch in the middle of a including the crazy act of poisoning himself satanic dance. And then last of all the Dies with opium in the movement March to the Irae comes in, which is a death call. It’s so Scaffold . The piece wavers between beau - intense, cinematic, and completely unex - tiful melodies of his love and passion for pected in the symphonic context. Meet the Artists and sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories— including The Juilliard School, Shanghai E N I D Conservatory of Music, Royal Conservatory T Leon Botstein , T A of Brussels, and the Curtis Institute of M Conductor - Music—the members of T ON are not only Leon Botstein brings a renowned career as thrilling audiences with their critically both a conductor and educator to his role acclaimed performances, but also enlight - as music director of The Orchestra Now. ening curious minds by giving on-stage He has been music director of the American introductions and demonstrations, writing Symphony Orchestra since 1992, artistic concert notes from the musicians’ per - co-director of Bard SummerScape and the spective, and having one-on-one discus - Bard Music Festival since their creation, sions with patrons during intermissions. and president of Bard College since 1975. He was the music director of the Jerusalem Conductor, educator, and music historian - Symphony Orchestra from 2003–11, and is Leon Botstein founded T ON in 2015 as a now conductor laureate. This year he will master’s degree program at Bard College, assume artistic directorship of Campus where he also serves as president. The Grafenegg and Grafenegg Academy in orchestra is in residence at Bard’s Richard B. Austria. Mr. Botstein is also a frequent Fisher Center for the Performing Arts, per - guest conductor with orchestras around forming multiple concerts there each sea - the globe, has made numerous recordings, son as well as taking part in the annual Bard and is a prolific author and music historian. Music Festival. They also perform regularly He is the editor of the prestigious The at the finest venues in New York, including Musical Quarterly , and has received many Carnegie Hall, Lincoln Center, The Metro - honors for his contributions to music. politan Museum of Art, and others across New York City and beyond. The orchestra More info online at leonbotstein.com. has performed with many distinguished conductors, including Fabio Luisi, Neeme The Orchestra Now Järvi, Gerard Schwarz, and JoAnn Falletta. - The Orchestra Now (T ON) is a group of - vibrant young musicians from across the We invite you to get to know T ON and dis - globe who are making orchestral music rele - cover music in the making! Explore upcom - vant to 21st-century audiences. They are lift - ing concerts, see what our musicians have ing the curtain on the musicians’ experience to say, and more at theorchestranow.org. Jazz at Lincoln Center E N I D T T A M The Orchestra Now Leon Botstein , Music Director Violin I Hui Zhang Bassoon Guest Musicians Coline Berland, Eleanor Lee Adam Romey, Principal Concertmaster Alana Shannon (Braunfels) Clarinet Michael Rau Zhilin Wang Carl Gardner, Principal Viktor Tóth Fangxi Liu Andrew Borkowski (Berlioz) Lili Sarayrah Jinn Shin Bassoon Weiqiao Wu Horn Cornelia McGiver Jiayu Sun Bass Jamie Sanborn, William Beecher Diego Gabete Paul Nemeth, Principal Principal (Braunfels) Adina Mu-Ying Tsai Casey Karr Shannon Hagan, Coronet Yuqian Zhang Michael Franz Principal (Berlioz) Angela Gosse Lila Vivas Blanco William McPeters Ethan Brozka Luke Stence Anna Lenhart Trombone Violin II Zhenyuan Yao Philip Brindise Hitomi Yakata Yurie Mitsuhashi, Milad Daniari Principal Joshua DePoint Trumpet Ophicleide Drew Youmans Anita Tóth, Principal Derek Fenstermacher Leonardo Pineda Flute Szabolcs Koczur Jiyoung Moon Denis Savelyev, Zachary Silberschlag Timpani/Percussion Clara Engen Principal (Braunfels) Eric Borghi Haemi Lee Matthew Ross, Trombone Andrew Funcheon Youyang Qu Principal (Berlioz) Matt Walley, Principal Charles Kiger Hyunjae Bae Thomas J. Wible Federico Ramos, Bass Hao Xing Trombone Harp Grace Choi ( on leave ) Oboe Gabe Cruz ( on leave ) Mélanie Genin James Jihyun Kim, Viola Principal (Braunfels) Tuba Scot Moore, Principal Kelly Mozeik, Principal Dan Honaker Caleb Wong (Berlioz) Chi Lee Regina Brady Timpani Emmanuel Koh Aleh Remezau ( on William Kaufman Omar Shelly leave ) (Braunfels ) Bonnie Heung Yuan Qi Clarinet Percussion Micah Candiotti- Miles Salerni Cello Pacheco, Principal Lauren Peacock, Principal Sangwon Lee Harp Danny Poceta Elias Rodriguez Emily Melendes Kyle Anderson – Members of T ON can be identified by their distinctive blue attire. Jazz at Lincoln Center – Meet the TON Musicians R E D A M E N E L U Coline Berland , Dan Honaker , A O H T I S Violin J Tuba Coline will talk briefly about Braunfels’ Dan will talk briefly about Berlioz’s Phantastische Erscheinungen eines Symphonie fantastique , Op.
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