th SEASON PROGRAM NOTES 46 Week 5 August 12 – 18, 2018 Sunday, August 12, 6 pm very few dynamic indications (Mozart was Composed in memory of Popper’s publisher apparently content to leave such decisions Daniel Rahter, the Requiem projects an WOLFGANG AMADEUS MOZART to his performers), but the movement does appropriately somber and consoling mood. (1756 – 1791) close quietly on the dotted figure that The brief piece is distinctive for the rich Sonata in B-flat Major for & , has figured prominently throughout. The sonority of the three solo , and in its K. 292 (1775) Andante, in F Major, offers long singing serious and dark sound the Requiem is often lines for the bassoon; the movement is in reminiscent of the music of Popper’s friend When Mozart and his father visited Munich binary form, and Mozart offers the option to . The Requiem opens with in the first months of 1775 for the premiere repeat both halves. The concluding Allegro the three cellos alone, laying out the dotted of the boy’s buffa La finta giardiniera, is a cheerful rondo based on the bassoon’s main idea, which soon passes among the they found themselves the toast of the city’s energetic opening tune. This Sonata is never three soloists. While it rises to a full-throated musical life. The opera was a success, they really difficult (Mozart was aware that he climax, this is not extroverted or virtuosic conducted concerts, and were invited to was writing for amateur musicians), but music. It remains lyric and expressive masked balls, and there was much attention this is certainly the most extroverted of throughout, and Popper constantly reminds paid to the talents of Wolfgang, who turned the movements—full of trills, syncopated his performers: dolce, espressivo, and 19 while he was in Munich. One of those rhythms, and rapid runs—and it rushes to a calando (lowering, restrained). The middle impressed was the Elector Maximilian of firm close. section is more flowing, and the Requiem Bavaria, who commissioned a setting —Eric Bromberger closes on a return of the opening material, of the Misericordias Domini from the now muted. young composer. DAVID POPPER (1843 – 1913) Popper himself was one of the soloists— Another was Baron Thaddäus von Requiem for Three Cellos & , Op. 66 along with Edward Howell and Jules Dürnitz, a pianist, musical enthusiast, and (1891) Delsart—at the premiere in London in 1891. amateur bassoonist. Dürnitz commissioned The Requiem enjoyed some popularity a a keyboard sonata from Mozart, who wrote Bohemian-born composer David Popper century ago but has almost disappeared the Sonata in D Major, K. 284 for him. was part of a tradition that has virtually since then. Our loss. Performances may be But Mozart appears to have written an vanished—the virtuoso performer who wrote rare (how often do three cellists perform additional work for his patron, and this one music for his own instrument. One of the on the same program?), but one of the is unique: the Sonata in B-flat Major for finest cellists of the 19th century, Popper pleasures of a concert like this is the chance Bassoon & Cello, completed in Munich early toured throughout Europe, played chamber to discover music as lovely as the Requiem in 1775 (the Köchel number 292 is much too music with Brahms and von Bülow, served for Three Cellos. high and reflects the misunderstanding that as principal cellist of the Court —Eric Bromberger this work was written later—the number in Opera and Vienna Philharmonic, and, after the revised catalog is K.196c). 1896, taught at the Royal Conservatory in WOLFGANG AMADEUS MOZART While the bassoon and cello may have Budapest. And while doing all these things (1756 – 1791) very different sounds, they occupy the he composed a number of brief pieces for Quintet in E-flat Major for Piano & Winds, same range (Mozart usually treated both as his instrument, designed to show off his K. 452 (1784) -line instruments). Writing for two linear skill and please audiences. Most of these instruments of similar range and without have been forgotten. A few appear now as No one knows why Mozart wrote so superbly the harmonic resources of a piano, Mozart encores at recitals or as fillers on recordings, for winds. He was a virtuoso pianist and wanted to be sure that this particular duo but a century ago they were an accepted violinist, but so far as can be known he did does not outstay its welcome, and so he (and expected) part of recitals and figured in not play a wind instrument. Yet—with the keeps this Sonata admirably concise. This is a the repertory of many cellists. notable exception of the —he had a true duo, with both lines assigned important Not all of Popper’s compositions are special fondness for the sound of winds roles, though the bassoon often leads the display pieces, and, in fact, his most famous and wrote an enormous amount for them. way (was this Mozart’s nod to his patron?). composition is a serious work written for a Perhaps there is no understanding why some The opening Allegro is in sonata form, virtually unique combination of instruments: composers who are virtuoso performers on complete with exposition repeat, a very the Requiem for Three Cellos & one instrument can write so instinctively for brief development (18 measures), and a dates from 1891, during a period when instruments they do not play as, for example, full recapitulation. Curiously, the score has the composer was touring as a performer. Bartók did for strings. It just happens.

Program notes for Music at Noon Concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. Mozart completed the Quintet for Piano depths of personal tragedy. After overcoming hollow—much as any consolation anyone & Winds in Vienna on March 30, 1784. These the staunch opposition of his father, he tried to give a grieving father upon the loss were the first years after his move from established a tenuous career as a composer of his beloved daughter. Salzburg, and in a letter to his father back and pianist. Unable to support himself in —Greg Hettmansberger in Salzburg Mozart described the Quintet as , he settled for a time in Sweden, “the best work I have composed.” Though and when he did return to head the new the young composer was perpetually Provisional Theatre he faced almost constant anxious to reassure his worried father personal and professional attacks. that he was not wasting his life in Vienna, His personal life was even more tragic. there is every reason to believe Mozart was By the age of 32 he had lost four of his sincere in this estimation. One of the most five daughters to premature death; later impressive things about the Quintet is that, he lost his wife to tuberculosis, and at the having chosen so unusual a combination age of 50 he showed the first symptoms of of instruments, Mozart writes so directly to syphilis. The disease cost him his hearing and the character of each. He gives the winds ultimately his sanity. Smetana died alone in music exactly suited to their strengths and the Prague Lunatic Asylum. limits: phrases tend to be short, and there His late , known as “From are rapid exchanges among the winds, often My Life,” with its famous piercing high note in music highly elaborated by turns and in the violin (representative of the onset other decorations. The piano, by contrast, of his deafness) interrupting the joyous supplies the fluid long lines the wind finale, is justly famous. Having learned of his instruments cannot. One of the true glories earlier trials, it is not surprising to learn that of the Quintet—and it is easy to overlook this G-Minor Trio is also autobiographical. this—is the writing for piano: it ripples and Smetana’s eldest daughter Bedriska˘ died flows gracefully throughout, complementing early in her fifth year from scarlet fever; her the winds beautifully. Another source of the father had already harbored high hopes for Quintet’s appeal is that this music is totally her musical talent. “Nothing can replace without flash or glitter—Mozart consciously Fritzi, the angel whom death has stolen from avoids showing off virtuoso skills. Here the us,” he wrote in his diary. instruments are at the service of the music, No one would argue that statement, but it rather than the reverse—this music glows is also likely that no one could have hindered rather than blazes. Smetana from trying to memorialize her in The form of this music is classical music. The first unusual aspect of this work is simplicity itself. A slow introduction leads to that each movement, albeit with intervening a sonata-form opening movement, the slow sections in different keys, stubbornly adheres movement is in ternary form, and the final to G Minor. Each movement, with the first movement is the expected rondo. In the first two being explicit in this respect, also is built movement Mozart often sets the piano and around a six-note, chromatically descending winds in opposition with the winds playing motif. It is only by inserting a triumphal as a group. In the poised Larghetto, however, version of the second theme near the close he gives them a chance to shine individually. of the first movement that an overwhelming The finale is surprisingly measured—it sense of sadness is averted. never rushes, and Mozart’s marking at the With the substantial weight of the first very beginning is the key: dolce. At the movement still on our minds, Smetana start of the coda comes an unusual touch: eschews a slow movement in favor of a Mozart writes out what he calls in the score five-section scherzo. The first contrast to “ in tempo”—the four winds make the main theme is an F-Major Andante; the quietly terraced entrances above piano second is a Maestoso section in E-flat Major, chords. It is a kind of final review for each of where dotted rhythms drive the music to a them before the rush to the close, which is pair of uplifting climaxes. as classic and restrained as everything else in The finale seems at last to dispel all the this most graceful score. preceding gloom, with powerful cross- —Eric Bromberger rhythms of triple and duple patterns contrasted with a warm and gracious BEDRICH˘ SMETANA (1824 – 1884) secondary theme. But darkness overcomes Piano Trio in G Minor, Op. 15 (1856) the work again, the main theme being transformed into a funeral march. The final To explore the life of Smetana, the “father” return to the Presto tempo and even a of Czech music, is to delve into profound sudden move from G Minor to G Major rings

2 2018 Program Notes Week Five Monday, August 13, 6 pm fast: the cycle of six songs, scored for two and the delicate ring of the triangle. singers and a huge orchestra and lasting “Von der Schönheit” (“Of Beauty”) is a sort GUSTAV MAHLER (1860 – 1911) nearly an hour, was completely sketched by of companion piece to the previous song but Das Lied von der Erde (1908) (arr. September 1, a few weeks before he left for now told from the women’s point of view. Schoenberg 1921; completed Riehn 1983) New York and his second season at the Met. The events are simple: young women gather Mahler was unsure what to call his new blossoms in the golden sunlight by a pond In 1907 Gustav Mahler’s world shattered work. At first he thought of calling itThe and talk happily; suddenly a group of young around him. After 10 brilliant years as Jade Flute, a title derived from Bethge’s men ride up, their horses’ hooves trampling director of the Vienna Staatsoper—the most anthology, and then considered a title that the flowers as they pass, and the poem powerful position in the musical world but sprang directly from his own experience: The closes with a flash of sexual passion. This is one that had brought him enmity, intrigue, Song of the Earth’s Sorrow. Finally he chose one of the finest songs in the cycle, moving and bitter criticism—Mahler resigned. On a a more neutral—and more encompassing— from the delicacy of the young women’s family vacation that June, his five-year-old title, Das Lied von der Erde (The Song of the music to the swagger of the young men as daughter Maria contracted scarlet fever Earth). Several themes run through this cycle they thunder past and on to the breathless and—after two agonizing weeks—died of six songs: mortality and the imminence of response of one of the women, which is cut surrounded by the family. Mahler’s young annihilating death; the beauty of the earth, off in mid-air. The delicacy of the opening wife collapsed, and the doctor brought in to which will bloom on forever no matter what returns, and the song glides to its elegant care for her also had a look at the composer happens to individual men and women; the and graceful conclusion. and made a deadly discovery: Mahler had a sensual pleasures—however fleeting—of life The fifth song, “Der Trunkene im Frühling” serious heart lesion, the symptom of heart on that earth; and a mood of bittersweet (“The Drunkard in Spring”), is a sort of comic disease that would almost surely prove fatal. farewell, which climaxes in the long, final counterpart to the grim opening song. Here In the space of a few weeks Mahler lost song “Der Abschied.” is another drinking song, but this drinker nearly everything: his position, a daughter, Das Lied von der Erde opens with a finds happiness in the glass rather than and his own future. drinking song, but this is a bitter one: “The bitter philosophy and chooses to stay drunk At this moment of annihilation Mahler Drinking Song of the Earth’s Sorrow.” The rather than think. The sound of the chirping struggled to regain a hold on life. To the music leaps to life with powerful horn bird draws him back to the glass one more young conductor Bruno Walter, he wrote: fanfares, but these are instantly answered time, and the song drives to a ringing close. “Let me tell you . . . that I found myself face with jeering laughter, and the tone for the Out of this sunny sound, Mahler launches to face with nothingness, and now at the first song is set. The singer declaims what the concluding song, “Der Abschied” (“The end of my life I am having to learn from will be a central theme: the earth will live Farewell”), which is as long as the first five the beginning how to walk and stand up.” on forever, but each man’s moment is very songs combined. It is a superb transition: we Looking for consolation that numb summer, brief. This is a strophic song, and it has a move from a shining A-Major chord at the Mahler turned to a book he had been given bitter refrain, repeated three times: “Dunkel close of the fifth song to the deep, tolling called The Chinese Flute, an anthology of ist das Leben, ist der Tod” (“Dark is life, dark sound of C Minor at the beginning of “Der 83 ancient Chinese poems freely rendered is death”). The song drives to its climax as Abschied,” and instantly we are back in the in German by Hans Bethge (1876 – 1946). the singer is assaulted by an ugly image of cold mists that blew through the second Mahler was entranced by these poems (all mortality—an ape crawling over tombstones song. This song, which combines two poems, from the eighth century C.E.) and their in the moonlight—and the opening fanfares brings together the themes of loneliness, fusion of a sharp pleasure in life with a keen return to propel the song to its emphatic beauty, and farewell. It is also a “symphonic” sense of loss and farewell. Late that summer close on a blast of dark sound. movement in the best sense of that term: he began to sketch songs based on some of The second song, “Der Einsame im Herbst” Mahler introduces bits of theme—the these poems. (“The Lonely Man in Autumn”), introduces solo at the beginning, a falling motif in a Mahler’s doctors had warned that, unless a second theme—loneliness—and the lean pair of , and others—at the very he slowed down the frantic pace of his textures of the orchestra’s haunting prelude beginning, and these evolve across the half- life and worked to conserve his strength, (lonely winds above a bare string line) mirror hour span of “Der Abschied”; this movement he would surely die. Now Mahler made a this musically. The song is full of includes a long symphonic interlude—almost characteristic decision: he plunged ahead of loneliness and death—mists over a lake, a funeral march—at its center. Images of with his work, assuming the directorship petals falling from a flower, a guttering loneliness, travel, and farewell pervade this of the Metropolitan Opera in January 1908 lamp—before swelling to an appeal for love climactic song, which—in its content—often and that season, then returned and human contact; the orchestra’s postlude seems like Schubert’s songs about lonely to Europe to guest-conduct draws the song to a quiet close. and unfulfilled travelers. At the close, Mahler in Germany, Austria, and France. His wife The next three songs are all briefer and adds a few lines of his own: “The beloved found the family a vacation house (actually more relaxed. “Von der Jugend” (“Of Youth”) earth everywhere blossoms and greens a rented farmhouse) in Toblach, high in the sings of sensual pleasures. Young men sit in anew in springtime. Everywhere and forever Dolomites in northeastern Italy. There, during a sunny pavilion drinking, talking, laughing, distant places brighten blue . . . forever . the summer of 1908, in a high mountain writing verse; beneath them, the pond . . forever . . . ,” and “Der Abschied” fades valley thick with forests and ringed by rocky inverts the image of their pavilion on its still into silence on the word “ewig” and silvery peaks, Mahler returned to his cycle of songs surface. Mahler casts this song in stylized brushes of the sound. on ancient Chinese texts. He worked very “Chinese” style, full of pentatonic melodies Das Lied von der Erde is Mahler’s

3 2018 Program Notes Week Five masterpiece: “face to face with nothingness,” of Mahler’s original version, but it also brings „Das Trinklied vom Jammer der Erde“ he did, indeed, find a way “to walk and clarification of textures and a more effective (after Li-Tai-Po) stand up.” Certainly he was aware that he balance between singers and orchestra Schon winkt der Wein im goldnen Pokale, had written music of overwhelming impact. than in the original, where the vocal line is Doch trinkt noch nicht, erst sing ich euch ein Showing Bruno Walter the score, he asked: sometimes submerged beneath the weight Lied! “Can this be endured at all? Won’t people kill of a huge orchestra. Das Lied vom Kummer themselves afterward?” —Eric Bromberger Soll auflachend in die Seele euch klingen. Mahler himself never heard a note Wenn der Kummer naht, of Das Lied. He died of heart failure in Liegen wüst die Gärten der Seele, May 1911, three years after composing it Welkt hin und stirbt die Freude, der Gesang. and a few weeks short of his 51st birthday. Dunkel ist das Leben, ist der Tod. Bruno Walter led the first performance six months later in November 1911. Herr dieses Hauses! Dein Keller birgt die Fülle des goldenen A NOTE ON THIS EDITION: At this concert Weins! Das Lied von der Erde is performed in an Hier, diese lange Laute nenn’ ich mein! edition that is in large part the creation Die Laute schlagen und die Gläser leeren, of Arnold Schoenberg. In February 1919, Das sind die Dinge, die zusammen passen. Schoenberg had founded the Society for Ein voller Becher Weins zur rechten Zeit Private Musical Performances in Vienna that Ist mehr wert, als alle Reiche dieser Erde! gave performances for lovers of new music. Dunkel ist das Leben, ist der Tod. People could pay for tickets according to their means, the press (and music critics) Das Firmament blaut ewig und die Erde were excluded, and many orchestral works Wird lange fest stehn und aufblühn im Lenz. were performed either in versions for piano Du aber, Mensch, wie lang lebst denn du? four-hands or for piano and chamber Nicht hundert Jahre darfst du dich ergötzen ensemble. The Society gave 117 concerts An all dem morschen Tande dieser Erde! before it disbanded due to the financial situation after World War I. Seht dort hinab! Im Mondschein auf den Schoenberg was a passionate admirer Gräbern of Mahler (who, in turn, had respected Hockt eine wildgespenstische Gestalt! Schoenberg’s music and supported him Ein Aff ist’s! financially), and in the spring of 1921 Hört ihr, wie sein Heulen Schoenberg had made an arrangement Hinausgellt in den süßen Duft des Lebens! of Mahler’s Songs of a Wayfarer for a Jetzt nehmt den Wein! Jetzt ist es Zeit, Society performance. That fall he began an Genossen! arrangement of Das Lied von der Erde for Leert eure goldnen Becher zu Grund! an ensemble of 13 players: flute (doubling Dunkel ist das Leben, ist der Tod! piccolo), oboe (English horn), (E-flat and ), bassoon, horn, string quartet, bass, piano/celesta, harmonium, and percussion. This is somewhat like the instrumentation of Schoenberg’s own Pierrot Lunaire (1912), in which a small group of wind and string players (some playing several instruments) join a pianist to accompany a singer. Schoenberg mainly completed the first movement before the Society collapsed and then set the work aside; this version was completed in 1983, using Schoenberg’s orchestration and approach, by composer/ conductor/critic Rainer Riehn (b. 1941). Our performance will feature 15 instrumentalists because fewer musicians are doubling. Schoenberg was arranging Das Lied because he wanted this music performed and knew that performances of Mahler’s full-orchestra version would be rare. An arrangement for chamber ensemble, of course, loses the opulence and sonic impact 4 2018 Program Notes Week Five “The Drinking Song of the Earth’s „Der Einsame im Herbst“ “The Lonely Man in Autumn” Sorrow” (after Chang-Tsi) Bluish autumn mists swell over the lake; Already the wine beckons in the golden Herbstnebel wallen bläulich überm See; Covered with rime the grasses stand; goblet, Vom Reif bezogen stehen alle Gräser; It’s as if an artist had strewn jade dust But don’t drink yet—first, I’ll sing you a song! Man meint, ein Künstler habe Staub von Over the delicate blossoms. The song of sorrow Jade Will resound laughingly in your soul. Über die feinen Blüten ausgestreut. The sweet fragrance of flowers has faded; When sorrow draws near, a cold wind bows low their stems. The gardens of the soul lie desolate, Der süße Duft der Blumen ist verflogen; Soon the withered golden leaves Joy and song wilt and die away. Ein kalter Wind beugt ihre Stengel nieder. Of lotus blossoms will drift upon the water. Dark is life, dark is death. Bald werden die verwelkten, goldnen Blätter Master of this house! Der Lotosblüten auf dem Wasser ziehn. My heart is weary. My small lamp Your cellar is full of golden wine! went out with a sputter; it urges me sleep. Here, this lute I call my own! Mein Herz ist müde. Meine kleine Lampe I come to you, beloved resting place! Strumming the lute and emptying glasses— Erlosch mit Knistern; es gemahnt mich an Yes, give me rest—I need to be refreshed. these are the things that go together. den Schlaf. A full glass of wine at the right time Ich komm zu dir, traute Ruhestätte! I weep much in my loneliness. is worth more than all the riches of the Ja, gib mir Ruh, ich hab Erquickung not! The autumn in my heart has lasted too long. world! Sun of love, will you never shine again, Dark is life, dark is death. Ich weine viel in meinen Einsamkeiten. And tenderly dry my bitter tears? Der Herbst in meinem Herzen währt zu The firmament is forever blue, and the earth lange. Will stand fast for a long time and bloom in Sonne der Liebe, willst du nie mehr scheinen, spring. Um meine bittern Tränen mild But you, O Man, how long will you live? aufzutrocknen? Not a hundred years are you allowed to revel In all the rotting trinkets of this earth!

Look down there! In the moonlight, on the graves Crouches a wild, ghostly figure! It is an ape! Do you hear how its howling Shrieks into the sweet fragrance of life! Now take the wine! Now is the time, companions! Empty your golden goblets to the dregs! Dark is life, dark is death!

5 2018 Program Notes Week Five „Von der Jugend“ “Of Youth” „Von der Schönheit“ (after Li-Tai-Po) In the middle of the small pond (after Li-Tai-Po) Mitten in dem kleinen Teiche Stands a pavilion of green Junge Mädchen pflücken Blumen, Steht ein Pavillon aus grünem And white porcelain. Pflücken Lotosblumen an dem Uferrande. Und aus weißem Porzellan. Zwischen Büschen und Blättern sitzen sie, Like the back of a tiger Sammeln Blüten in den Schoß und rufen Wie der Rücken eines Tigers The bridge of jade arches Sich einander Neckereien zu. Wölbt die Brücke sich aus Jade Over to the pavilion. Zu dem Pavillon hinüber. Goldne Sonne webt um die Gestalten, In the little house friends are sitting, Spiegelt sie im blanken Wasser wider. In dem Häuschen sitzen Freunde, Beautifully dressed, drinking, chatting; Sonne spiegelt ihre schlanken Glieder, Schön gekleidet, trinken, plaudern, Some are writing down verses. Ihre süßen Augen wider, Manche schreiben Verse nieder. Und der Zephyr hebt mit Schmeichelkosen Their silken sleeves slide Das Gewebe ihrer Ärmel auf, Ihre seidnen Ärmel gleiten Backwards, their silken caps Führt den Zauber ihrer Wohlgerüche durch Rückwärts, ihre seidnen Mützen Perch gaily deep on their necks. die Luft. Hocken lustig tief im Nacken. On the small pond’s still O sieh, was tummeln sich für schöne Knaben Auf des kleinen Teiches stiller Surface, all things are reflected Dort an dem Uferrand auf mut’gen Rossen, Wasserfläche zeigt sich alles wondrously in a mirror image. Weithin glänzend wie die Sonnenstrahlen; Wunderlich im Spiegelbilde. Schon zwischen dem Geäst der grünen Everything is standing on its head Weiden Alles auf dem Kopfe stehend in the pavilion of green Trabt das jungfrische Volk einher! In dem Pavillon aus grünem and white porcelain. Und aus weißem Porzellan; Das Roß des einen wiehert fröhlich auf Like a half-moon stands the bridge, Und scheut und saust dahin; Wie ein Halbmond steht die Brücke, its arch inverted. Friends, Über Blumen, Gräser, wanken hin die Hufe, Umgekehrt der Bogen. Freunde, beautifully dressed, are drinking and Sie zerstampfen jäh im Sturm die Schön gekleidet, trinken, plaudern. chatting. hingesunknen Blüten. Hei! Wie flattern im Taumel seine Mähnen, Dampfen heiß die Nüstern!

Goldne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider. Und die schönste von den Jungfraun sendet Lange Blicke ihm der Sehnsucht nach. Ihre stolze Haltung ist nur Verstellung. In dem Funkeln ihrer großen Augen, In dem Dunkel ihres heißen Blicks, Schwingt klagend noch die Erregung ihres Herzens nach.

6 2018 Program Notes Week Five “Of Beauty” „Der Trunkene im Frühling“ “The Drunkard in Spring” Young girls are picking flowers, (after Li-Tai-Po) If life is only a dream, Picking lotus flowers at the edge of the Wenn nur ein Traum das Leben ist, Why then all this effort? shore. Warum denn Müh und Plag? I’ll drink until I can drink no more, Among bushes and leaves they sit, Ich trinke, bis ich nicht mehr kann, The whole day long! Gathering blossoms in their laps and calling Den ganzen, lieben Tag! To one another teasingly. And when I can drink no more, Und wenn ich nicht mehr trinken kann, Because my stomach and soul are full, Golden sunlight wraps about the figures, Weil Kehl and Seele voll, I’ll stagger to my door Mirroring them in the glistening water. So tauml’ ich bis zu meiner Tür And sleep most wonderfully! The sun reflects their slender limbs, Und schlafe wundervoll! Their sweet eyes, What do I hear when I awake? Listen! And a Zephyr caressingly lifts Was hör ich beim Erwachen? Horch! A bird is singing in the tree. The fabric of their sleeves, Ein Vogel singt im Baum. I ask him whether it is spring yet— Carrying the magic Ich frag ihn, ob schon Frühling sei, It feels like I’m dreaming. Of their fragrance through the air. Mir ist als wie im Traum. The bird twitters: Yes! O look, handsome lads are galloping Der Vogel zwitschert: Ja! Spring is here; it came overnight! Over there along the shore on their spirited Der Lenz ist da, sei kommen über Nacht! In deepest wonder I listen, horses, Aus tiefsem Schauen lauscht’ ich auf, And the bird sings and laughs! Glittering from afar like sunbeams; Der Vogel singt und lacht! And among the branches of the green I fill my goblet again willows Ich fülle mir den Becher neu And drain it to the bottom The fresh-faced boys come trotting along! Und leer ihn bis zum Grund And sing until the moon appears The horse of one of them whinnies merrily Und singe, bis der Mond erglänzt On the black firmament! And shies and rushes away; Am schwarzen Firmament! Over flowers, grasses hooves go flying, And when I can sing no more, And in the tumult they recklessly trample Und wenn ich nicht mehr singen kann, I fall asleep again. fallen blossoms. So schlaf ich wieder ein, What do I care about spring?! Hey! How wildly his mane streams, Was geht denn mich der Frühling an!? Let me stay drunk! How hotly his nostrils steam! Laßt mich betrunken sein!

The golden sun wraps about the figures, Mirroring them in the glistening water. And the fairest of the maidens sends Long, yearning glances his way. Her proud bearing is only a pretense. In the flash of her large eyes, In the darkness of her ardent gaze Resonates—lamenting—the agitation of her heart.

7 2018 Program Notes Week Five „Der Abschied“ “The Farewell” (after Mong-Kao-Jen) The sun is disappearing behind the Die Sonne scheidet hinter dem Gebirge. mountains. In alle Täler steigt der Abend nieder Evening descends into every valley Mit seinen Schatten, die voll Kühlung sind. With its shadows filled with coolness. O sieh! Wie eine Silberbarke schwebt Look! Like a silver boat, Der Mond am blauen Himmelssee herauf. The moon floats up on the blue lake of the Ich spüre eines feinen Windes Wehn sky. Hinter den dunklen Fichten! I feel the blowing of a delicate breeze Behind the dark spruces! Der Bach singt voller Wohllaut durch das Dunkel. The brook sings melodiously through the Die Blumen blassen im Dämmerschein. darkness. Die Erde atmet voll von Ruh und Schlaf, The flowers pale in the twilight. Alle Sehnsucht will nun träumen. The earth breathes, full of peace and sleep, Die müden Menschen gehn heimwärts, And all yearning now wants to dream. Um im Schlaf vergeß’nes Glück Weary mortals are homeward bound, Und Jugend neu zu lernen! So that, in sleep, Die Vögel hocken still in ihren Zweigen. Forgotten happiness and youth they might Die Welt schläft ein! learn anew. The birds perch quietly in their branches. Es wehet kühl im Schatten meiner Fichten. The world is falling asleep! Ich stehe hier und harre meines Freundes; Ich harre sein zum letzten Lebewohl. There is a cool breeze in the shade of my Ich sehne mich, o Freund, an deiner Seite spruces. Die Schönheit dieses Abends zu genießen. I stand here waiting for my friend; Wo bleibst du? Du läßt mich lang allein! I wait to bid him a last farewell. Ich wandle auf und nieder mit meiner Laute I yearn, my friend, to be at your side Auf Wegen, die vom weichen Grase To savor the beauty of this evening. schwellen. Where do you tarry? You leave me alone so O Schönheit! O ewigen Liebens-, long! Lebenstrunk’ne Welt! I wander up and down with my lute, On paths swelling with soft grass. (after Wang-Sei) O beauty! O eternal love- and life- Er stieg vom Pferd und reichte ihm den Trunk intoxicated world! Des Abschieds dar. Er fragte ihn, wohin er führe He dismounted from his horse and handed und auch warum es müßte sein. him Er sprach, seine Stimme war umflort: the drink of parting. Du, mein Freund, He asked him where he would go, Mir war auf dieser Welt das Glück nicht hold! And also why it had to be that way. Wohin ich geh? Ich geh, ich wandre in die He spoke, his voice was veiled: Berge. My friend, Ich suche Ruhe für mein einsam Herz. In this life, fate was not kind to me! Ich wandle nach der Heimat, meiner Stätte. Where am I going? I’ll go, I’ll wander into the Ich werde niemals in die Ferne schweifen. mountains. Still ist mein Herz und harret seiner Stunde! I seek peace for my lonely heart. I’m going to my home, to my abode. Die liebe Erde allüberall I will never stray to foreign lands. Blüht auf im Lenz und grünt aufs neu! My heart is still, awaiting its hour! Allüberall und ewig blauen licht die Fernen! Ewig... ewig... The beloved earth everywhere Blossoms and greens anew in springtime! Everywhere and forever, Distant places brighten blue! Forever... forever...

—Translation edited by Hannelore N. Rogers

8 2018 Program Notes Week Five Tuesday, August 14, noon As thorough as ever, the real miracle is that Janquin (1485 – 1558). The sequence had to simply listen is to hear music that is also been used by Jehan Alain (1911 – JOHANN SEBASTIAN BACH (1685 – 1750) anything but contrived or manipulated. 1940)—a composer who was killed at the Sonata in G Minor for Oboe & Harpsichord, —Greg Hettmansberger age of 29 while on a reconnaissance mission BWV 1030B (1736) in World War II. Dutilleux’s fascination with HENRI DUTILLEUX (1916 – 2013) the Janquin/Alain material led him to add Many Bach connoisseurs would be quick to Les citations: Diptych for Oboe, Harpsichord, a second movement to For Aldeburgh 85, point out that the above composition date Bass & Percussion (1985; 1990; 2010) following its premiere as a stand-alone of 1736 must be in error; the original of this piece. With this Janequin to Jehan Alain work, BWV 1030, was surely written during If anyone tells you that they are familiar material, Dutilleux now had two movements Bach’s years at Cöthen (1717-23). Indeed, with the style of Dutilleux, develop a strong built on “citations,” and subtitled the pair the majority of Bach’s instrumental works suspicion that they really don’t know what “Diptych,” a word originally denoting a pair were created there, as it was the only major they’re talking about. For what Dutilleux is of hinged, facing panels of paintings. post the composer held wherein the duties best known for is his ability to utilize any Also added after the first performance were principally secular instead of for a number of “modern” techniques without was the part for bass, resulting in one of church office. ever having become a slave to serialism and the most unusually scored of any chamber The earliest “fair autograph copy” in to draw his inspiration from a palette wide work. In the first movement the oboe has existence of this work dates from 1736, enough to include and Ravel, Bartók two extended unaccompanied passages, when Bach was into his second decade as and Stravinsky—and just as importantly, frequently returning to the note E. The cantor for the St. Thomaskirche in Leipzig. artists from other fields, such as Sarah harpsichord adds illuminating touches, and But it is clearly a copy in Bach’s hand, not a Vaughan, Van Gogh, Baudelaire, and Proust. mallet percussion floods the landscape with composing manuscript, and gives us a clue Extensive studies at the Paris Conservatory arresting colors. The second movement as to its roots. in the mid-1930s led to his winning the is more complex and developed, with Any flutists reading this are undoubtedly famous Prix de Rome in 1938; unfortunately, compelling combinations of all four players. miffed that it has taken until the third the outbreak of World War II precluded One of Dutilleux’s most quoted statements paragraph to unequivocally state that this his completion of the residency. Following about his work is certainly applicable to Les is a sonata (with cembalo obbligato) for the war, his principal positions included citations: “For me, musical activity is close flute, not oboe. What is interesting, though, head of music production for French Radio to being a kind of ceremony, something very is that there is a portion of the harpsichord from 1945-63, professor of composition nearly sacred, including elements of mystery part in the key of G Minor—and combined at the École Normale de Musique in Paris and magic and—as with love or religion—we with some copying errors that differ by all through the 1960s, and then a staff should approach it with a certain gravity. If the interval of a third in the latter G Minor appointment at the Conservatoire Nationale that is true for someone who receives the edition, it becomes clear that G Minor was Supérior de Musique in 1970. musical message, how much more is it true in all likelihood the original key. That fact It was also after the war that his for someone who invents it.” certainly makes a difference to oboists, who compositional oeuvre was established —Greg Hettmansberger have long borrowed this masterpiece for with his Opus 1, the written their own repertoire. The drop of a major for Geneviève Joy—who was also now FELIX MENDELSSOHN (1809 – 1847) third allows a bit more comfort in the Mme. Dutilleux. He distanced himself String Quartet in F Minor, Op. 80 (1847) tessitura (conversely, the lower key of from everything written before that time, G Minor would cramp the possibilities for believing his early works too “derivative.” But Talk about having it all: Mendelssohn grew the flute). soon after his Opus 1, Dutilleux began his up in a family not just well-off financially Regardless of which instrument is Symphony No. 1, and a succession of major but respected intellectually (his father featured, the work itself is a prime example works soon followed. Abraham was a banker and his grandfather of what has been termed a “sonata in the The background of Les citations is akin Moses a noted philosopher). The young concerted manner.” The main characteristic to a short story with an almost immediate Felix’s education went far beyond the norm, of this is the presence of a ritornello sequel, and the creation of the two brief not just in music but in all subjects. He had element, usually in the first movement, as movements shares common roots. Dutilleux an incredible musical mind, evidenced at a heard here. Familiar to all who have heard was composer-in-residence for the very early age and, as a composer at least, their share of Vivaldi , this type of Aldeburgh Festival in 1985. As the Festival outperformed the previous child prodigy, writing was particularly popular at the court had been co-founded by composer Benjamin Mozart. Mendelssohn’s stunning Octet was of Dresden. Britten and Peter Pears, Dutilleux written at the age of 16 and the sublime The Siciliano is heavily ornamented and set to work on For Aldeburgh 85, which Overture to A Midsummer Night’s Dream reflects a structure and feeling common contained a brief reference to the aria “Now just a year later. to the sonata da chiesa. Having given us the Great Bear and Pleiades” from Britten’s Of course, that order of genius can be a the “concerted” first movement and the masterpiece Peter Grimes (which Pears had double-edged sword. The conductor Hans chiesa second movement, Bach completes premiered and whose 75th birthday it was von Bülow dismissed Mendelssohn as a his mini-trilogy of style with a finale based in 1985). man who “began as a genius but ended as on a typical sonata da camera. Here, he While in his residence at Aldeburgh, a talent.” If the assessment seems callously juxtaposes a fugue of the old style with a Dutilleux was also consumed by interest harsh, we must remember that perspective is fugal gigue employing the same subject. in a musical motif attributed to Clément everything. In an age when contemporaries 9 2018 Program Notes Week Five such as Berlioz, Chopin, Liszt, and Schumann Wednesday, August 15, noon describe another composer who worked far were breaking new ground structurally from established music centers, Domenico and harmonically, Mendelssohn generally SCARLATTI AND RZEWSKI SONATAS: SHORT Scarlatti. Trained as a keyboard player, preferred his Romanticism with a strong AND LONG Scarlatti held positions in Naples, Florence, dose of Classicism to rein it in. Venice, Rome, and Palermo before making But when we encounter his last completed On this imaginatively conceived recital, Shai the long trip to Lisbon in 1719, where he chamber work, the Quartet Op. 80, we are Wosner offers radically different takes on served as court harpsichordist to the king of confronted with a resounding “What if?” the keyboard sonata. The first half brings Portugal. When the Princess Maria Barbara What might have come next if Mendelssohn a collection of tiny pieces, works so short married the Spanish crown prince in 1729 hadn’t died just two months after the that it is hard to think of them as sonatas, a Scarlatti followed her to Madrid, where he completion of this masterwork? form that implies exposition, development, spent the final three decades of his life. And This is music clearly born of tragedy: and recapitulation. Some of these sonatas it was there in Madrid, far from the cultured on May 8, 1847, Mendelssohn was told have the perfect title, Nanosonata: they courts he had known as a young man, that of his beloved sister Fanny’s death at the arrive, they create a distinct impression, Scarlatti “became original.” family home. Felix himself then collapsed they vanish. Yet they are complete works Though his primary responsibility was to from a ruptured blood vessel. After missing in themselves, and they remind us of write vocal music for the court, Scarlatti the funeral, his wife Cécile convinced Schoenberg’s defense of brevity: “Consider is remembered today for his 550 keyboard Mendelssohn to spend the summer what moderation is required to express sonatas, most of them written over the recuperating in Switzerland. Long walks and oneself so briefly. You can stretch every final decade of his life. Scarlatti called these dabbling in watercolors often took the place glance out to a poem, every sigh into a pieces esercizi (exercises), and while they are of composing, as he wrote to his younger novel. But to express a novel in a single not actually in sonata form, they look ahead sister Rebecca on July 29: “I force myself gesture, a joy in a breath–such concentration to that form as it would develop across to be industrious in the hope that later on can only be present in proportion to the the remainder of the century. They are in I may feel like working and enjoy it.” While absence of self-pity.” one movement but in binary form, built on he may have lacked his usual ability to write The second half of this program, however, themes of contrasting tonalities. Scarlatti with ease, he did complete the Quartet by is completely different. It consists of a single would have played them on the harpsichord September. Two months later he passed piano sonata that in some performances (or gravicembalo, as it was known in Spain), away on November 4. can stretch out to nearly 40 minutes, more and these Sonatas are remarkable for Often accused in his music of a facile, than twice as long as the pieces on the the brilliance of the keyboard technique surface beauty that inevitably arose from first half combined. Schubert’s conception he demands: they require fast runs, his bourgeois background, the opening of the keyboard sonata was quite different handcrossing, across the range of movement eschews his trademark elegance from Scarlatti’s and Rzewski’s. His Sonata the keyboard, great cascades of sound, and with a fierce motto that quickly builds from in A Major, which is in four substantial rapid repetition of notes. The Sonatas are outburst to climax. While there are moments movements, takes us on a long and sustained quite brief—usually between three and five of repose, even these are underlined by musical journey. It is a journey that brings minutes—but in these short spans Scarlatti harmonies more advanced than in previous quite different episodes along the way, creates miniature worlds full of drama, works. leads us through completely unexpected excitement, color, and beauty. We are well accustomed to Mendelssohn’s harmonic adventures, and leaves us at the This recital opens with three of these patented scherzos, so feathery light that end with the sense of having arrived at a Sonatas (the K numbers refer to the the word “elfin” seems to have been created distinct destination. This sense of the long numbering in Ralph Kirkpatrick’s catalog of just for him. But the second movement of and varied journey is very much a part of these Sonatas). The Sonata in A Minor, K. 3, the Opus 80 launches with uncharacteristic the romantic imagination–it is a conception marked Presto, contrasts a vigorous opening syncopations and brusque dissonances. that would have astonished Scarlatti, and to idea with eerily chromatic secondary The elegiac slow movement is a true “song some extent it is a conception that Rzewski material. The Sonata in D Minor, K. 9, marked without words,” the opening phrase from is working against–not so much to reject it Allegro, flows gracefully and expressively violin and cello instigating an almost as to find a different manner of expression. along its 6/8 meter. Much of the writing inexpressible despair. The finale is no haven This recital will take us on quite different is in thirds and is based on trills and grace of comfort either, with a development journeys–one very long and the rest quite notes; the second half develops the opening section colored by anger and, despite a concise–and it will remind us how flexible material with unusual harmonic richness. controlled treatment of the main themes in and fertile a form the sonata can be. The propulsive Sonata in A Minor, K. 175, both the exposition and recap, the marked Allegro, introduces two sharply coda makes a final statement of DOMENICO SCARLATTI (1685 – 1757) contrasted themes, a spirited opening idea, unquenchable pain. Sonata in A Minor, K. 3 (ca. 1738) and a gentler second subject, and then —Greg Hettmansberger Sonata in D Minor, K. 9, “Pastorale” develops them energetically right through (ca. 1738) the firm conclusion. This Sonata has become Sonata in A Minor, K. 175 (ca. 1752 -57) a great favorite of guitarists and is often heard on that instrument. In a famous remark, Haydn once said that his isolation at Esterházy had forced him to “become original.” Such a comment might 10 2018 Program Notes Week Five FREDERIC RZEWSKI (b. 1938) Wednesday, August 15, 6 pm If the other three movements do not from Nanosonatas, Book VI (2008) match the character of the opening, they No. 36, “To a Young Man” MAX GRAFE (b. 1988) show some distinctive features of their own. No. 38, “To a Great Guy” Quintet for Clarinet, Strings & Piano (2018) In Haydn’s and Mozart’s quartets the second (Commissioned by the Santa Fe Chamber movement was usually slow, but Beethoven Frederic Rzewski has written some massive Music Festival) (world premiere) drops the slow movement from this Quartet works for piano—his 36 Variations on “The altogether and substitutes a scherzo, a People United Will Never Be Defeated!” (Please see “Commissions and Premieres” in bubbling and good-spirited movement spans about 50 minutes and requires a the program book for notes by the composer full of fugal and canonic writing. The third Herculean effort from the pianist. But about his work) movement is nominally in minuet-and-trio not all of his pieces are so huge. In 2006 form, but its pace and animated character Rzewski was in contact with a Japanese LUDWIG VAN BEETHOVEN (1770 – 1827) more readily suggest another scherzo. scientist who consulted with him on issues String Quartet in C Minor, Op. 18, No. 4 Beethoven catches the listener off-guard of nanotechnology. When that scientist (1799-1800) by placing accents off the beat throughout published a scientific article following their the minuet; the trio section is based on conversations, he credited Rzewski for his Brahms may have been haunted by the exchanges between the lower voices as, contributions. As a gesture of gratitude Beethoven symphonies, but Beethoven had high overhead, the first violin accompanies Rzewski composed a very short piece for the a few ghosts of his own to confront. He was with chains of triplets. The last movement, scientist, who happened to be an amateur all too aware of what Haydn and Mozart had marked simply Allegro, is the expected rondo, pianist, and he called it a “nanosonata.” achieved with the string quartet, and, while built here on a quick-paced opening theme. Rzewski quickly became intrigued by the still a young man, he copied out movements Along the way come more lyrical interludes, possibilities of an extremely concise piano of their quartets as a way of studying them. and the second violin’s busy accompaniment piece, and over the next four years he It was not until 1798, when he was in his to one of these near the end is among composed 55 more nanosonatas, grouping late 20s, that Beethoven finally came to the Quartet’s most felicitous moments. them in books and dedicating some of them grips with the problems of the form and Beethoven rounds the movement off with a to friends and colleagues. began writing the group of six quartets that Prestissimo coda based on the rondo tune. The seven nanosonatas of Book VI, he would eventually publish as his Opus 18. —Eric Bromberger composed in 2008, are more personal, He worked on this set of quartets through however: Rzewski dedicated one to each the fall of 1798 and completed them the GABRIEL FAURÉ (1845 – 1924) of his seven children, and this recital offers next year. After much revision, he published La chanson d’Ève for Voice & Piano, Op. 95 two of these. In contrast to the Scarlatti the six quartets in 1801, certainly conscious (1906-10) sonatas on this program, which develop that Haydn and Mozart had often published their material (however briefly), Rzewski their quartets in groups of six. Gabriel Fauré is so unknown to the average makes clear that his nanosonatas do not But Beethoven’s first set of quartets is concertgoer (he composed no large-scale develop at all—they create an impression not simply an imitation of the work of those works such as symphonies and concertos)— and vanish. In his own program note to this earlier masters; in these quartets we see the and for that matter, even listeners who have music, the composer has said: “A nanosonata young composer sometimes experimenting fallen under the spell of some his chamber should seem too short. It seems to be going with the form and edging toward a voice masterpieces or other “small” forms are somewhere, but that’s it; it stops. It did, of distinctly his own. Of the six quartets of unlikely to have even a basic knowledge course, go somewhere, but we will never Opus 18, only the fourth is in a minor key. of what proved to be a very colorful and know, we went somewhere else. It is just a By itself, this is not remarkable, but what is eventful life professionally and personally. record of a fugitive moment.” noteworthy here is Beethoven’s choice of One way to quickly gain some perspective “To a Young Man” is dedicated to Noam C Minor, the key he already reserved for his is to consider the dates of his life. When he Rzewski, who was just turning 18 when his stormiest music. From this same period came was born Chopin was still composing—and father composed this music. This piece whips his “Pathétique” Sonata, also in C Minor, and when he died the Age had launched, past in two minutes, and it would be overkill this Piano Sonata and the first movement the of Schoenberg to attempt to describe it in detail—it features of the String Quartet are driven by the and his disciples was gaining sway, and Rzewski’s characteristic energy, a wide range same spirit (it may be worth noting that Stravinsky’s Rite of Spring was more than across the keyboard, and—at one point— Mozart wrote no quartets in C Minor, and, of a decade old. Fauré was both influenced hand-taps beneath the keyboard. “To a Great Haydn’s 83 quartets, only one is in that key). by, and later bore influence upon, great Guy” is dedicated to Jan Rzewski, born in Beethoven’s first movement, marked Allegro, contemporaries at both ends of his life as 1970. Built on pointillistic strikes of sound ma non tanto, is full of dark and surging well. Coming under the tutelage of Saint- and shifting meters, it bristles with energy energy, and its second theme—far from Saëns at the age of 16, Fauré was not only and vanishes enigmatically. providing relief—takes some of the shape an avid pupil but developed a lifelong —Eric Bromberger and character of the opening subject. The professional relationship and friendship with development, punctuated by chords that feel the man who was only 10 years his senior almost orchestral in texture, is dominated by (Saint-Saëns lived until 1921). As head of the that turbulent opening theme. Paris Conservatoire in the early years of the 20th century, Fauré had a major impact on Ravel and, at the end of his life, eventually 11 2018 Program Notes Week Five found a last youthful admirer in none other “Are you awake, my sun-scent?”). She is La chanson d’Ève (published 1904) than Aaron Copland! frequently focused on the various beauties 10 selected poems Despite his desire and talent for and mysteries of creation all around her and Texts by Charles van Lerberghe (1861 – 1907) composition, Fauré was thwarted in the first to which she clearly feels deeply connected. half of his life by the need to supplement God Himself speaks in the first song, yet “Paradis” meager incomes from small positions as there is no depiction of the Fall. This latter C’est le premier matin du monde, organist with as many private amateur event is the ultimate cause of her eventual Comme une fleur confuse exhalée de la nuit, pupils as he could handle. Later, when he death, but the penultimate song “Amid a Au souffle nouveau qui se lève des ondes, rose to the eminent position as director of perfume of white roses” illustrates a passing Un jardin bleu s’épanouit. the Paris Conservatoire, the duties precluded that is truly cosmic without any reference to making time for personal creative outlets; a personal salvation or individual reuniting Tout s’y confond encore et tout s’y mêle, thus, much of his work as a composer was with God. Frissons de feuilles, chants d’oiseaux, confined to the months of July-September Musically, the cycle is unified by a pair Glissements d’ailes, each year. Nevertheless, Fauré slowly built of motifs, but the overall impression is of Sources qui sourdent, voix des airs, voix des a body of work that caught the ear of his a recitative-like quality in Eve’s lines and eaux, contemporaries—if not large audiences. Even a decidedly spare brand of contrapuntal Murmure immense, in France his reputation grew slowly, and, writing in the piano. Despite the stark Et qui pourtant est du silence. other than some relatively early interest in contrast in style to La bonne chanson, Fauré England, Fauré’s reputation outside of his believed them linked, calling Ève a “pendant” Ouvrant à la clarté ses doux et vagues yeux, homeland was all but negligible for decades. to the earlier cycle. Graham Johnson, who La jeune et divine Ève But long before the end of his life—and has written extensively of Fauré’s music, S’est éveillée de Dieu, forever after—his achievements in the realm put it so well that annotators before yours Et le monde à ses pieds s’étends comme un of French art song, or “melodie,” remain truly have quoted it: “The listener who has beau rêve. unchallenged. His most popular examples, taken the trouble to follow the composer whether the early Après un r˘eve or the great every step of the way from entertainer to Or, Dieu lui dit: “Va, fille humaine, cycle La bonne chanson, do not prepare prophet…will come to revere these cycles like Et donne à tous les êtres us for the sparser sonic landscape of La few other pieces of music.” Que j’ai créés, une parole de tes lèvres, chanson d’Ève. Indeed, one commentator —Greg Hettmansberger Un son pour les connaître.” after another notes that Ève and other late works (vocal and instrumental) in Fauré’s Et Ève s’en alla, docile à son seigneur, output make an interesting parallel to En son bosquet de roses, Beethoven’s late style (indeed, Fauré also Donnant à toutes choses shared in the earlier master’s deafness in his Une parole, un son de ses lèvres de fleur: final years). The texts of Ève come from a sprawling Chose qui fuit, chose qui souffle, chose que work by the Belgian poet Charles van vole... Lerberghe (1861 – 1907). The full work consists of 96 poems divided into five Cependant le jour passe, et vague, comme à sections, and Fauré cobbled his own l’aube, sequence. The original poems simply use Au crépuscule, peu à peu, their first lines as titles; thus, in Fauré’s L’Éden s’endort et se dérobe setting, “Paradis,” “Prima verba,” and “Eau Dans le silence d’un songe bleu. vivante” are his own titles. Lerberghe’s work appeared in 1904, and La voix s’est tue, mais tout l’écoute encore, Fauré first saw it in March 1906. By the end Tout demeure en l’attente, of June he had completed “Crépuscule,” Lorsqu’avec le lever de l’étoile du soir, which became the ninth song of the cycle. It Ève chante. is based on music that Fauré had composed seven years earlier for the incidental music to an English production of Maeterlinck’s play Pelléas and Mélisande. There were a couple of performances of some of the songs as they were finished; the complete cycle was completed by 1910 and premiered that same year. Fauré makes a number of interesting choices that result in this Eve becoming a greater force than Adam in Eden (he is never mentioned by name, although she certainly anticipates some quality time with him in 12 2018 Program Notes Week Five “Paradise” “Prima verba” “First Words” It is the first morning of creation. Comme elle chante My soul…how it sings Like a dazed flower exhaled by the night Dans ma voix in my voice, On new winds rising from the waves L’âme longtemps murmurante having murmured for so long A blue garden blossoms. Des fontaines et des bois! Of fountains and woods!

All is still confused and all is blurred, Air limpide du paradis, Clear air of paradise, The rustling of leaves, songs of birds, Avec tes grappes de rubis, With your ruby clusters of grapes, Gliding of wings, Avec tes gerbes du lumière, With your sheaves of light, Springs that well up, voice of the airs, voice Avec tes roses et tes fruits; With your roses and your fruits. of the waters, Immense murmurs Quelle merveille en nous à cette heure! What wonders are in us at this moment! That are yet silence. Des paroles depuis des âges endormies, Words that had slept for eons En des sons, en des fleurs Have finally come to life on my lips Opening her soft and vacant eyes to the Sur mes lèvres enfin prennent vie. As sounds, as flowers. light, The young, divine Eve Depuis que mon souffle a dit leur chanson, Since my breath uttered their song, Is awakened by God Depuis que ma voix les a créés, Since my voice created them, And the world stretches beneath her feet like Quel silence heureux et profond What a joyful, profound silence a beautiful dream. Naît de leurs âmes allégées! Arises from their unburdened souls!

And God says to her: “Go, human daughter, And bestow with your lips on all the beings I’ve created a name, A sound to know them by.”

And Eve goes, obedient to her Lord, Into her grove of roses, Giving to every thing A name, a sound from her flower-lips.

Things that scamper, things that breathe, things that fly…

Still, the day passes, and at twilight, hazy as at dawn, little by little, Eden falls asleep and steals away Into the silence of a blue dream.

The voice has died down, but everything still listens for it; Everything waits expectantly, When, with the rising of the evening star, Eve sings.

13 2018 Program Notes Week Five “Roses ardentes” “Fiery Roses” “Comme Dieu rayonne” Roses ardentes Fiery roses Comme Dieu rayonne aujourd’hui, Dans l’immobile nuit, In the motionless night, Comme il exulte, comme il fleurit C’est en vous que je chante It is in you that I sing Parmi ces roses et ces fruits! Et que je suis. And that I exist. Comme il murmure en cette fontaine! En vous, étincelles, In you, oh stars, Ah! comme il chante en ces oiseaux... A la cime des bois, In the crowns of trees Qu’elle est suave son haleine Que je suis éternelle That I am eternal Dans l’odorant printemps nouveau! Et que je vois. And that I see. Comme il se baigne dans la lumière Ô mer profonde, Oh deep sea, Avec amour, mon jeune dieu! C’est en toi que mon sang It is in you that my blood Toutes les choses de la terre Renaît vague blonde, Is reborn as a white wave Sont ses vêtements radieux. En flot dansant. Dancing on the tide.

Et c’est en toi, force suprême, And it is in you, supreme force, Soleil radieux, Radiant sun, Que mon âme elle-même That my very soul Atteint son dieu! Attains its God!

14 2018 Program Notes Week Five “How Radiant God Is Today” “L’aube blanche” “The White Dawn” How radiant God is today, L’aube blanche dit à mon rêve: The white dawn says to my dream: How he exults, how he blooms Éveille-toi, le soleil luit. Awake, the sun is shining. Amid these roses and fruits! Mon âme écoute et je soulève My soul listens, and I gently raise Un peu mes paupières vers lui. my eyes towards it. How he murmurs in this spring! Ah! How he sings in these birds… Un rayon de lumière touche A ray of light touches How sweet is his breath La pâle fleur de mes yeux bleus; The pale flower of my blue eyes; In the fragrant new springtime! Une flamme éveille ma bouche, A flame awakens my mouth, Un souffle éveille mes cheveux. A breeze awakens my hair. How he bathes in the light With love, my new God! Et mon âme, comme une rose And my soul, like a trembling rose, All things of this earth Tremblante, lente, tout le jour, Slowly, all day long, Are his dazzling raiments. S’éveille à la beauté des choses, Awakens to the beauty of things, Comme mon âme à leur amour. Like my soul to their love.

15 2018 Program Notes Week Five “Eau vivante” “Living Water” “Veilles-tu, ma senteur de soleil” Que tu es simple et claire, How simple and clear you are, Veilles-tu, ma senteur de soleil, Eau vivante, Living water, Mon arôme d’abeilles blondes, Qui, du sein de la terre, Who, from the bosom of the earth, Flottes-tu sur le monde, Jaillis en ces bassins et chantes! Rises up in these pools and sings! Mon doux parfum de miel?

Ô fontaine divine et pure, Oh divine and pure spring, La nuit, lorsque mes pas Les plantes aspirent Plants breathe in Dans le silence rôdent, Ta liquide clarté; Your liquid clarity; M’annonces-tu, senteur de mes lilas, La biche et la colombe en toi se désaltèrent. The doe and the dove quench their thirst in Et de mes roses chaudes? you. Et tu descends par des pentes douces Suis-je comme une grappe de fruits De fleurs et de mousses, And you descend gentle slopes Cachés dans les feuilles, Vers l’océan originel, Of flowers and mosses Et que rien ne décèle, Toi qui passes et vas, sans cesse, et jamais To the primeval ocean, Mais qu’on odore dans la nuit? lasse You, who flow ceaselessly without tiring De la terre à et de la mer au ciel. From the land to the sea and from the sea to Sait-il à cette heure, the heavens. Que j’entr’ouvre ma chevelure, Et qu’elle respire? Le sent-il sur la terre?

Sent-il que j’étends les bras Et que des lys de mes vallées Ma voix qu’il n’entend pas Est embaumée?

16 2018 Program Notes Week Five “Are You Awake, My Sun-Scent?” “Dans un parfum de roses blanches” “Amid a Perfume of White Roses” Are you awake, my sun-scent, Dans un parfum de roses blanches, Amid a perfume of white roses My aroma of pale bees, Elle est assise et songe; She sits and dreams; Do you float on the earth, Et l’ombre est belle comme s’il s’y mirait un And the shade is beautiful, as if an angel My sweet honey-perfume? ange... were reflected there…

At night, when my steps L’ ombre descend, le bosquet dort; Darkness falls, the woods are slumbering; Prowl about in silence, Entre les feuilles et les branches, Among the leaves and branches Do you announce my presence, scent of my Sur le paradis bleu s’ouvre un paradis d’or; A golden paradise opens above the blue; lilacs And passionate roses? Une voix qui chantait, tout à l’heure, A voice that was just singing, murmurs. murmure. A murmur, exhaling, becomes breath and is Am I like a cluster of fruit, Un murmure s’exhale en haleine et s’éteint. extinguished. Hidden among the leaves, By nothing revealed Dans le silence il tombe des pétales... Amid the silence, petals fall… But fragrant at night?

Does he know that at this hour I’m loosening my hair And that it breathes? Can he smell it on the earth?

Does he sense that I’m spreading my arms And that my voice, which he doesn’t hear, Is fragrant with lilies from my valleys?

17 2018 Program Notes Week Five “Crépuscule” “Twilight” “Ô mort, poussière d’étoiles” Ce soir, à travers le bonheur, This evening Ô mort, poussière d’étoiles, Qui donc soupire, qu’est-ce qui pleure? who is sighing, what is weeping Lève-toi sous mes pas! Qu’est-ce qui vient palpiter sur mon coeur, amid this happiness? Comme un oiseau blessé? What comes to throb on my heart Viens, ô douce vague qui brilles Like a wounded bird? Dans les ténèbres; Est-ce une voix future, Emporte-moi dans ton néant Une voix du passé? Is it a voice from the future, J’écoute, jusqu’à la souffrance, A voice from the past? Viens, souffle sombre où je vacille, Ce son dans le silence. I listen to that sound Comme une flamme ivre de vent! In the silence until it hurts. Île d’oubli, ô Paradis! Isle of oblivion, oh Paradise! C’est en toi que je veux m’étendre, Quel cri déchire, dans la nuit, What cry is it that, in the night, M’éteindre et me dissoudre, Ta voix qui me berce? Rends your voice cradling me? Mort où mon âme aspire! Quel cri traverse What cry penetrates Ta ceinture de fleurs, Your flowered sash Viens, brise-moi comme une fleur d’écume, Et ton beau voile d’allégresse? And your beautiful veil of bliss? Une fleur de soleil à la cime Des eaux,

Et comme d’une amphore d’or Un vin de flamme et d’arome divin, Epanche mon âme En ton abîme, pour qu’elle embaume La terre sombre et le souffle des morts.

18 2018 Program Notes Week Five “Oh Death, Dust of Stars” ALEXANDER BORODIN (1833 – 1887) landscapes, with a second principal theme Oh Death, dust of stars, String Quartet No. 2 in D Major (1881) also being decidedly lyrical. The Scherzo Arise under my steps! is light and dominated by two violins, and Despite the fact that he was the illegitimate Borodin opts to skip a traditional contrasting Come, oh sweet wave that shimmers son of a prince, Borodin did not lack for Trio section for a more traditional In the shadows; support in either of the disciplines that he development. Carry me away to your nothingness. quickly showed talent for as a child: music It is the Notturno that has taken on a and science. His mother was the wife of considerable life of its own in everything Come, dark breeze where I flicker an army doctor, and when the 8-year-old from full-blown orchestral arrangements to Like a flame intoxicated by wind! Alexander displayed an amazing ear, music vocal ones—and even made it to Broadway. lessons were arranged, first on flute, later The musical Kismet is entirely woven from It’s in you that I want to stretch out, on other instruments. At the same time, he melodies of Borodin’s (by that time un- To be extinguished and to dissolve. made his own fireworks and conducted some copyrighted) works, and the irresistible Death, my soul’s yearning! sorts of experiments regarding the effect of theme of the Notturno became “And This Is electricity on the body. My Beloved.” The finale is a traditional affair, Come, smash me like a flower of foam, As an adult, he departed from neither the first theme emerging organically from A bloom of sun at the crest path, although the dominant one was as a the short, slow introduction. Eventually we Of the waters, research chemist; thus, he often took years get some fugal treatment and some frequent to complete a major work (and indeed, the “interruptions” from the cello and the first And pour out my soul— largest of all, his opera Prince Igor, was still violin…all concluding, of course, with a like a fiery wine of divine aroma incomplete at his death). brilliant climax. from a golden amphora— Nevertheless his achievements were —Greg Hettmansberger Into your abyss to perfume consistent and moving enough to get him The dark earth and the breath of the dead. named as part of the unofficial group known as “The Five.” The others were Mily Balakirev, —Translation, Hannelore N. Rogers César Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov—none of them full-time composers except the first! Collectively, they represented a movement to consciously draw upon Russian sources for their inspiration and generally avoid the models and influences of western European Classical music. Thus, chamber music was not a major pursuit of any of these composers; indeed, when Mussorgsky and a local critic saw sketches of Borodin’s first quartet they were “horrified.” As was typical, the total gestation of that work was about five or six years, but upon its premiere in 1879 it enjoyed substantial popularity. The Second Quartet was quite atypical: it was composed almost entirely in July and August of 1881 while on a summer holiday—a time that coincided with the approaching 20th wedding anniversary of Alexander and Ekaterina Borodin. Where many of Borodin’s other works contain an attached program, the Quartet No. 2 has none—and perhaps Borodin assumed the emotional discourse to be rather obvious. His own preferred instrument was the cello, and it is easy to imagine Ekaterina as represented by the first violin, for the entire Quartet overflows with tender dialogue between the two instruments. Not surprisingly, the cello states the work’s first theme, and the first violin answers at once. Despite a full development, Borodin never takes us into any darker emotional 19 2018 Program Notes Week Five Thursday, August 16, noon forceful chord closes this brief but arresting for Gerstl’s tragic death, and, along the way, movement. converted from Judaism to Christianity. FRANZ JOSEPH HAYDN (1732 – 1809) —Greg Hettmansberger His Opus 15 Quartet is filled with the key String Quartet in F Minor, signature of F-sharp Minor. The German Hob. III:35, Op. 20, No. 5 (1772) ALEXANDER ZEMLINSKY (1871 – 1942) word for “sharp” is “Kreuz,” which also String Quartet No. 2, Op. 15 (1913-15) means “cross”—and F-sharp Minor uses three “Life begins at 40” might not be strictly sharps, which are said by some to represent applied to the career of Haydn, but there Few composers have had as much Christ and the two thieves crucified. The is certainly some truth in it as regards his early success and help from prominent, Quartet No. 2 also uses a motif in the development of the string quartet. Still established colleagues as Alexander Scherzo of A—E-flat, which in German is toiling in semi-obscurity for the ruling Zemlinsky. Born in Vienna, he was admitted “A—Es,” as in Arnold Schoenberg. Then there Esterházy clan in Hungary, Haydn had to the Vienna Conservatory at the age of are phrase lengths of 14 and 13 bars, which already produced two notable sets of 13, won the school’s prize in piano in 1890, are said to represent numbers important to quartets, Opus 9 and Opus 17. While he and soon began to compose. In less than the composer and his brother-in-law…the was, strictly speaking, not the inventor of three years, Zemlinsky’s teacher Robert Fuchs possibilities are apparently endless. the form, Haydn was well on the way to encouraged Brahms to attend a performance Then again, one can take a purely crystallizing the accepted Classical structure of the young composer’s Symphony in musico-historical approach, beginning of the new medium (as he also was doing D Minor. Brahms was more than suitably with Beethoven’s greatest late quartet, the for the symphony). What sets the impressed—he made it a point to hear Opus 131. With seven tempo markings, Opus 20 group apart are (among other Zemlinsky’s early attempt at a string quartet. that approximately 45-minute work is still things) Haydn’s understanding of the true At that point Brahms did what he had once a four-movement structure, albeit without role of the cello (reflected in his gradual use done for the then-young and unknown breaks. Zemlinsky in his Opus 15 gives us in these six pieces of the term “cello” in lieu Antonín Dvorák.˘ He recommended that his a 40-minute work of five distinct sections, of the usual “basso”) and a greater expressive publisher issue Zemlinsky’s Clarinet Trio. also unbroken (and with a slew of tempo freedom both in his choice of keys and use These early breakthroughs led Zemlinsky modifications within each “movement”). of modulation within the movements. to decide to stay in Vienna and build his The musical tapestry is easily rich enough These six were soon, and for long after, career as a composer rather than obtaining for listeners to get lost in their own program, referred to as the “Sun” Quartets for the a conducting post at a provincial house and and while one shouldn’t entirely discount simple reason that an early edition featured working his way up. Soon he had impressed Zemlinsky’s own search for personal a dawning orb on the cover. But a lesser- Gustav Mahler to the point where the latter catharsis, one can also imagine the daily known nickname was also attached to conducted the premiere of Zemlinsky’s emotional dynamic of central Europe on them: “Die Grossen Quartette” or “The Great opera Es war einmal in 1900. By this time, the verge of World War I. Returning to a Quartets” for even better reasons—they Zemlinsky had also met Arnold Schoenberg; more purely musical analysis, there are simply took the entire genre to a height soon a series of events unfolded that, years two richly pregnant motifs which come to hitherto unscaled by anyone’s earlier efforts. later, became the basis for Zemlinsky’s dominate the piece and are heard very early: The fifth in this groundbreaking set is largest chamber work, the String Quartet a mournful, three-note ascending pattern probably the most often performed, and the No. 2. and an agitated passage with distinct Allegro moderato opens with a passionate This Opus 15 is a sprawling work that rhythmic outlines. Much of the work does melody in the first violin. All the members challenges the listener on both an emotional employ traditional key signatures, but there share in the statement of the secondary and analytic level: surely there must be some are significant stretches of music devoid of theme, which warms the listener with its anguished tale unfolding in the work’s 40 traditional tonality. While Zemlinsky never shift from the minor mode to the major. minutes? The answer is a classic “yes…and crossed into the frontier of 12-tone writing While the development section contains no.” Some commentators assemble a raft of that his brother-in-law was forging, one the expected rise in tension, the true climax biographical evidence and give us a startling can’t help but think that Brahms probably is saved for a surprisingly intense coda. and rather convoluted explanation complete wouldn’t have recommended this Quartet to The second movement, Menuetto, might with numerology, religion, suicide, and his publisher! be expected to provide a respite from the forgiveness (or lack thereof). —Greg Hettmansberger emotional tension of the opening, but Those biographical elements begin with instead a relatively uneasy mood prevails. Arnold Schoenberg’s courting of Zemlinsky’s The roots of the slow movement, Adagio, sister Mathilde in 1899. Married two years derive from the Italian siciliano. The later, the troubled relationship eventually long-short rhythm in both melody and ruptures when Mathilde runs off in 1908 accompaniment provides the hint; the theme with a close family friend, the artist Richard is dominated by the first violin. The finale is Gerstl. Schoenberg dispatches Anton subtitled Fuga a due soggetti (“Fugue on two Webern, of all people, as emissary; he subjects”). The brief ideas are immediately convinces Mathilde to return to Schoenberg developed, almost in a whisper, for over 100 for the sake of their children. Gerstl responds bars of music. Following a climactic chord by destroying his papers and paintings and the process begins again, Haydn raising the then taking his own life. intensity of the fugal dialogue until a second Zemlinsky essentially blamed Schoenberg 20 2018 Program Notes Week Five Thursday, August 16, 6 pm opening melody. We are in a world of order rather than the bright upper register of the and balance, but beneath that poised surface violin. The valved horn was not invented WOLFGANG AMADEUS MOZART lies a melancholy that gradually becomes until the 19th century, and Leutgeb played (1756 – 1791) unsettled. At the trio section Mozart shifts the natural (valveless) horn on which the Sonata in E Minor for Violin & Piano, to E Major, and this measured, calm music player produced different notes by varying K. 304 (1778) (Mozart marks it dolce) is the true glory of a lip pressure or changing the position of glorious sonata; in painfully expressive music his hand in the bell of the instrument. Mozart wrote about 35 sonatas for violin it restores a measure of dignity and calm. Considering the demands this Quintet makes and keyboard, including some that were left More than two centuries after the Sonata in on the horn player, Leutgeb must have been unfinished. He wrote the first when he was E Minor was written it is difficult to disagree a superb musician. six and the last in 1788, three years before with Alfred Einstein’s assessment that it is Full of gentle, amiable music, the Horn his death. Only one of them is in a minor “one of the miracles among Mozart’s works.” Quintet has been compared to a miniature key, the Sonata in E Minor, K. 304, written in —Eric Bromberger horn : the horn frequently is given 1778 in Paris. The minor tonality gives this a starring role, introducing themes and music a dignity and gravity unusual in the WOLFGANG AMADEUS MOZART dominating the ensemble, while the strings sequence of his violin sonatas, and though (1756 – 1791) accompany it. The strings open the first this music was composed when Mozart was Horn Quintet in E-flat Major, K. 407 (1782) Allegro with a brief flourish, and the horn only 22, it is universally regarded as one of quickly enters with the movement’s main his finest chamber works. Mozart wrote this Horn Quintet for the subject. Horn and violin trade phrases easily Accompanied by his mother, Mozart had Austrian horn player Joseph Leutgeb. The in this genial movement, which emphasizes set out from Salzburg in September 1777 Mozart family had met Leutgeb, a horn the lyric possibilities of the horn. Longest of in search of the position his father was sure virtuoso of the first order, when he played the three movements, the Andante offers would bring him fame. Mozart did not return in the archbishop’s orchestra in Salzburg. a graceful partnership between horn and until January 1779, and the journey—which Leutgeb, who moved from Salzburg to strings, full of sustained lyrical lines. The had taken him through Mannheim, Paris, Vienna at about the same time Mozart did, concluding Allegro is a rondo-finale; its main and Munich—can hardly be regarded as a supplemented his meager income as a horn theme, heard immediately in the strings, success: Mozart spent too much money and player by opening a cheese shop in a suburb bears some relation to the theme of the found no position at all. The true cataclysm, of Vienna. Mozart’s father Leopold, who Andante. This good-natured figure recurs though, was that his mother became ill and described the shop as being “the size of a throughout the finale before a series of horn died in Paris in July 1778. It was left to the snail’s house,” lent Leutgeb the money to get fanfares brings the Quintet to its spirited young composer to send that sad news back the shop started. close. to Salzburg and then make his way home While Leutgeb was a fine musician, —Eric Bromberger with nothing to show for his 16-month he apparently was a simple person, and absence. Wolfgang pounced on this. While Mozart’s WOLFGANG AMADEUS MOZART He had, however, written seven violin sense of humor does not appear to have (1756 – 1791) sonatas during this trip, and he published six been cruel it was seldom restrained by good Divertimento in E-flat Major for Violin, of these in Paris. The first four were written taste, and the manuscripts of the horn Viola & Cello, K. 563 (1788) in Mannheim, but the final two were written concertos he wrote for Leutgeb are covered in Paris. The Sonata in E Minor, composed with jokes at the player’s expense. In the This extraordinary music comes from one of in Paris in June and July of 1778, is wistful manuscript to the Horn Concerto in D Major, the most difficult periods of Mozart’s life, and somber music, full of a depth of feeling K. 412, Mozart wrote (among other things): the summer of 1788. That June, beset by absent from the other five sonatas. Mozart “Take it easy . . . animal—oh, how flat you financial troubles, the Mozart family moved was much too great an artist to allow the play—ouch—oh dear . . . help!—catch your to less expensive lodgings in the suburbs events of his own life to shape his art, yet breath!—get going, get going! . . . what of Vienna, only to suffer real calamity: the few commentators have been able to resist a bleating sheep’s trill—finished? thank death of their infant daughter Theresia. associating this moving music with the heaven!” To his credit, Leutgeb bore up Mozart’s pathetic letters begging for money death of his mother. under all this, and several years later when from his friend and fellow Freemason Like most of the other sonatas from this Wolfgang was having financial troubles of Michael Puchberg suggest the extremity set, it is in only two movements. The Allegro his own, Leutgeb was one of those who lent of his state. But external troubles did not takes its character from the somber opening him money. mean creative drought. Working at white theme, played at first in unison by violin and The Horn Quintet, the first work Mozart heat through the summer months, Mozart piano. The firm second subject, once again wrote for Leutgeb, dates from the fall wrote the great final trilogy of symphonies, announced jointly, does little to change of 1782, in the first months after the Nos. 39–41, and in September completed the the opening mood, and the development composer’s marriage to Constanze Weber. Divertimento in E-flat Major. He dedicated proceeds along an unexpected level of The string accompaniment is not the this last work to Puchberg, who had helped tension. Mozart marks the second movement standard quartet but instead a quartet the composer with loans. Tempo di Menuetto, but this music is far with one violin, two violas, and a cello. The title is misleading. The title page from the genial spirit of most minuets. The viola has a range similar to the horn’s, actually reads “String Trio in E-Flat Major,” Mozart remains in E Minor here, and the and this Quintet’s sonority emphasizes the followed by Mozart’s further description of piano alone presents the gravely graceful mellow middle range of the horn and violas “Divertimento in Six Pieces.” The music is 21 2018 Program Notes Week Five in standard sonata-allegro form with two Saturday, August 18, 6 pm development of this theme. additional movements: a set of variations The Courante flows smoothly on its and an extra minuet. As its title suggests, JOHANN SEBASTIAN BACH (1685 – 1750) propulsive main idea (that French title a divertimento was conceived as diversion Orchestral Suite No. 1 in C Major, originally meant “running”), while the fourth music, light in character and perhaps BWV 1066 (1717-23) movement, Forlane, is based on a stately old intended for outdoor performance. In that Orchestral Suite No. 3 in D Major, dance of Venetian origin—it has virtually sense, this music is hardly a divertimento. BWV 1068 (1730) disappeared today (though Ravel used Instead, it is true chamber music—intimate, that title for the slow movement of his Le expressive, and dependent on the full If Bach were to attend this concert he would tombeau de Couperin). interplay of voices central to chamber music. not recognize these two “suites” by their The other four dance movements all Listeners should be warned: masquerading title on the program page. The name “suite” have first and second parts and are in ABA under the innocent title “Divertimento” lies is the invention of scholars and musicians form. The first section is presented with one of Mozart’s greatest chamber works. who came a century later when Bach’s four repeats followed by a second section, again Some of this music’s nobility comes from works in this form were given a name that with repeats; each movement concludes its generous proportions: when all repeats corresponded to later musical practices. Bach with a return of the opening section, now are taken, the first two movements stretch himself called these four works “ouvertures,” without repeats. Bach preserved the French out to nearly a quarter-hour each. Beyond a spelling that makes clear the French origin titles for all his dances (it was the usual this, the mood is at times quite serious. It of the form. The French ouverture was practice in Germany to use French titles for is dangerous to look for autobiographical an instrumental work in one movement movements). These movements—gavotte, significance in music, particularly from so divided into a slow-fast-slow sequence: a minuet, and bourrée—require little comment. difficult a time in a composer’s life, but many slow introduction led to an extended fast The Passepied—that title means “pass [the] have noted the serious and somber character section, usually in fugal form, and then foot”—was originally a French sailor’s dance of this work and the almost bittersweet a conclusion on an abbreviated return of in triple time; Bach’s Passepied, which quality that colors its most expressive the slow opening material. The ouverture features distinctive writing for the moments. The Allegro opens gravely and movement was followed by a collection of in the middle section, brings the Suite to a quietly (Mozart marks the beginning sotto dance movements, but Bach used the title to lively close. voce), and this long movement unfolds refer to the entire work. As with the First Suite, it is impossible gracefully. The extended development is full To complicate matters further, Bach to date the Orchestral Suite No. 3 in of harmonic tension with chromatic lines may in no sense have intended this as D Major, BWV 1068 accurately. While Bach’s moving quietly beneath the polished surface. orchestral music. His original manuscripts instrumental music is usually assigned to The Adagio partakes of the same mood, have vanished, and the scores have been his years at the court of Anhalt-Cöthen though a florid violin part soaring above the re-created from the surviving parts. Evidence (1717-23), recent evidence suggests that the other two voices brings some relief; Mozart suggests that he may have intended this Third Suite may actually have been written sometimes thickens the texture by double- music for a chamber ensemble, perhaps one around 1730 when Bach—then 45—was stopping both violin and viola. augmented by a few extra string players, and serving as cantor at the Thomaskirche in By contrast, the first minuet is vigorous the ensemble performing at this concert may Leipzig. The previous year he had taken on and extroverted, and Mozart follows this be very nearly the size Bach had in mind the directorship of the Leipzig Collegium with the first “extra” movement, a set of when he composed this music. Scholars have Musicum, a small orchestra that gave weekly variations. Critics invariably call the theme had trouble dating the First Suite. It appears concerts, and it may be that he composed here “folk-like,” and its slightly square, to belong to Bach’s period as kapellmeister the Third Suite—which is scored for three four-bar phrases do seem to suggest a at the court of Anhalt-Cöthen (1717-23) , timpani, two oboes, and strings— popular origin. But Mozart’s treatment of when the bulk of his secular music was for use by this orchestra. this simple tune is very sophisticated, and composed, but no one is sure. The opening Ouverture, with its the next-to-last variation in the unusual key What is not in doubt, however, is the ringing trumpets and pounding timpani, of B-flat Minor is stunning. The energetic quality of the music itself. Bach’s First is impressive music. When the young second minuet features not one but two trio Orchestral Suite, BWV 1066 is buoyant Mendelssohn played this movement on the sections, both of them jaunty; an equally music, full of energy and good spirits. He piano for the aged Goethe, the poet is said jaunty coda rounds off the movement. scores the Suite for two oboes, bassoon, to have commented: “The opening is so Mozart brings the Divertimento to a close strings, and continuo and appends a pompous and dignified that one can really with a rondo, Allegro, based on a rocking varied collection of dances to the opening envision an assemblage of important people main theme in 6/8 meter. There are vigorous Ouverture. This opening movement is descending a grand flight of steps.” The slow episodes along the way, but the lyric mood without tempo indications—the marking dotted rhythms of the opening section give of the main theme dominates the movement Grave for the opening and Vivace for the way to a blistering fugue introduced by the and finally rushes this remarkable music to fugal section are not in Bach’s hand and are strings; the movement is rounded off by the its powerful close. considered spurious (though they do reflect return of its grand, ceremonial opening. —Eric Bromberger the general thrust of the movement). The The second movement, marked simply Air, slow opening section is based on sturdy is the odd-man out in the Third Suite. It is dotted rhythms, and the fugal section has not a dance movement and is the only one a powerful main theme; Bach occasionally in the Suite scored for strings alone. And lets the wind instruments take over the it may also be that this music—so simple, 22 2018 Program Notes Week Five spare, and moving—is the most beautiful been a series of one musical triumph Bach ever wrote. Certainly it has become after another. ERIC BROMBERGER earned his doctorate in some of the most famous. It has been The Pennsylvania native didn’t have American Literature at UCLA and taught for arranged for many different instruments far to go to enter the Curtis Institute at 10 years before quitting to devote himself to and was best-known a century ago in the age of 14 (although he did have to his first love, music. A violinist, Bromberger an arrangement for violin and piano by give up his organist position that he had writes program notes for the Minnesota August Wilhelmj called Air on the G-String. already held for two years!). His Opus 5 Orchestra, Washington Performing Arts One of the most impressive things about was the immediately (and still) popular at The Kennedy Center, San Francisco the Air is how Bach creates so beautifully Overture to The School for Scandal; the Performances, University of Chicago proportioned a work in so short a span: timing amounted to what was essentially a Presents, La Jolla Music Society, San Diego without repeats, the Air is only 19 measures graduation exercise (and yes, he had already Symphony, and many other organizations. long. Over a quietly walking bass line, Bach published four works). Later that same year He has been a pre-concert lecturer for the spins a long-lined melody that begins simply came Dover Beach for and string Los Angeles Philharmonic since 1999. but grows in power and complexity then quartet, another work of lasting popularity. subsides to end quietly. The stately quality By 1936 Barber was in Rome, having left GREG HETTMANSBERGER has contributed of this music has made it something of a for a time his new teaching position at Curtis criticism and features to the Los Angeles memorial piece: the strings of the Cleveland for the Prix de Rome studies he had won. Times, L.A. Weekly, Los Angeles Daily News, Orchestra played it—without conductor—in While there he began work on a quartet, and Performing Arts, and the Santa Barbara memory of their longtime conductor George following the first movement’s completion, News-Press and was a staff writer for Los Szell immediately after his death in 1970. Barber’s inspiration remained high. As he Angeles Opera, for which he has written The remaining three movements do completed the soon-to-be famous Adagio he two yearbooks. This is his 23rd season conform to expectation for they are all wrote to Orlando Cole of the Curtis Quartet of writing program notes for the Santa dance movements. The Gavotte actually in September, “I have just finished the slow Fe Chamber Music Festival. He currently offers two dances in this old French form: movement of my Quartet—it is a knockout!” contributes articles to Madison Magazine the jubilant opening section frames an Give him an A+ for prescience. and writes the blog WhatGregSays at equally vigorous second gavotte in the The great Adagio unfolds inexorably with www.whatgregsays.wordpress.com, co-hosts center. The brief Bourrée, also of French its stepwise theme against harmonies so the radio program “Sacred Choral Classics,” origin, is in binary form, and the concluding seemingly static as to make time stand still. and provides annotations for the New Gigue (perhaps related to the English jig) For listeners only familiar with the piece in Mexico Symphonic Chorus. rides powerfully along its 6/8 meter and an orchestral setting, the original Quartet brings the Suite to an energetic close. version can seem spare in its timbre; but HANNELORE N. ROGERS has been the —Eric Bromberger what we gain is a sense of the individual’s editor of the Santa Fe Chamber Music struggle with an unnamed grief or crisis. Festival’s program book for 11 years. A SAMUEL BARBER (1910 – 1981) When we reach the unforgettable climax, the writer/editor based in Omaha, Nebraska, Adagio from String Quartet, Op. 11 (1936) leanness of the original scoring underlines her current and past clients also include the impact of all the players straining in the New York Philharmonic, the Hong Kong Every now and then a “small” work gives their highest registers. Philharmonic Orchestra, the National Arts birth to an expanded arrangement that takes Even though our concert has presented Centre Orchestra (Canada), the National Arts on a life of its own—frequently resulting in the original Quartet version of the Adagio, Centre English Theatre (Canada), Handel achieving such great fame that the average it is fascinating to quickly examine a couple and Haydn Society, Choral Arts Philadelphia, listener is completely unaware of the of details about the orchestral version. and Omaha Chamber Music Society, among original incarnation. It happened to Haydn, Toscanini had asked Barber for a new work, others. Prior to her work as a freelance Tchaikovsky, and Borodin in string quartets and in early 1938 Barber sent his First Essay writer she was the marketing director of that yielded movements that have been for Orchestra and decided to add in the the Pittsburgh, Milwaukee, and New Mexico performed far more often in arrangements arrangement of the Adagio. It was quickly symphony orchestras. for (or even the entire returned, and Barber was understandably orchestra, in the case of Borodin). But when miffed; Toscanini explained he returned it Barber arranged the slow movement of his because he had memorized it so quickly. Opus 11 Quartet for Toscanini and the New Reportedly he did not look at it again York Philharmonic, he launched a work until rehearsals began, and after the first that has become ubiquitous not only in the reading he said, “Semplice e bella.” Simple concert hall but also in film scores and even and beautiful. funerals of state. —Greg Hettmansberger The original version was birthed in what would remain Barber’s only string quartet, and it was a troublesome process; indeed, some would maintain he never really finished the work. Although written while he was only in his mid-20s, this was no breakthrough work—Barber’s entire life had 23 2018 Program Notes Week Five 24 2018 Program Notes Week Five