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Home , Emanuel Feuermann, Final Symphony, Jean Sibelius, San Antonio Symphony

DVOŘÁK PRESENTS February 21 & 22, 2020 DVOŘÁK ANTONÍN DVOŘÁK both. The central part of this movement focuses (Born on September 8, 1841 in Nelahozeves, primarily on working through various aspects Bohemia (Czechia); of the first theme. When it comes time for the Died on May 1, 1904 in Prague, Bohemia (Czechia) expected restatement of both themes, Dvořák does the unexpected. He omits the main theme Concerto in B Minor for and takes us directly to the second and then to a Violoncello and , joyous conclusion. February 21 & 22, 2020 | 8:00 PM Op. 104 HEB Performance Hall The slow movement begins tenderly with the clarinets and then the solo cello. After a short The Tobin Center for the Performing Arts Premiered: March 19, 1896 in , England time with this beautiful theme, the entire orchestra crashes in. The cello then plays a moving melody Orchestration: solo cello accompanied by 2 flutes based on a song, “Leave Me Alone,” which Dvořák Ruth Reinhardt, conductor with piccolo, 2 oboes, 2 clarinets, 2 , wrote many years earlier. It was a favorite of his 3 horns, 2 trumpets, 3 , tuba, timpani, sister-in-law, and he included it in the concerto Andrei Ioniţă, cello triangle, first and second , , , when he learned that she was seriously ill. After an and basses extensive time dwelling on this tune, the movement returns to the opening theme. The cellist then DVOŘÁK Duration: 40 minutes launches into what is almost an accompanied Concerto in B minor for Cello and Orchestra, Op. 104 cadenza. After another statement of the song, there Allegro When Mrs. Jeannette Thurber lured Antonín Dvořák is a peaceful close. to to head her new National Conservatory Adagio ma non troppo of Music, she hoped that he would show American The finale is a rondo, which uses a main theme Finale: Allegro moderato students a thing or two about how to compose in that alternates with secondary themes called a nationalistic style. He did—and learned a thing episodes. After an orchestral introduction, the cello or two from the Americans as well. His African- gets the main tune. Both of the central episodes INTERMISSION American student Henry Burleigh sang spirituals are slower and more rhapsodic in character. The for him. One of those spirituals, “Swing Low, Sweet final statement of the main theme brings us to the Chariot,” ended up in the second movement of his ending section. Just as the orchestra winds up to SIBELIUS New World Symphony. And it was the Irish-born, what appears will be a grand climax complete with Symphony No. 7 in , Op. 105 German-trained, American cellist Victor Herbert who a cadenza for the soloist, Dvorak changes course Adagio showed Dvořák that writing a concerto for cello was and winds down—he had just learned of his sister- possible. Before meeting Herbert, Dvořák felt that Vivacissimo – Adagio in-law’s death. Dvořák explained the ending to the cello is a beautiful instrument, but its place is his publisher: Allegro molto moderato in the orchestra and in . As a solo Vivace – Presto – Adagio – Largamente molto – Affettuoso instrument, it isn’t much good. Its middle register is The finale closes gradually diminuendo—like a fine—that’s true—but the upper voice squeaks and sigh—with reminiscences of the first and second R. STRAUSS the lower growls. movements—the solo dies away to pianissimo— Till Eulenspiegels lustige Streiche, Op. 28 then swells again—the last bars are taken up When Dvořák heard Victor Herbert’s new Second by the orchestra and the whole concludes in a Cello Concerto, he loved it! More importantly, stormy mood. Dvořák was convinced that it is possible to hear the cello over an orchestra, even one with trombones. was in a stormy mood also Eight months later Dvořák started his own cello when, in the last year of his life, he read the score concerto. It was the last piece he wrote while to Dvořák’s Cello Concerto. “Why on earth didn’t I in America. know one could write a cello concerto like this?” he said. “If I’d only known, I’d have written one The concerto begins as most do, with the long ago!” orchestra playing the dramatic main theme by itself. The French horn gets to play the lyrical ©2019 John P. Varineau second theme. Finally, the cello gets a chance at

XXX San Antonio Symphony San Antonio Symphony XXXI DVOŘÁK CELLO CONCERTO DVOŘÁK CELLO CONCERTO February 21 & 22, 2020 February 21 & 22, 2020

JEAN SIBELIUS have three movements. However, as Sibelius said series of brilliant tone poems: ; A Hero’s (Born on December 8, 1865 in Hämeenlinna, to his biographer, “The final form of one’s work (1864–1949) Life; ; Death and Transfiguration. These Died on September 20, 1957 in , Finland) is indeed dependent on powers that are stronger works are not just descriptive. They are also brilliant than oneself. Later on one can substantiate this Till Eulenspiegels Lustige showcases for . Every player must rise to Symphony No. 7 in C Major, or that, but on the whole one is merely a tool. Streiche, Op. 28 the level of a virtuoso. Op. 105 This wonderful logic—let us call it God—that governs a work is the forcing power.” In his diary (Till Eulenspiegel’s Strauss was careful not to print (in words) exactly he wrote that it was “…as if God had thrown down Merry Pranks) what was going on in his Till Eulenspiegel. Premiered: March 24, 1924 in , Sweden pieces of mosaic from the floor of Heaven and He explained, asked me to find out what the pattern was like.” Orchestration: 2 flutes with 2 piccolos, 2 oboes, Premiered: November 5, 1895 in Cologne, It is impossible for me to furnish a program 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, The way Sibelius assembled those mosaic pieces to Eulenspiegel…Let me leave it, therefore, 3 trombones, timpani, first and second violins, for his Seventh Symphony turned out to be a single Orchestration: 3 flutes and piccolo, 3 oboes and to my hearers to crack the hard nut which the violas, cellos, and basses short work of only one movement—with at least English horn, 2 clarinets, piccolo clarinet and bass Rogue has prepared for them. By way of helping eleven different ! In this, his final symphony, clarinet, 3 bassoons and contrabassoon, 4 horns, them to a better understanding, it seems Duration: 22 minutes he managed to solve a problem that had been 3 trumpets, 3 trombones, tuba, timpani, bass drum, sufficient to point out the two “Eulenspiegel” plaguing all through the nineteenth snare drum, cymbals, ratchet, triangle, first and motives, which, in the most manifold disguises, The textbook version of a symphony is one that century: How do you compose a multi-movement second violins, violas, cellos, and basses moods and situations, pervade the whole up generally includes four movements. The first and work so that all the pieces fit together into a single to the catastrophe, when, after he has been last movements are usually fast in , the unified idea? He did this by fusing a whole series of Duration: 15 minutes condemned to death, Till is strung to the gibbet. second is slow, and the third is usually some sort “movements” into one and by working with only a For the rest, let them guess at the musical joke of quick dance-like movement. The forms of those few themes and ideas. A short spin through the collected tales of the which a Rogue has offered them.You’ll hear movements are also generally predictable. Working medieval prankster Till Eulenspiegel demonstrates those two motives immediately after a short with just a few templates composers have written To listeners used to the normal templates of a that teenage bathroom humor has a long and introduction by the orchestra which seems to say, a vast variety of . Sibelius’ Symphony symphony, this can be a little unsettling. The program “colorful” history. The “real” Till is said to have been “Once upon a time…” The first is a roguish tune No. 7 is a real symphony, but it doesn’t come close annotator Donald Tovey gives comforting advice: born in Kneitlingen, Germany and to have died in played by the horn. It gets all twisted up in the to fitting the textbook variety. 1350 C.E. in the province of Schleswig-Holstein rhythm. Other instruments come in with the tune …the listener may rest assured that if he finds where the locals still point out his gravestone. and soon the whole orchestra is a-tumble. Out of Sibelius worked on three symphonies, his Fifth, Sixth, that an important melodic note has been in Folk and literary tales associated with Till and his the chaos comes the little piccolo clarinet with and Seventh, simultaneously. In 1918 he wrote, existence some time before he was aware of pranks appeared in German, Dutch, French, Latin the second motive, a sneering little giggle. Those it, the has taken special trouble to and English starting in about 1500. Most of these two motives form the backbone for the entire All this with due reservations…It looks as conceal the beginning of that note. If the listener tales are about the practical jokes Till plays, and work. As soon as they are introduced, we are though I shall come out with all three of these feels that unformed fragments of a melody loom they depend upon the sort of slapstick violence off on our merry way. For most of us who aren’t symphonies at the same time…With regard to out of a severely discordant fog of sound, that is still found in today’s children’s cartoons. And in familiar with the list of all of Till’s pranks, here symphonies 6 and 7, the plans may possibly be what he is meant to feel. If he cannot tell when the unexpurgated versions of the tales, there is are a few hints: Till rides his horse through a busy altered, depending on the way my musical ideas or where the tempo changes, that is because a good dose of obscene and scatological humor. marketplace upsetting everything in his wake; develop. As usual I am a slave to my themes Sibelius has achieved the power of moving like Fortunately for us, Richard Strauss’s version of he dons the robes of a priest and poses as a and submit to their demands. From all this I see aircraft, with the wind or against it…Sibelius’s Till’s merry pranks is “G” rated. It is a hilarious preacher of morals; Till becomes a lady’s man how my innermost self has changed since the airships are roomy enough for the passengers musical romp. Throughout the nineteenth century, but storms away in a rage when his advances days of the Fourth Symphony. And these new to dance if they like: and the landscape, to say composers and critics debated whether music could are spurned; he makes fun of professors—here symphonies of mine are more in the nature of nothing of the sky-scape is not always too or even should portray such concrete characters by a fugue which goes awry. Finally Till goes profession of faith than my other works Sibelius remote for them to judge of the movement of as Till and his tricks. On the one hand there were too far with his jesting and is hauled before the did, indeed, alter his plans. The Seventh the ship by external evidences. the “absolute” composers, like Johannes Brahms, court. To the ominous condemnation from the symphony appeared five years after the Fifth. who felt that although music was a profound low brass, the piccolo clarinet pleads for mercy. He originally intended his Seventh symphony to ©2019 John P. Varineau emotional language, its purpose was not to portray Till is strung up (unmistakable in the music). The such things. Then there were those composers orchestra ends the piece as it began as if to say, of “program” music. invented the “It is really only a story.” symphonic tone poem—complete symphonic works that could musically detail specific people, places, ©2019 John P. Varineau things and ideas. As a young man, Strauss wrote a

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Ruth Reinhardt, Ruth Reinhardt received her master’s degree in Andrei Ioniță, recitals at Konzerthaus , Elbphilharmonie, conductor from The , where she cello Zurich Tonhalle, LAC Lugano, and L’Auditori studied with Alan Gilbert. Born in Saarbrücken, in Barcelona, as well as at the Mecklenburg- Ruth Reinhardt is quickly Germany, she began studying at an early age The Gold Medal-winner at Vorpommern, Schleswig-Holstein, Verbier and establishing herself as one and sang in the children’s chorus of Saarländisches the 2015 XV International Martha Argerich Festivals. Forthcoming chamber of today’s most dynamic and Staatstheater, Saarbrücken’s company. Tchaikovsky Competition, dates include collaborations with Stephen Hough, nuanced young conductors. She attended Zurich’s University of the Arts the phenomenal young cellist Cédric Tiberghien and Kian Soltani at the Wigmore She served as the Assistant (Zürcher Hochschule der Künste) to study violin Andrei Ioniță was called “one Hall, and Pierre Boulez Saal. Andrei’s debut Conductor of the Dallas with Rudolf Koelman, and began conducting of the most exciting cellists to on Orchid Classics combined a Brett Dean Symphony Orchestra (DSO) studies with Constantin Trinks, with additional have emerged for a decade” world-premiere with Bach and Kodály, prompting for two seasons under Jaap van Zweden and training under Johannes Schlaefli. She has also by the prestigious Times of London. He was a BBC Gramophone to declare him “a cellist of superb concluded her tenure at the end of the 2017/2018 participated in conducting master classes with, New Generation Artist from 2016–18 and is the skill, musical imagination and a commitment to season. Having recently made her debut with the among others, Bernard Haitink, Michael Tilson Symphoniker ’s artist-in-residence for the music of our time.” Before winning the Tchaikovsky Royal Stockholm Philharmonic in summer 2018, Thomas, David Zinman, Paavo Järvi, Neeme Järvi, 2019–20 season. A versatile musician focused Competition, Andrei won First Prize at the this season Ms. Reinhardt will make debuts with Marin Alsop, and James Ross. on giving gripping, deeply felt performances, Khachaturian International Competition in June the Grosses Orchester Graz and Kristiansand Andrei has been recognized for his passionate 2013; in September 2014, he won Second Prize Symphony Orchestra; and in North America with Prior to her appointment in Dallas, Ruth was musicianship and technical finesse. Andrei made and the Special Prize for his interpretation of a the symphony orchestras of Fort Worth, Omaha, a conducting fellow at the Seattle Symphony his U.S. debut in 2017 with recitals in Chicago and commissioned composition at the International ARD Orlando, Portland, Santa Fe, and Sarasota. (2015–16), Boston Symphony Orchestra’s Washington, D.C., and gave his New York debut Music Competition. In 2014, he received Second Reinhardt will return to the Dallas Symphony three Tanglewood Music Center (2015), and an associate recital in Carnegie Hall’s Zankel Hall. Highlights of Prize at the Grand Prix Emanuel Feuermann in times this season, to conduct a subscription week conducting fellow of the Taki Concordia program the previous two seasons have included Berlin. Andrei was born in 1994 in Bucharest and as well as several in the greater Dallas (2015–17). During her time at Juilliard, she led the with the Münchner Philharmoniker (Valeriy began taking lessons at the age of five before community and the DSO’s contemporary alternative Juilliard Orchestra as well as concerts with New York Gergiev), Orchestre symphonique de Montréal receiving his first cello lesson three years later. ReMix series. She will also return to conduct the City’s ÆON Ensemble, with whom she has led a (Kent Nagano), BBC Philharmonic (Omer Meir He studied under Ani-Marie Paladi in Bucharest Cleveland Orchestra, Seattle Symphony, Malmö collaboration with the Kronos Quartet. Wellber and John Storgårds), Danish National and under Jens Peter Maintz at the Universität Symphony, and at the Impuls Festival in Germany. Symphony (Christian Kluxen), Royal Scottish der Künste Berlin. A scholarship recipient of the A precocious talent, by age 17 she had already National Orchestra (Karl-Heinz Steffens), San Diego Deutsche Stiftung Musikleben, Andrei performs Last season, Reinhardt was selected as a Dudamel composed and conducted an opera, for and Symphony (Case Scaglione), Yomiuri Nippon on a cello made by Giovanni Battista Rogeri Fellow of the Los Angeles Philharmonic, and performed by the children and youths of her home Symphony (Sylvain Cambreling) and BBC National from Brescia in 1671, generously on loan from in summer 2018, she served as the assistant town. While studying in Zurich, she also conducted Orchestra of Wales (Ainars Rubikis); he has given the foundation. conductor of the Lucerne Festival Academy the premieres of two chamber for children: Orchestra. In addition, she worked with Carnegie Die Kleine Meerjungfrau (The Little Mermaid) by Hall’s National Youth Orchestra (NYO-USA), Swiss composer Michal Muggli, and Wassilissa assisting Michael Tilson Thomas. Highlights of her by German composer Dennis Bäsecke. Other 2017/2018 season included guest engagements opera productions she has conducted include with the Indianapolis, San Diego, and North Carolina Dvořák’s Rusalka and Weber’s Der Freischütz for Symphonies, and the Los Angeles Chamber the North Czech Opera Company, and Strauss’ Orchestra in the Primrose Competition. Die Fledermaus at the University of the Arts.

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