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Home , After (Elgar), August Jaeger, Piano Concerto (Barber), Samuel Barber, Violin Concerto (Barber), Violin Concerto (Elgar)

Program

One Hundred Twenty-Second Season Chicago Symphony Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, December 6, 2012, at 8:00 Friday, December 7, 2012, at 8:00 Saturday, December 8, 2012, at 8:00 Sunday, December 9, 2012, at 3:00 Vasily Petrenko Conductor Robert Chen Violin Elgar Cockaigne , Op. 40 (In London Town) Barber Violin , Op. 14 Allegro Andante Presto in moto perpetuo Robert Chen

Intermission Shostakovich Symphony No. 10 in E Minor, Op. 93 Moderato Allegro Allegretto Andante—Allegro

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommentsComments by PhilliDanielp JHaffuscheré Phillip Huscher

Edward Elgar Born June 2, 1857, Broadheath, near Worcester, England. Died February 23, 1934, Worcester, England.

Cockaigne Overture, Op. 40 (In London Town)

lgar had already composed two it’s cheerful and Londony—stout Eof his greatest masterpieces, and steaky’.” the and The While the connection between Dream of Gerontius, when, late in Elgar’s eventual title, Cockaigne, 1900, the London Philharmonic and London, the “land of Society wrote offering to perform a Cockneys,” is fairly obvious—and new orchestral work. Despondent was reinforced by the subtitle “In the disastrous premiere in London Town” which Elgar added October that year of The Dream of at the recommendation of a lead- Gerontius, Elgar complained to his ing London music critic, Edward steadfast friend (the Algernon Baughan—it is clear Nimrod of his Enigma Variations) from personal annotations Elgar that the Philharmonic Society had made on its literary definitions that not offered a fee, and, after enu- there were other associations in his merating the expenses involved in mind: “Cockaigne . . . ‘the land of all performing such a work, plaintively delights’ . . . An imaginary country asked: “Now what’s the good of it?” of idleness & luxury . . . Usually Jaeger, as usual, bucked Elgar up associated with Cockney—but the with encouragement. By November, connection, if real, is remote.” Elgar was able to write: “Don’t say Certainly, Elgar told the conduc- anything about the prospective tor Hans Richter that “Cockaigne overture yet—I call it ‘Cockayne’ & is the old, humorous (classical)

Composed Most recent CSO Instrumentation 1900–1901 performances two and piccolo, two October 5, 1945, , two , two First performance Orchestra Hall. Désiré and contrabas- June 20, 1901, London, Defauw soon, four horns, two England. The com- and two cornets, July 11, 1997, Ravinia poser conducting three and Festival. Donald , , percussion, Runnicles conducting First CSO organ, strings performance November 29, Approximate 1901, Auditorium performance time Theatre. Theodore 15 minutes Thomas conducting

2 name for London & from it we get concerns of young lovers who, as the term Cockney”—effectively it were, represent the hope for that reinforcing the idea that the over- city and its culture; that is not to ture was a celebration of London’s mention the resonant similarities ordinary citizens rather than its between certain of Wagner’s and grandees; but one should beware of Elgar’s themes and their presenta- assuming the overture is a faithful tion, nor indeed the C major tonal- portrait of London in Elgar’s time. ity shared by both . Yet At the time of its composition, there is greater Elgar and his wife Alice had only humanity spent one unhappy spell in the city in Elgar’s some ten years earlier, when they conception— had left their native Worcester boisterous for West Kensington in Elgar’s and less first unsuccessful bid to gain a “correct” in its professional foothold in the capital. deportment, Cockaigne is, rather, Elgar’s evoca- and with tion of an idealized community, a an amused place of goodwill and high spirits acceptance of where everybody, whether high- or human fail- low-born (something Elgar as the ings such as son of a tradesman was highly the Salvation sensitive to), plays a vital role in its Army band culture and sense of identity. which constantly Edward and just after edicated to the ’s fails to start in their marriage D“many friends, the members tune halfway of British ,” the over- ture was first heard on June 20, through Cockaigne. 1901, at a Royal Philharmonic Elgar’s overture starts not with a Concert conducted by Elgar in grand statement as does Wagner’s, London’s Queen’s Hall. It was but with a perky yet distinctive an instant success. To many of theme played sotto voce, almost as his contemporaries, including if it were overheard. Indeed, the the astute critic George Bernard slight hold on a high note seems to Shaw, the overture’s boisterous graphically suggest the intrigued and celebratory character instantly listener, perhaps Elgar himself, to recalled the overture to Wagner’s whom the theme has occurred, has Die Meistersinger. Indeed, there is paused to listen out for its further much in common between the two development. The theme then works (despite Elgar’s disingenuous continues, building into a boister- protestations that he had learned ous, brass-capped full statement by more from Delibes’s ballet Sylvia): the orchestra. Then follows a more both celebrate a city’s mythical past, wistful theme on the strings, full interwoven with the individual of blissfully sighing chromaticisms,

3 which might have been identified new, which is built up—with per- as that of the young lovers (similar haps a hint of a tolling bell by the as it is in character to Wagner’s love muted brass—into a grand march theme in Meistersinger); except this by the full orchestra (after which, is the theme Elgar himself identi- in a calm interlude, we hear the fied as being inspired “one dark day incompetent Salvation Army band). in the Guildhall: looking at the In this way, Elgar seems to sug- memorials of the city’s great past & gest that the greatness and spirit of knowing well the history of its Cockaigne is not only nourished by unending charity, I seemed to hear such institutions as the Guildhall, far away in the dim roof a theme, but also from the grassroots and echo of some noble melody.” upwards. Indeed, Elgar explicitly After a vigorous near-peroration said that vulgarity “often goes with by the brass, the orchestra quietens inventiveness,” and such inventive- for a more wistful, reflective theme, ness “in the course of time may presented first by the strings, then be refined”—implicitly, one may by the woodwinds. This now is the assume, in his own music! Indeed, theme which Elgar described as the every major theme has its spotlight lovers’ theme—not yearning like in the overture’s kaleidoscopic Wagner’s, but more assured, calm procession, whether in intimate and tenderly loving. scoring, or in a grand tutti state- Rather than needing a blow- ment. There is no hierarchy as such by-blow commentary, the music among those themes: the Salvation unfolds its own eloquent narra- Army band apart, nothing is “inci- tive from these principal themes. dental,” but every musical theme But do listen for the solo , or character is essential in Elgar’s which twice initiates a crescendo: vision of “the land of all delights.” the first time with a perky theme which is in fact a cheekily speeded —Daniel Jaffé up version of the Guildhall theme, described by the critic Ernest Newman as a whistling tune of “the perky, self-confident, unabash- able London street boy . . . just Daniel Jaffé is a regular contributor to BBC Music Magazine and a special- as Wagner obtained the theme of ist in English and Russian music. his Nuremberg apprentices out of He is the author of a biography of the Master-singers.” The second Sergey Prokofiev (Phaidon) and the occasion, the clarinet plays another Historical Dictionary of Russian Music perky theme, this time genuinely (Scarecrow Press).

4 Born March 9, 1910, West Chester, Pennsylvania. Died January 23, 1981, New York City.

Violin Concerto, Op. 14

his is not the first violin Oistrakh and Nathan Milstein.) Tconcerto to have been declared Fels offered Barber $1,000—$500 unplayable by the person for whom up front, $500 on completion of the it was written. Tchaikovsky’s score. For a composer at the begin- now-popular concerto also was ning of his career, it was without rejected at first—although Leopold doubt a good deal. Or so it seemed Auer, Tchaikovsky’s chosen soloist at the time. and a violinist of considerable Barber wrote the first two move- accomplishment, eventually had ments that summer in Switzerland, the decency to admit his error but when Briselli saw them he (and later taught the work to his complained that the music was “too pupil , who regularly simple and not brilliant enough for played it). Barber was not so lucky, a concerto.” There are conflicting although time has proved the value accounts of what happened next. of his work. According to the “official” story, In 1939, Barber accepted a dutifully repeated in program notes commission from Samuel Fels, a for years, Barber wrote a dazzling Philadelphia businessman (and perpetuum mobile finale, which the manufacturer of Fels Naphtha Briselli declared too difficult; Fels soap) who wanted a then asked for his money back, for his adopted son, Iso Briselli, a and Barber set up a performance child prodigy. (Briselli was born in to demonstrate that the movement Odessa, the birthplace of so many was indeed playable—and that violinists including David and Igor he needn’t repay the $500, which

Composed April 9, 1981, Orchestra Instrumentation 1939–40 Hall. Jaime Laredo, violin; solo violin, two flutes and conducting piccolo, two oboes, two First performance clarinets, two bassoons, February 7, 1941, Most recent CSO two horns, two trumpets, Philadelphia performances timpani, , , June 3, 2000, Orchestra strings First CSO Hall. , violin; performances Charles Dutoit conducting Approximate July 30, 1960, Ravinia performance time July 25, 2012, Ravinia Festival. Jaime 25 minutes Festival. , violin; Laredo, violin; Walter James Conlon conducting Susskind conducting

5 was already long spent. But in agreed “that Barber was to be paid 1982, Briselli, who had, no doubt the full commission and Briselli sensibly, given up the violin to run had to relinquish his right to the the Fels business, told his version of first performance.” (Briselli was the story to Barbara Heyman, then not present.) at work on her definitive Barber Now Barber was free to find biography. Briselli claimed that a new soloist for Fels’s commis- he had merely informed Barber sion. (Barber took to calling it his that he feared the finale was “too concerto da sapone, or soap concerto, lightweight” compared to the first although it was becoming more of two movements. a soap opera.) And so the honor Nonetheless, a demonstration of introducing this now-beloved was set up to convince Fels that his concerto fell to Albert Spalding, a money had been well spent. This little-known violinist whose name took place at the Curtis Institute has a secure place in the history (where, not incidentally, Fels served of American music as a result. on the board of trustees) in the fall ( conducted the of 1939, premiere, with the Philadelphia before Orchestra, in 1941.) Barber had even hat regularly gets lost in the put the Wstory of this concerto’s dif- finishing ficult genesis is the music itself, as touches direct and persuasive as anything on the Barber wrote. The concerto opens concerto. with one of Barber’s most inspired Herbert ideas, a warm and expansive theme Baumel, stated at once by the solo violin. a gifted The entire Allegro is like a grand, Curtis reflective aria (even in much of his student, instrumental music, Barber is often learned a “vocal” composer) with intermit- the finale tent dramatic episodes, but one Violinist Albert Spalding from in which unabashedly romantic, Barber’s tonal melody reigns. The Andante, manuscript in just two hours and in the elegiac vein of the Adagio played it in the studio of Josef for Strings, opens with a poignant Hofmann, the distinguished solo, which the violin ulti- Curtis director, before a “jury” mately cannot resist. (In 1948, that included Barber changed the marking Bok, the founder of the Curtis of the first movement from Allegro Institute, along with Hofmann, molto moderato to a less relaxed Barber, and Barber’s close friend Allegro, so that the concerto would . According to not appear to open with two slow Heyman, all parties immediately movements.) The controversial

6 finale is neither lightweight nor When Mary Louise Curtis Bok unplayable, although its brilliance is commissioned Barber to write a not of the more predictably heroic, work for the dedication of the new fireworks variety. organ at the Philadelphia Academy of Music in 1960, he refused to few footnotes. Herbert Baumel, accept the fee (reportedly $2,000), Athe young Curtis student whose because of his longtime gratitude playing “testified” on Barber’s to her, and his admiration for her behalf, substituted for Spalding at motto: “for quality of the work the first rehearsal for the premiere rather than quick, showy results.” and so impressed Ormandy that he And finally, Barber eventually was offered a permanent position in did get the remaining $500 Fels the . owed him.

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7 Born September 25, 1906, Saint Petersburg, Russia. Died August 9, 1975, Moscow, Russia.

Symphony No. 10 in E Minor, Op. 93

e’re told that a recording of Shostakovich, the composer WMozart’s Stalin hated most, had learned, no. 23 was still on the record through personal grief and public player when Joseph Stalin died humiliation, of this fear. Twice on March 5, 1953. It was the last since Stalin had assumed power music he listened to, and it is in the twenties, Shostakovich felt hard to know what this merciless the brutal power of Stalin’s attacks, leader heard in some of the most and twice his artistic impulses had sublime and civilized music ever been devastated in ways scarcely written. Perhaps there’s a clue equaled in any other time or place. in Shostakovich’s own words, as Stalin’s first attack, prompted by recorded in Testimony: an impromptu visit to the Bolshoi Theater performance of the opera Music illuminates a person Lady Macbeth of Mtsensk, plunged through and through, and it Shostakovich into a crisis of con- is also his last hope and final science, changed his career forever, refuge. And even half-mad and, at the same time, altered the Stalin, a beast and a butcher, course of Soviet music. instinctively sensed that about The popularity of his written music. That’s why he feared response to Stalin’s criticism— and hated it. the Fifth Symphony—and his

Composed Most recent CSO Approximate 1953 performance performance time October 7, 2006, Orchestra 57 minutes First performance Hall. Paavo Järvi conducting December 17, 1953, CSO recordings Leningrad, Russia Instrumentation 1990. Sir Georg Solti two flutes, alto and conducting. London First CSO piccolo, three oboes and A 1966 recording with performance english horn, three clarinets conduct- April 5, 1962, Orchestra Hall. and E-flat clarinet, three ing was released on The First conducting bassoons and contrabas- 100 Years. soon, four horns, three trumpets, three trombones and tuba, timpani, bass drum, cymbals, military drum, snare drum, tam-tam, triangle, xylophone, strings

8 increasing fame around the world extensively and urgently on the only made Shostakovich the inevi- symphony only after Stalin’s death.) table prime target of the intensi- This is music of a new begin- fied attack of February 10, 1948. ning, at once summing up all that This time, the official language of Shostakovich had to say in the form reprimand was stronger still, the of a symphony, releasing everything accusations very specific, and the that the years of Stalin’s oppression pressure to conform impossible to had buried, and anticipating a fresh ignore. In response, Shostakovich and enlightened era ahead. The not only withheld his First Violin Tenth Symphony was performed in Concerto, but he decided to write Leningrad in December 1953, to no more symphonies during Stalin’s a mixed response. In March 1954, lifetime. (One of the major proj- the Moscow branch of the Union ects he did undertake was a set of of Soviet even called twenty-four preludes and fugues a special three-day conference to for piano, inspired by a composer debate this important symphony, with no suspect political leanings already recognized as a pivotal and a spotless reputation—Johann work in the history of Soviet music. Sebastian Bach.) Many didn’t know how to place In March 1953, Shostakovich it within the context of Social awoke to the news that Stalin was Realism that had governed Soviet dead. His first professional act composers since 1932. Some were was to release the works he had put off by its apparent pessimism. withheld from performance; that Finally, in the elaborately ambigu- summer he cleared his desk and ous language that often springs began a new symphony, which he from political gatherings, a young wrote at lightning speed. (Tatyana composer, Andrei Volkonsky, Nikolayevna, who gave the pre- pronounced the Tenth Symphony miere of the preludes and fugues, an “optimistic tragedy.” claims that the symphony was Soviet musicians quickly noticed, actually begun in 1951, while he in the beginning of the symphony, was writing the piano cycle; even a strong resemblance to the open- so, it seems clear that he worked ing of Liszt’s Faust Symphony.

Shostakovich’s musical monogram

In several compositions, Violin Concerto of 1948, transliteration of the beginning with the First Shostakovich spells out composer’s own name, his initials D. SCHostakowitsch. In in musical German notation, E-flat is notation. called “es” and B-natural This four- is H. Thus, DSCH is D, E-flat, note motive C, B. The tradition for this is derived kind of musical signature from the dates back at least to the German time of Bach.

9 Shostakovich’s friend and biogra- death freed Shostakovich to write pher Dmitri Rabinovich insisted music so personal it bears his very the reference was intentional. signature in the notes on the page. (Early in his career Shostakovich This dialogue is interrupted twelve loved Liszt’s music; he later times by the gentle calling of the cooled—“too many notes.”) From horn, a mysterious five-note sum- those first strands of sound, sunken mons waiting for a reply. Although and mysterious, the music rises step it has a resemblance to the horn by step toward a massive climax theme from Mahler’s Song of the (some two-thirds of the way into Earth, we now know that it’s really a twenty-five-minute movement) another musical signature—that of and then retreats. The massive arch Elmira Nazirova, an Azerbaijani form, unerringly paced, is one of pianist and composer who had his finest accomplishments, and it studied with Shostakovich at the achieves the kind of epic stature Moscow Conservatory, and with that eludes so many symphonies whom he corresponded frequently written in the twentieth century. during the summer of 1953. (The At the conference held by the notes E, A, E, D, A correspond to Union of Soviet Composers, E, L[a], Mi, R[e], A.) Shostakovich admitted that this When there is no answer, the movement didn’t realize his dream finale begins, cautiously at first of a “real symphonic allegro.” and then picking up speed and We don’t know what music courage. This movement has Shostakovich measured his own often puzzled listeners because it against, but the sense of a drama answers the severe and despair- unfolding, of music developing ing tone of the early movements before our eyes and ears, recalls the with unexpected cheerfulness. It’s landmarks of the classical period— this music that makes the Tenth the works that defined “symphonic Symphony an “optimistic tragedy.” allegro” forever. But even the affirmative final The scherzo that follows is pages, where the DSCH motto is concentrated fury—brief and to the finally pounded out by the timpani, point. Like much of Shostakovich’s can never entirely sweep aside all angriest music, it’s set against the questions and fears that have a relentless moto perpetuo, with been raised before. Shostakovich’s screaming woodwinds, flaring personal triumph, however, is brass, and abundant percussion. unequivocal, for this is the first of The ensuing Allegretto begins as his symphonies that Stalin would a dialogue between two kinds of never hear. music—one introspective, the other more assertive and proudly bearing the composer’s musical monogram Phillip Huscher is the program annota- © 2012 Chicago Symphony Orchestra © 2012 Chicago (see sidebar on page 43). Stalin’s tor for the Chicago Symphony Orchestra.

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