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Home , Paul Hindemith, Riccardo Muti

PROGRAM

ONE HUNDRED TWENTY-SIXTH SEASON Chicago Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant

Friday, October 14, 2016, at 8:00 Tuesday, October 18, 2016, at 7:30 Riccardo Muti Conductor John Sharp Dvořák Husitská Overture, Op. 67 Schumann Cello in A Minor, Op. 129 Not too fast— Slow— Very lively JOHN SHARP

INTERMISSION Hindemith Concert Music for String Orchestra and Brass, Op. 50 Part 1: Moderately fast and with power—Very broad, but always flowing Part 2: Lively—Slow—Lively Mussorgsky, orch. Ravel Pictures from an Exhibition Promenade 1. Gnomus Promenade— 2. The Old Castle Promenade— 3. Tuileries 4. Bydlo Promenade— 5. Ballet of the Chicks in their Shells 6. Samuel Goldenberg and Schmuyle 7. The Market Place at Limoges 8. Catacombs: Sepulcrum romanum— Promenade: Con mortuis in lingua mortua 9. The Hut on Hen’s Legs (Baba-Yaga)— 10. The Great Gate of Kiev

This evening’s performance is generously sponsored by Margot and Josef Lakonishok. CSO Tuesday series concerts are sponsored by United Airlines. The Chicago Symphony Orchestra is grateful to WBBM Newsradio 780 and 105.9 FM for their generous support as media sponsors of the Tuesday 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 Phillip Huscher

Antonín Dvořák Born September 8, 1841; Mühlhausen, Bohemia (now Nelahozeves, Czech Republic) Died May 1, 1904; Prague, Bohemia Husitská Overture, Op. 67

This triumphant music located in the heart of what is today Pilsen, was closed the first concert later established in honor of his visit.) During ever given by the Chicago the exposition, Thomas arranged to send a string Orchestra, on October 16, quartet to the ’s hotel to read through a 1891. It was handpicked new quartet, now known as the American, that he by the Orchestra’s founder, had just written in Spillville. The following year, Theodore Thomas, to Thomas and the Orchestra gave one of the first follow music by the men performances of the New World Symphony. he then considered the pillars of the repertoire, he Husitská Overture is one of Dvořák’s Beethoven and Wagner, as well as newer works— most rousing, yet least known, composi- Tchaikovsky’s First Concerto, which had tions. “Great originality and an exquisite been premiered in Boston in 1876, and this giftT for choice musical combinations of tone color, overture—brand-new music, really, composed as well as rhythm, characterize all his works,” and premiered within the past decade. the Chicago Orchestra’s first program annotator, Dvořák was one of Thomas’s favorite compos- Adolph W. Dohn, wrote, when the Husitská ers. In 1867, when Thomas returned to Europe Overture was performed here. The overture was for the first time since his family had moved composed to reopen the National Theatre in to the United States from Germany more than Prague in 1883, two years after it was devastated two decades earlier, he sought out Dvořák, and by fire. The theater director stipulated the subject the two men met after attending the in of the Hussite wars, which erupted after John . Years later, shortly after the Chicago Huss, a religious reformer, was burned at the Orchestra was founded, Thomas sent a contin- stake, and his followers fought for their religious gent of powerful Chicagoans to Spillville, Iowa, liberty. “Dvořák has employed part of one of those where Dvořák was spending the summer of 1893, stirring war songs of the Hussites as the leading to convince him to join the Orchestra at the theme, which is worked up with great ingenuity,” World’s Columbian Exposition that August. He the Orchestra’s first program book said, “and at agreed, becoming the first of the great European the close of the overture appears under the trium- to visit Chicago. (Dvorak Park, phant escort of and trombones.”

COMPOSED FIRST CSO PERFORMANCES CSO RECORDING August 9–September 9, 1883 October 16 & 17, 1891, 1991. Rafael Kubelík . CSO Auditorium Theatre. Theodore (From the Archives, vol. 7: A Tribute to FIRST PERFORMANCE Thomas conducting Rafael Kubelík) November 18, 1883; Prague, Bohemia MOST RECENT INSTRUMENTATION CSO PERFORMANCES two flutes and piccolo, two December 12, 13, 14 & 17, and english horn, two clarinets, two 2013, Orchestra Hall. Miguel , four horns, two trumpets, Harth-Bedoya conducting three trombones and , timpani, percussion, harp, strings

2 Robert Schumann Born June 8, 1810; Zwickau, Saxony, Germany Died July 29, 1856; Endenich, near Bonn, Germany in A Minor, Op. 129

Sometime in 1832, after 1854, Schumann attempted suicide by throwing injuring his right hand himself in the Rhine. Shortly afterwards, he was while practicing the piano committed to the private asylum in Endenich, with a contraption where he died two-and-a-half years later, after designed to strengthen being haunted by the voices of angels and visions his fingers, Robert of tigers and hyenas. Schumann took up the cello. It would never chumann began this cello concerto become his instrument— less than six weeks after he settled in even after his hand was Düsseldorf. It was finished in just fifteen so crippled that he had to give up the piano Sdays (seven to draft and eight more to orches- for good. He never studied the cello sufficiently trate), and it opened a new period of frenetic to perform in public, and he wrote very little creative energy. This was not a spurt of inspira- music for it. But the single cello concerto he tion devoted to one medium, like his celebrated composed in 1850 is among his finest and most year of song writing in 1840, or the symphonic idiomatic works. and years that immediately By 1850, Clara Schumann, a very accom- followed. But it was the last sustained productive plished pianist, had become Robert’s right hand stretch of his career—during the rest of 1850 and in more than one sense. Now that he had been the beginning of the next year he composed his forced to give up performing, she regularly Rhenish Symphony; revised the D minor sym- played her husband’s music in public, cam- phony that was later published as his fourth; and paigned to further his reputation, and continued wrote , a series of tragic overtures, to push him to try different genres and to move two , and several songs and other in new directions. small works. On September 1, 1850, Robert, Clara, On November 16, 1850, Clara mentioned the and their six children moved from Dresden new concerto in her diary: “It pleases me very to Düsseldorf, where Robert was to succeed much and seems to me to be written in true Ferdinand Hiller as conductor of the local violoncello style.” A year after it was completed, music society. At first, life seemed uncommonly the score still sat on Robert’s desk. In October pleasant—more “easygoing” than in Dresden, as 1851, Clara wrote: Clara put it, but this didn’t last. The members of the Düsseldorf orchestra found Schumann diffi- I have played Robert’s cello concerto through cult and quarrelsome, and he occasionally seemed again, thus giving myself a truly musical ill-prepared or forgetful on the podium. Within and happy hour. The romantic quality, the a few years, he was asked to resign. In February vivacity, the freshness and humor, also the

COMPOSED FIRST CSO PERFORMANCES MOST RECENT October 1850 December 9 & 10, 1910, Orchestra CSO PERFORMANCES Hall. Paul Gruppe as soloist, Frederick August 3, 2001, Ravinia Festival. FIRST PERFORMANCE Stock conducting Claudio Bohórquez as soloist, Daniel June 9, 1860; Leipzig, Germany Barenboim conducting June 27, 1940, Ravinia Festival. as soloist, May 12, 13 & 14, 2011, Orchestra INSTRUMENTATION conducting Hall. Yo-Yo Ma as soloist, Riccardo solo cello, two flutes, two oboes, two Muti conducting clarinets, two bassoons, two horns, two trumpets, timpani, strings

3 highly interesting interweaving of cello and solo turn in the spotlight. The three movements orchestra, are indeed wholly ravishing, and are closely related and carefully dovetailed, so what euphony and deep feeling one finds in that they are played without pause. The opening all the melodic passages! chords of the concerto return to haunt the slow movement, and the cello’s first theme becomes a Robert canceled plans for a performance in recitative linking that movement and the finale. 1852 and apparently shelved the score. But in February 1854, during one of his worst periods he cello establishes a voice of authority of depression, he got out of bed and fussed with with its opening line, a rich and lyrical this concerto to temporarily silence the “eternal run-on sentence that spans thirty mea- sound” of the demons and angels he constantly suresT and almost the entire range of the instru- heard. No further plans were made for a perfor- ment before pausing for breath. Without ever mance, and the concerto wasn’t premiered until lightening the virtuosic demands, Schumann four years after the composer’s death, at a concert proceeds to underplay his soloist’s leading role, in Leipzig marking the fiftieth anniversary of continually drawing the cello into conversation his birth. with the instruments of the orchestra. In the In his own catalog, Schumann listed this slow middle movement, he even engages the work as a for cello with orchestral soloist in a duet with the orchestra’s principal accompaniment. As Clara rightly noted, the cello, underlining the concept of musical com- forces are ingeniously interwoven. They are also munity. This is a concerto that explores common balanced with uncommon care: the cello part ground and collaboration rather than contrast is virtuosic but not exhibitionistic; interaction and drama, and, as such, it is highly unusual with the orchestra is intimate and generous, and highly successful. In spirit, if not in actual never confrontational. The cadenza in the third sonority, it comes daringly close to the heart of movement is lightly accompanied, rather than a chamber music.

Paul Hindemith Born November 16, 1895; Hanau, Germany Died December 28, 1963; , Germany Concert Music for String Orchestra and Brass, Op. 50

On YouTube, you can uninspired until he suddenly lurches forward with see Paul Hindemith surprising physical impact, as if he were possessed conducting the Chicago by the music. He does not convey what audiences Symphony Orchestra know as charisma. But the overall impact is that in a portion of his of a conductor who knows the orchestra inside Concert Music for String out, and who knows precisely what he wants from Orchestra and Brass. The it—and how to get it. As Thomas Willis wrote in video is taken from a live the Chicago Tribune, reviewing Hindemith’s television broadcast in appearance with the Chicago orchestra at the Orchestra Hall on April 7, Ravinia Festival two years earlier, “From the first 1963, Hindemith’s final appearance with the note of the concert to the last, it was apparent that Orchestra. He died less than nine months later, here was a man the orchestra respected, under- lionized in obituaries as one of music’s greatest stood, and was willing to play to the limit for.” modern masters. From the Chicago video, you Hindemith had first come to the United States can see that as a conductor, Hindemith was all in 1937, but his connection with Chicago dates business, unsmiling, slightly forbidding. His back to 1930, the year he composed the Concert technique is square, clunky, and seemingly Music for String Orchestra and Brass. That year,

4 Elizabeth Sprague Coolidge, the Chicago arts in his own no. 5 for and patron, commissioned the composer to write Chamber Orchestra in Paris in 1928). a small-scale piece for a contemporary music It was Hindemith’s idea to score the concert festival she was producing. Hindemith sent her a music for brass and strings only (the are score also titled Concert Music, this one scored not divided into firsts and seconds, but play for piano, two harps, and brass. It was first per- together)—a wonderfully bracing instrumenta- formed by members of the Chicago Symphony, tion choice, especially coming from a composer conducted by Hugo Kortshak, a former vio- who could play nearly every instrument in the linist in the Orchestra, on October 13, 1930. orchestra at least passably and who knew how Konzertmusik was a designation Hindemith gave to write for each one with uncommon expertise. to several of his works during this time, reflect- There are two movements—the first moving ing his taste for plain, utilitarian titles. (They are dramatically from a moderate tempo into the counterpart to the seven pieces of chamber slower, broadly flowing music; the second in the music from the same period, each for a different familiar fast-slow-fast pattern. Throughout the combination of instruments, that he simply piece, Hindemith writes distinctive, idiomatic labeled Kammermusik.) The Concert Music for music for the two instrumental groups. The String Orchestra and Brass that immediately opening pits energetically racing strings against followed the Chicago score—the two were somber brass chords, but then the tables are published consecutively as op. 49 and op. 50— turned and the dialogue between forces grows was completed in Berlin that December. It is the more complex. Sometimes the two operate in largest of his various concert music pieces, and, opposition; at other times, they toss ideas back coincidentally, the last score he would give an and forth. The second movement begins and . ends with a bristling, rapid-fire fugato; yet the slow middle paragraphs are richly expressive, indemith’s score was commissioned inventive, and unexpectedly poetic (at one by , the music point, Hindemith specifies “very tender”). After director of the Boston Symphony the successful premiere under Koussevitzky in HOrchestra. Hindemith was one of several Boston in April 1931, Hindemith himself often composers invited to honor the orchestra’s fiftieth picked the Concert Music for the concerts he anniversary, including Prokofiev, Copland, conducted around the world, regularly pairing it Respighi, and Stravinsky, who produced his with Bruckner’s Seventh Symphony, as he did in landmark for the occasion. Chicago in 1963. Hindemith, just thirty-four, was probably not an obvious choice. He was still young and had a he 1930s were a difficult—and ultimately reputation as something of an enfant terrible. But decisive—time for Hindemith. After Koussevitzky had known Hindemith both as an the Nazis came to power in Germany unusually gifted composer and a virtuoso violist inT 1933, he was branded as a degenerate com- for several years (he had hired him as soloist poser, largely because Hitler had walked out

COMPOSED July 25, 1961, Ravinia Festival. The CSO PERFORMANCES, 1930 composer conducting THE COMPOSER CONDUCTING March 28, 29 & April 7 1963, FIRST PERFORMANCE MOST RECENT Orchestra Hall April 3, 1931; Boston, Massachusetts CSO PERFORMANCES April 1, 1963; Pabst Theater, Milwaukee July 15, 1965, Ravinia Festival. Seiji INSTRUMENTATION Ozawa conducting CSO RECORDINGS four horns, four trumpets, three October 1, 2 & 3, 2015, Orchestra Hall. 1963. The composer conducting. VAI trombones, tuba, strings Riccardo Muti conducting (video) FIRST CSO PERFORMANCES January 29, 2016; National Centre for January 13, 1959, Orchestra Hall. Hans the Performing Arts, Beijing, China. Rosbaud conducting Riccardo Muti conducting

5 of Hindemith’s opera Neues von Tage (News of free fantasy, as he called it, on an old Virginian the day), scandalized by the sight of a soprano ballad about poor Lazarus and the rich man—but singing from her bathtub. Hindemith’s subse- then abandoned it midway when he realized he quent opera, (Matthias the had been so busy working on other scores that he painter), a powerful and pointed statement on the couldn’t fi nish it in time. Hindemith’s score for value of arts and the role of the artist in society, Poor Lazarus was later published in its incom- was offi cially attacked and later banned. After plete state. Hindemith fi gured prominently in the exhibition of Entartete Musik () in 1938, he everal footnotes. Th e video of Hindemith’s had little choice but to leave his native Germany televised Chicago Symphony concert, for good. He had already set his sights on the which includes Brahms’s Academic Festival United States. On his fi rst trip to this country SOverture and the fi rst movement of Bruckner’s in 1937, he appeared as viola soloist in his Der Symphony no. 7—he conducted the complete Schwanendreher with members of the Chicago symphony that week in concert, but the fi nal Symphony at the Chicago Arts Club. When he three movements were omitted from the broad- returned to this country the next year, he made cast in order to keep the telecast to an hour—is his U.S. conducting debut with the CSO, leading available from VAI Music. his Symphonic Dances and appearing once again I am indebted to Michael Henoch, the as soloist in . In 1939, he Chicago Symphony’s assistant principal returned to Chicago to attend a concert of his since 1972, for his research into Hindemith’s music given by University of Chicago students, early connection to Chicago. but he didn’t appear with the Orchestra. During Th e Chicago Symphony Orchestra principal his visit, however, he met with CSO music viola chair is named after Paul Hindemith, director , who asked him to write who was one of the great violists of his time. a piece for the Orchestra’s fi ftieth anniversary, Th e donors who endowed the chair in per- then two seasons away. “Th e specifi cs still need to petuity during the 2012–13 season recently be discussed,” Hindemith wrote home to his wife decided that it will be known as “Th e Paul Gertrude in March. Hindemith began a piece for Hindemith Principal Viola Chair, endowed by the Chicago Symphony’s anniversary—a kind of an anonymous benefactor.”

Modest Mussorgsky Born March 21, 1839; Karevo, Russia Died March 28, 1881; Saint Petersburg, Russia Pictures from an Exhibition (Orchestrated by )

When Victor Hartmann so shocked at the unexpected death of his dear died at the age of friend, who set out to make something of this thirty-nine, little did he loss. “Why should a dog, a horse, a rat have life,” know that the pictures he he is said to have asked, paraphrasing King left behind—the legacy of Lear, “and creatures like Hartmann must die?” an undistinguished career Stassov’s memorial show gave Mussorgsky the as artist and architect— idea for a suite of piano pieces that depicted the would live on. Th e idea composer “roving through the exhibition, now for an exhibition of leisurely, now briskly, in order to come closer to Hartmann’s work came a picture that had attracted his attention, and from Vladimir Stassov, the infl uential critic who at times sadly, thinking of his departed friend.” organized a show in Saint Petersburg in the Mussorgsky worked feverishly that spring, and spring of 1874. But it was Modest Mussorgsky, by June 22, 1874, Pictures from an Exhibition

6 was finished. Mussorgsky may well have had an of Khovanshchina in 1913, and, since most of his inflated impression of Hartmann’s artistic impor- own orchestral works started out as piano scores, tance (as friends often do), but these Pictures the process of transcription was second nature to guaranteed Hartmann a place in history that him. Ravel remained as faithful as possible to the his art alone could never have achieved. There’s original; only in the final Great Gate of Kiev did no record of a public performance of Pictures in he add a few notes of his own to Mussorgsky’s. Mussorgsky’s lifetime, and the composer didn’t The success of Ravel’s edition inspired still even play the work on his extensive 1879 concert further efforts, including one by Leopold tour, perhaps finding it too personal for the stage. Stokowski that was popular for many years (the It was left to Rimsky-Korsakov, the musical Chicago Symphony played it as recently as 1998). executor of Mussorgsky’s estate, to edit the man- Mussorgsky’s Pictures also has been rescored uscript and bring Pictures to the light of day. for rock band, brass ensemble, acoustic guitar, massed , and even rearranged for solo he thought of orchestrating Pictures evi- piano by . (Essentially a dently never occurred to Mussorgsky. But piano transcription of Ravel’s orchestration—a it has intrigued musicians ever since his translation of a translation, in other words— death,T and over the years several have tried their Horowitz’s Pictures are far removed, stylistically, hand at turning Mussorgsky’s black-and-white from Mussorgsky’s). But Ravel’s orchestration pieces into full color. The earliest was that of remains the best-known guide to Mussorgsky’s Rimsky-Korsakov’s student, Mikhail Tushmalov, picture collection. conducted (and most likely improved) by the teacher himself. (The Chicago Symphony’s first ussorgsky chose eleven of Hartmann’s performances, in 1920, were of this version.) In works for his set of piano pieces. 1915, Sir , an eminent British con- He owned the sketches of Samuel ductor, produced a version that was popular until MGoldenberg and Schmuyle, which were com- Maurice Ravel unveiled his orchestration in 1922. bined in one “picture”; most, though not all, of Although Ravel worked from the same the other works were in Stassov’s exhibition. Rimsky-Korsakov edition of Pictures that Some of the original pictures have since disap- Tushmalov and Wood used (he had tried without peared. (Of the four hundred Hartmann works success to find a copy of Mussorgsky’s original, exhibited, less than a hundred have come to which wasn’t published until 1930), his orches- light; only six of those in Mussorgsky’s score can tral version far outstrips theirs in the brilliance be identified with certainty.) of its colors and its sheer ingenuity. Ravel was Mussorgsky referred to Pictures as “an album already sensitive to Mussorgsky’s style from his series,” implying a random, ad hoc collection of collaboration with on an edition miniatures, but the score is a coherently designed

COMPOSED FIRST CSO PERFORMANCES CSO RECORDINGS for piano: 1874; orchestrated by March 19 & 20, 1920, Orchestra Hall. 1951. Rafael Kubelík conducting. Maurice Ravel: summer 1922 Frederick Stock conducting (Mikhail Mercury Tushmalov orchestration) 1957. conducting. RCA FIRST PERFORMANCE July 11, 1937, Ravinia Festival. Ernest October 22, 1922; Paris, France 1967. Seiji Ozawa conducting. RCA Ansermet conducting 1976. conducting. INSTRUMENTATION MOST RECENT three flutes and two piccolos, three CSO PERFORMANCES oboes and english horn, two clarinets 1980. Sir conducting. July 8, 2014, Ravinia Festival. Miguel and bass clarinet, two bassoons and Harth-Bedoya conducting contrabassoon, alto , 1989. Neeme Järvi conducting. four horns, three trumpets, three September 19, 2015, Orchestra Hall. Chandos trombones, tuba, timpani, glocken- Riccardo Muti conducting spiel, bells, triangle, tam-tam, rattle, 1990. Sir Georg Solti conducting. Sony whip, cymbals, side drum, bass drum, (video) xylophone, celesta, two harps, strings

7 V. Hartmann. Canary Chicks in V. Hartmann. A Rich Jew in a Fur V. Hartmann. A Poor Jew. Pencil, their Shells; a costume sketch for Hat. Pencil, sepia, lacquer watercolor Gerber’s ballet Trilbi. Watercolor whole, organized around a recurring theme and 2. The Old Castle. Two drawings of medieval judiciously paced to progress from short pieces to castles are listed in the catalog, both sketched a longer, majestic finale—creating a kind of cre- while Hartmann was in France, just before scendo effect like that of Schumann’s Carnaval. he met Mussorgsky. The music gives song to Mussorgsky had no use for the conventional the troubadour standing in front of the castle. forms of the earlier classical masters—“I am Mussorgsky’s , which Ravel memorably not against ,” he once wrote, “just gives to the alto saxophone, is clearly indebted symphonists, incorrigible conservatives.” We to Russian , despite the provenance of don’t know when Mussorgsky settled on the the castle. overall layout of his picture series, but a letter he 3. Tuileries. Hartmann lived in Paris long wrote to Stassov suggests that he had worked on enough to get to know the famous park with its at least the first five in order, and apparently had squabbling children and their nurses. the entire set in mind when he started. 4. Bydlo. Stassov describes a Polish wagon (“bydlo” is Polish for cattle) drawn by oxen. ussorgsky begins with a promenade, Although Mussorgsky wanted the piece to begin which takes him into the gallery fortissimo—“right between the eyes,” as he told and later accompanies him as he Stassov—Rimsky-Korsakov switched to a pianis- Mwalks around the room, reflecting a change simo opening followed by a crescendo to create in mood from one picture to another. (Despite the illusion of the approaching cart and the tread his considerable girth, Mussorgsky apparently of hooves. was a fast walker—the promenade is marked 5. Ballet of the Chicks in their Shells. allegro, rather than andante [Italian for “walk- Hartmann designed costumes for a ballet, Trilbi, ing”]—and Mussorgsky was precise in his in 1871. The music depicts a scene where “a tempo markings.) group of little boys and girls, pupils of the 1. Gnomus. Hartmann’s drawing, which Theatre School, dressed as canaries, scampered has since been lost, was for a Christmas tree on the stage. Some of the little birds were ornament—“a kind of nutcracker, a gnome into wearing over their dresses big eggshells resem- whose mouth you put a nut to crack,” according to bling breastplates.” Stassov’s commentary in the catalog. Mussorgsky’s 6. Samuel Goldenberg and Schmuyle. music, with its awkward leaps, bizarre harmonies, Mussorgsky owned these two drawings enti- and slippery , suggests the gnome’s “droll tled “A Rich Jew in a Fur Hat” and “A Poor movements” and “savage shrieks.” Jew,” to which he gave proper names. Hartmann,

8 V. Hartmann. Paris Catacombs. Watercolor whose wife was Polish, V. Hartmann. Design for Kiev City Gate: Main façade. visited Pencil, watercolor Sandomierz, in southern Poland, in Promenade: Con mortuis in lingua mortua. 1868; there he At the end of Catacombs, Mussorgsky penciled painted scenes in his manuscript: “Con mortuis in lingua and charac- mortua” (With the dead in a dead language), ters in the signaling the start of this mournful rendition of Jewish ghetto, the promenade. including 9. The Hut on Hen’s Legs (Baba-Yaga). these two Hartmann sketched a clock of bronze and men, as well V. Hartmann. Baba-Yaga’s Hut on enamel in the shape of the hut of the witch as Bydlo. Hen’s Legs. Sketch for a clock in Baba-Yaga. Mussorgsky concentrates not on Mussorgsky Russian style, pencil the clock, but on the child-eating Baba-Yaga begins with herself, who, according to Russian folk literature, the com- lived deep in the woods in a hut on hen’s legs, manding Goldenberg; Ravel makes Schmuyle’s which allowed her to rotate to confront each whining reply wonderfully grating. approaching victim. (Incidentally, Stassov’s first 7. The Market Place at Limoges. Hartmann impression of Hartmann was of him dressed as did more than a hundred and fifty watercolors Baba-Yaga at a masked ball in 1861.) of Limoges in 1866, including many genre 10. The Great Gate of Kiev. Hartmann pictures. In the margin of his score, Mussorgsky entered this design in a competition for a gateway brings the scene to life: “Great news! M. de to Kiev that was ultimately called off for lack Puissangeout has just recovered his cow . . . Mme of funds. Hartmann modeled his gate on the de Remboursac has just acquired a beautiful traditional headdress of Russian women, with new set of teeth, while M. de Pantaleon’s nose, the belfry shaped like the helmet of Slavonic which is in his way, is as much as ever the color warriors. Mussorgsky’s piece, with its magnifi- of a peony.” cent climaxes and pealing bells, finds its ultimate 8. Catacombs: Sepulcrum romanum. realization in Ravel’s orchestration. Hartmann, a friend, and a guide with a lamp explore underground Paris; to their right in Phillip Huscher has been the program annotator for the Hartmann’s watercolor is a pile of skulls. Chicago Symphony Orchestra since 1987.

© 2016 Chicago Symphony Orchestra 9