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Season 2011-2012 Season 2011-2012 The Philadelphia Orchestra Friday, June 22, at 2:00 Yannick Nézet-Séguin Conductor Stokowski Celebration at the Academy of Music Brahms Symphony No. 1 in C minor, Op. 68 I. Un poco sostenuto—Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio—Più andante—Allegro non troppo, ma con brio—Più allegro Intermission Ippolitov-Ivanov Caucasian Sketches, Suite No. 1, Op. 10 I. In a Mountain Pass II. In a Village III. In a Mosque IV. Procession of the Sardar Wagner Overture to Tannhäuser This program runs approximately 1 hour, 50 minutes. Named one of “Tomorrow’s Conducting Icons” by Gramophone magazine, Yannick Nézet-Séguin has become one of today’s most sought-after conductors, widely praised for his musicianship, dedication, and charisma. A native of Montreal, he made his Philadelphia Orchestra debut in 2008 and in June 2010 was named the Orchestra’s next music director, beginning with the 2012-13 season. Artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000, he became music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic in 2008. In addition to concerts with The Philadelphia Orchestra, Mr. Nézet-Séguin’s 2011-12 season included his Royal Opera House, Covent Garden, debut; a tour of Germany with the Rotterdam Philharmonic; appearances at the Metropolitan Opera, La Scala, and Netherlands Opera; and return visits to the Vienna and Berlin philharmonics and the Dresden Staatskapelle. Recent engagements have included the Los Angeles Philharmonic, the Boston Symphony, and the Orchestre National de France; Vienna Philharmonic projects at the 2011 Salzburg, Montreux, and Lucerne festivals; and debut appearances at the Bavarian Radio Symphony and the Accademia Nazionale di Santa Cecilia. Mr. Nézet-Séguin’s Rotterdam Philharmonic recordings for EMI/Virgin comprise an Edison Award-winning disc of works by Ravel, the Beethoven and Korngold violin concertos with Renaud Capuçon, and Fantasy: A Night at the Opera with flutist Emmanuel Pahud. Recent releases with BIS Records include Strauss’s Ein Heldenleben and Four Last Songs and Berlioz’s Symphonie fantastique and Death of Cleopatra. Mr. Nézet-Séguin has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique. Mr. Nézet-Séguin studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductors, most notably Carlo Maria Giulini. He also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Mr. Nézet-Séguin’s honors include a Royal Philharmonic Society Award, an Echo Award, the Virginia-Parker Award from the Canada Council, and the National Arts Centre Award. He was awarded an honorary doctorate by the University of Quebec in Montreal in 2011. Symphony V.0 Stage Director James Alexander has had an extensive career in the performing arts, where among other things he founded a music theater company in his native Scotland, managed the Boston Pops on international tours, and directed both plays and musicals in London’s West End. Mr. Alexander has also been on the A&R team at the Decca Record Company, managed classical soloists and conductors, and produced television and staged operas on three continents with a large number of prestigious companies, orchestras, and conductors. In Europe his productions and engagements range from staging Wagner’s The Flying Dutchman with the Royal Scottish National Orchestra to various productions with Scottish Opera, Opera North, the Gabrieli Consort & Players, and to the Olivier Award-winning production of Carmen Jones at London’s Old Vic Theatre. In the U.S. Mr. Alexander has been a long-time collaborator with Seiji Ozawa and the Boston Symphony, where he helped create stagings of Strauss’s Elektra and Salome, Tchaikovsky’s Queen of Spades, Mozart’s Idomeneo, and the 50th Anniversary production of Britten’s Peter Grimes at Tanglewood. More recently he collaborated with conductor Roger Norrington on a highly-acclaimed production of Mozart’s The Marriage of Figaro for Cincinnati Opera. Recently Mr. Alexander staged a Theater of a Concert presentation of John Adams’s opera A Flowering Tree for the Atlanta Symphony. This summer he will create a production of Mozart’s The Magic Flute at the Aspen Music Festival, for which he has written new dialogue in English. In early 2012 Mr. Alexander became artistic director for Symphony V.0, a production company he founded that is dedicated to realizing revolutionary technological presentations with symphony orchestras and opera companies. Symphony V.0 is a collective of creative professionals who design rich interactive experiences for orchestras and opera companies across the world. Symphony V.0 uses the latest technology in light and video to create a hybrid of symphonic music and operatic staging to inspire a new generation of audiences. James Alexander, Artistic Director Brian Pirkle, Director of Production Ryan Richards, Technical Director Jeff Sandstrom, Director of Creative Services Dorian Usherwood, Director, Business Development Jon H. Weir, Lighting Designer Brad Sitton, Content Developer Symphony No. 1 in C minor, Op. 68 Composed from 1862 to 1876 Johannes Brahms Born in Hamburg, May 7, 1833 Died in Vienna, April 3, 1897 Despite eventually composing some of the greatest symphonies, overtures, and concertos of his century, Brahms was slow to begin writing orchestral music. He faced a double burden in particular producing a first symphony. Brahms shared a dilemma with nearly all Romantic composers after Beethoven: how to write a symphony following the master’s Ninth. Schubert allegedly once remarked to a friend, “Secretly, in my heart of hearts, I still hope to be able to make something out of myself, but who can do anything after Beethoven?” In a similar vein, Brahms famously said to the conductor Hermann Levi: “You don’t know what it is like to walk in the footsteps of a giant.” But while Schubert, Schumann, Mendelssohn, and other early Romantics struggled with the legacy of Beethoven’s symphonies, Brahms, a generation younger, had to face in addition unusually weighty expectations for his development. This second burden was partially created by Robert Schumann, whom the 20-year-old Brahms first met through Joseph Joachim in 1853. Robert and his wife, Clara, took the young composer into their home and hearts. Robert, who had been a brilliant and powerful music critic years before, came out of journalistic retirement and submitted a brief review of Brahms’s first publications to the Neue Zeitschrift für Musik, the prominent music periodical he had helped start nearly 20 years earlier. Schumann’s article, “Neue Bahnen” (New Paths), hailed Brahms as the musical messiah the artistic world had been awaiting since Beethoven’s death. It was a dream review, especially from the pen of one of the leading critics and composers of the era, but also one that created extraordinary expectations that put severe pressure on the young Brahms. Schumann in fact based his praise on relatively few works, mainly ones for piano. The piano sonatas already were “like disguised symphonies,” Schumann wrote, and gave hope for greater things to come. However, Brahms’s First Symphony took more than another 20 years to arrive. Brahms’s path to creating a symphony worthy of Beethoven’s heritage was littered with musical materials that he diverted to other projects, as well as to what might be considered other “symphonies in disguise.” The mighty orchestral opening of his First Piano Concerto was at one time intended for a symphony, as were parts of A German Requiem. The closest Brahms got in his 20s to composing an actual symphony were two orchestral serenades published in 1860. His triumph with the Variations on a Theme by Haydn in 1873 may have given him even more confidence in his orchestral prowess and also encouragement to stick with a classicizing aesthetic agenda very much in contrast to the programmatic works of Berlioz, Liszt, and other “progressive” figures. Although parts of the First Symphony may date back to the 1850s, the opening movement (without the slow introduction) was apparently written around 1862, when Clara Schumann informed Joachim that Brahms had sent it to her. Some dozen years followed before he picked up the thread, revising that movement and composing the others. Otto Dessoff conducted the premiere in provincial Karlsruhe. The early responses there and in larger cities were generally admiring, mixed with some puzzlement over the work’s austerity. The prominent conductor Hans von Bülow later hailed the Symphony as “The Tenth,” implying that Brahms had indeed fulfilled the prophesy Schumann had made so many years before. Eduard Hanslick, the formidable Viennese critic who was Brahms’s advocate and Wagner’s nemesis, commented on this legacy as well: “Seldom, if ever, has the entire musical world awaited a composer’s first symphony with such tense anticipation. … If I say that no composer has come so close to the style of late Beethoven as Brahms has in this finale, I don’t mean it as a paradoxical pronouncement, but rather as a simple statement of indisputable fact.” The imposing Un poco sostenuto introduction sets the tone for the seriousness of the Symphony, followed by an Allegro rich in thematic material and dense in its scoring and motivic unfolding. The second movement Andante sostenuto is in an A-B-A form, with an agitated middle section, framed by the outer parts that feature the oboe and in the reprise a lyrical solo for the violin. As with most of Brahms’s third movements, the Un poco allegretto e grazioso is a brief interlude. The finale, like the first movement, opens with a slow introduction, here in two sections. An Adagio (the very beginning of which presents the main string theme of the movement in ultra slow motion and in a very high register) accelerates and grows increasingly turbulent—it is not quite clear where this all is heading until a dramatic timpani roll is sounded and music shifts from minor to major.
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