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Boston Symphony Orchestra Concert Programs, Season 123, 2003

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Boston Symphony Orchestra Concert Programs, Season 123, 2003 BOSTON SYMPHONY CHAMBER PLAYERS Sunday, April 18, 2004, at 3 p.m. at Jordan Hall BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin John Ferrillo, oboe Steven Ansell, viola, William R. Hudgins, clarinet Jules Eskin, cello Richard Svoboda, bassoon Edwin Barker, double bass James Sommerville, horn with JONATHAN BISS, piano ASSISTING BOSTON SYMPHONY ORCHESTRA MEMBERS Elizabeth Ostling, flute Craig Nordstrom, clarinet BRAHMS Trio in E-flat for violin, horn, and piano, Opus 40 Andante—Poco piu animato Scherzo: Allegro Adagio mesto Finale: Allegro con brio Messrs. LOWE, SOMMERVILLE, and BISS HARBISON Six American Painters (2002), for oboe, violin, viola, and cello 1. Bingham 2. Eakins 3. Heade 4. Inness 5. Hofmann 6. Diebenkorn Messrs. FERRILLO, LOWE, ANSELL, and ESKIN INTERMISSION BRAHMS Serenade No. 1 in D, Opus 1 1 , arranged for chamber ensemble by Alan Boustead Allegro molto Scherzo: Allegro non troppo; Trio: Poco piu mosso Adagio non troppo Menuetto I; Menuetto II Scherzo: Allegro Rondo: Allegro Ms. OSTLING; Messrs. HUDGINS, NORDSTROM, SVOBODA, and SOMMERVILLE; Messrs. LOWE, ANSELL, ESKIN, and BARKER Steinway and Sons Piano Nonesuch, Deutsche Grammophon, Philips, RCA, and New World records — Johannes Brahms (1833-1897) Trio in E-flat for violin, horn, and piano, Opus 40 Brahms composed this striking trio in 1865, at the end of a glorious outpouring of chamber music. He had already employed the horn with great effect in his set of choruses for women's voices, two horns, and harp, Opus 17, but it was fairly unusual to include the instrument in a full-scale four-movement chamber work, if only because of the tonal limitations that it necessitated. True, valves had recently been developed for the horn, making possible the performance of chromatic notes that were simply not within the range of the natural, valveless instrument. But Brahms always remained loathe to use the newfangled version, claiming that the natural horn had a much fuller and more satisfying tone than the valved instruments. Part of that difference in tone came from the manner of playing natural horns. In order to get any pitches other than those that were part of the overtone series, the player inserted his hand into the bell to "stop" the instrument, thus lowering the pitch by a half-step or, at most, a whole step. This, of course, had the additional effect of muffling the tone. The player therefore had to be somewhat circumspect in playing the unstopped tones, in order to make them match the stopped tones as closely as possible. Apparently when the valves were first introduced, horn players got carried away in a fine frenzy of chromaticism and vul- gar blowing with all their might and main. Even so revolutionary a composer as Wagner whose Tristan und Isolde cannot be performed without the modern instrument—noted in the score that he had first made sure it was possible to play the valved horn tastefully before scoring his opera for it. Brahms apparently did not want to run the risk, and always wrote as if for the older natural horns, which could be changed from one key to another by the inser- tion of a special crook to lengthen or shorten the tubing—even though, by the end of his life, almost all players were certainly using the valved horn. Brahms completed the trio, a romantic work redolent of German forests, in the wooded neighborhood of Lichtenthal, near Baden-Baden, in May of 1865, and took part himself (as pianist) in the first performance that December, in Karlsruhe. When he offered it to his publisher Simrock the following June, he noted that the horn part could, if necessary, be played on a cello, but eighteen years later he had a change of heart, and wrote to Simrock: "My horn trio should be provided with a viola part instead of the cello! With cello it sounds dreadful, but splendid with viola!" Simrock agreed to print a viola part, too (it could only increase sales), but he refused Brahms's request to suppress the cello part. Of course, any ^EtTanglewood BOSTON THE BSO ONLINE Boston Symphony and Boston Pops fans with access to the Internet can visit the orches- tra's official home page (http://www.bso.org). The BSO web site not only provides up-to- the-minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone numbers, and information on auditions and job openings. Since the BSO web site is updated on a regular basis, we invite you to check in frequently. discussion of alternate scorings is purely academic, because horn players, who are not exactly In the original flute and strings version of this piece, Harbison's fourth movement was wallowing in chamber music by the great romantic masters, will never let this piece go. It based on Winslow Homer. The oboe version is based on George Inness (1825-94), a land- gives the player every opportunity for a wide range of expressive and virtuosic performance. scape painter associated with the Hudson River School who lived for some time in Med- Owing to the difficulty of modulating freely and widely with a natural horn, Brahms wrote field, Massachusetts. His "Peace and Plenty" is a brilliantly lit New England landscape. a first movement that is not in sonata form—the only one in his entire chamber music With the two final movements we move into modern art. Hans Hofmann (1880-1966) influential output. It alternates two ideas—the opening Andante in E-flat and a Poco piu animato in a was an German-born abstract expressionist who moved to the U.S. in 1930. related minor key—in a sonata-like tonal plan, but without any rapidly modulating develop- Richard Diebenkorn (1922-1993), born in Portland, Oregon, lived and worked primarily ment section. The scherzo that follows is a lively romp with some surprising harmonic twists, in the Bay Area in California and later in Los Angeles. His "abstract landscape" "Ocean both in the main section and in the Trio, which comes in the dark key of A-flat minor. The Park" series, No. 30 of which was Harbison's impetus, is from his Los Angeles period. slow movement, identified by its tempo marking as "sad" ("mesto"), is an expressive lament, In Six American Painters, Harbison casts the wind instrument (oboe in these perform- thought by some critics to be a musical response to the death of the composer's mother, ances) in a "concertante" role, much as Mozart had done in his flute quartets and oboe which took place in the year of composition (and to which the soprano solo of the German quartet. The composer's own note for the piece follows: Requiem was another response). The finale conjures up the forest and the hunt, with its Six American Painters was commissioned by radio station WGUC Cincinnati in honor of fanfares and its echoes in a vigorous interplay of good humor. Ann Santen, for performance by Cincinnati Symphony principal flutist Randall Bowman. Bowman gave the first performance on the Linton Music Series, April 14, 2002, with Tim- John Harbison (b.1938) othy Lees, violin, Michael Strauss, viola, and Eric Kim, cello. Six American Painters (2002) Each of the movements was begun as a musical description of six paintings in the Met- ropolitan Museum of Art. Eventually they ranged further it John Harbison is known as a composer with exquisite taste in and far-ranging knowledge and seemed more helpful to name for the painters rather of poetry. As a student at Harvard in the late 1950s he won acclaim as a poet, and over the them than for the specific paintings. I wanted to evoke the artists' after-images, rather years his song settings have shown a remarkable ability to meld words with music, creating than any of the individual paintings. you look at a picture, you take mood and nuance for poetic images both abstract and concrete. His Requiem, a Boston When away with you a general impression, a mood or color, that dominates the details; in music, on the other hand, one is apt to remember the details, Symphony Orchestra commission premiered last season at Symphony Hall, is a fine example a tune or a harmony. I wanted these movements to be a perceivable whole, an act of seeing. of this. In Six American Painters, Harbison conjures his own overall impressions of six Most of my viewing was done at the Metropolitan Museum in New York. Like many artists, having been spurred initially by a single painting from each, as he describes below. musicians, I've always felt that looking at art has been the least alert of the things I do. I George Caleb Bingham (1811-1879) was a Virginia-born Missouri genre painter and hoped to develop my visual sense; I did a lot of research, and I spent many hours looking portraitist and grass-roots politician. Many of his paintings depict scenes from the edge of at paintings. the American frontier. They include the specific initial inspiration for Harbison, "Fur The movements tend toward brevity. I had two intentions: not too slow, and not too long. Traders Descending the Missouri," as well as "The Trappers' Return" and "Canvassing for I also made, for the oboist Peggy Pearson, a version for oboe and strings, replacing one a Vote." The great portraitist and photographer Thomas Eakins (1844-1916) lived in of the movements, adapting others.
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