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Orchestre Métropolitain De Montréal Orchestre Métropolitain de Montréal Yannick Nézet-Séguin Artistic Director and Principal Conductor Joyce DiDonato / Mezzo-Soprano Wednesday Evening, November 20, 2019 at 7:30 pm Hill Auditorium Ann Arbor 23rd Performance of the 141st Annual Season 141st Annual Choral Union Series PROGRAM Wolfgang Amadeus Mozart La Clemenza di Tito, K. 621 (excerpts) Overture Aria: Parto, parto, ma tu ben mio Aria: Non più di fiori Ms. DiDonato Intermission Anton Bruckner Symphony No. 4 in E-flat Major, WAB 104 Bewegt, nicht zu schnell (With motion, not too fast) Andante quasi allegretto This evening’s performance is supported by the Menakka & Essel Bailey Endowment Fund for Scherzo: Bewegt (With motion) International Artistic Brilliance; Martha Krehbiel, in memory of Jeffrey Krehbiel; KLA; and Peter Toogood Finale: Bewegt, doch nicht zu schnell (With motion, not too fast) and Hannah Song. Media partnership provided by WRCJ 90.9 FM and WGTE 91.3 FM. Special thanks to Bill King, Matt Albert, Davin Torre, Alesia Johnson, Carol Fitzgerald, Gerald Vazquez, Flint School of Performing Arts, Scarlett Middle School, and the U-M School of Music, Theatre & Dance for their participation in events surrounding this evening’s performance. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Pamela Ruiter-Feenstra, visiting university carillonist, for coordinating this evening’s pre-concert music on the Charles Baird Carillon. Orchestre Métropolitain de Montréal and Ms. DiDonato appear by arrangement with Askonas Holt. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. 3 LA CLEMENZA DI TITO, K. 621 (EXCERPTS) (1791) Wolfgang Amadeus Mozart feature a solo instrument given a role with a particularly suave tone and Born January 27, 1756 in Salzburg nearly as important as the voice’s. In an even lower range than a basset Died December 5, 1791 in Vienna Sextus’s first-act aria “Parto, parto,” clarinet. The two arias are probably the instrument is a basset clarinet, the most beautiful moments in UMS premieres: a clarinet with a wider range than La Clemenza di Tito. “Overture”: Prague Chamber Orchestra; October 1979 in Hill Auditorium. modern-day versions. “Parto, Parto”: Elena Nikolaidi and pianist Stuart Ross; March 1954 in Hill The other aria, “Non più di fiori,” Program note by Claudio Ricignuolo; Auditorium. sung in the second act by the English translation by Craig “Non più di fiori”: Ernestine Schumann-Heink with the Boston Festival character Vitellia, spotlights the Schweickert. Orchestra conducted by Emil Mollenhauer; May 1900 in University Hall. basset horn, a kind of alto clarinet Snapshots of History…In 1791: · The capital of the United States is named after President George Washington · St. Clair’s Defeat, the worst loss suffered by the United States Army in fighting against American Indians, takes place in what is now Mercer County, Ohio · Louis XVI of France accepts the final version of the completed constitution Emperor Leopold II was crowned other commitments. Guardasoni then TEXTS AND TRANSLATIONS King of Bohemia in Prague on turned to Mozart, who composed September 6, 1791. A new opera was the key parts of the score in only a Parto, Parto, ma tu ben mio commissioned for the occasion, an few weeks while also working on Die (Text by Caterino Mazzolà, 1745–1806) opera seria — a “serious” opera, a Zauberflöte (The Magic Flute) and his very stylized form of 17th-century Requiem. Too often overshadowed Parto, parto, ma tu, ben mio, I go, I go, but you, my love, Italian opera — that was to have a by The Magic Flute, La Clemenza di meco ritorna in pace. look kindly upon me again. castrato in the lead role and music Tito contains some of Mozart’s most Sarò qual più ti piace, I shall be whatever pleases you, written by a distinguished composer. sublime passages. quel che vorrai farò. I shall do whatever you want. The libretto was La Clemenza di Tito The remarkably concise overture (The Clemency of Titus) by Pietro begins with a slow introduction whose Guardami e tutto oblio, Look at me, and, oblivious to all else, Metastasio (1698–1782), which solemn character recalls that of The e a vendicarti io volo. I shall hasten to avenge you. portrays an episode in the life of the Magic Flute. This is followed by a very A questo sguardo solo I shall think of nothing Roman emperor Titus, who ruled vigorous first theme with ascending da me si penserà. but your glance. from 79 to 81 AD. Written half a and descending figures and a second Ah qual poter, o Dei! Ah, what power you gave, o Gods, century earlier, the book was edited sweeter and softer theme in which the donaste alla beltà. to beauty! and adapted by Caterino Mazzolà flute and oboe join voices in a delicate (1745–1806). duo. After a stormy development Impresario Domenico Guardasoni, section, the earlier elements return. the director of the Prague National The conclusion is as laconic as it is Opera, was placed in charge of the effective. production. He first approached Among the opera’s highlights are Antonio Salieri, who declined due to two concertante or obbligato arias that 4 5 Non più di fiori SYMPHONY NO. 4 IN E-FLAT MAJOR, WAB 104, “ROMANTIC” (Text by Caterino Mazzolà) (1874, REV. 1880–81) Non più di fiori, vaghe catene No longer let Hymen descend Anton Bruckner Discenda Imene ad intrecciar. to weave lovely garlands of flowers. Born September 4, 1824 in Ansfelden, Upper Austria Stretta fra barbare aspre ritorte Bound in cruel, severe chains, Died October 11, 1896 in Vienna Veggo la morte ver me avanzar. I see death coming towards me. UMS premiere: Los Angeles Philharmonic conducted by Zubin Mehta; Infelice! qual orrore! Woe is me! What horror! November 1970 in Hill Auditorium. Ah, di me che si dirà? Ah, what will be said of me? Chi vedesse il mio dolore, Yet anyone who could see my grief Snapshots of History…In 1874: Pur avria di me pietà. would have pity on me. · Levi Strauss and Jacob Davis receive a US patent for blue jeans · New York City annexes The Bronx · The Sholes and Glidden typewriter, with a QWERTY keyboard, is first marketed in the US The philosopher Sir Isaiah Berlin programmatic in the strict sense (1909–97) entitled one of his most of the world, strove to convey the celebrated essays The Hedgehog composer’s spiritual world view. That English translations by Charles Johnston (Chandos Records). and the Fox, taking his cue from the was quite an ambitious proposition, following ancient Greek fragment: and one that hardly had a precedent “The fox knows many things, but the in Western music. Beethoven’s Ninth hedgehog knows one big thing.” is often cited as Bruckner’s principal Berlin applied this distinction to the source of inspiration, but its tragedy- history of literature, positing that the to-joy program was much more Optimism “hedgehog” types “relate everything concrete and specific than Bruckner’s to a single central vision, one system transcendent mysticism. Silicon Valley Career, less or more coherent or articulate, The cornerstone of Bruckner’s life in terms of which they understand, was his strong, unwavering Catholic Great Lakes Style think, and feel.” Foxes, on the other faith, which determined the direction hand, “pursue many ends, often of his evolution as a composer. He unrelated and even contradictory… spent his formative years in the seizing upon the essence of a vast monastery of St. Florian in Upper variety of experiences and objects for Austria, a sumptuous architectural what they are in themselves.” Berlin complex that is one of the glories classified Dante, Plato, Dostoyevsky, of Austrian Baroque architecture. Nietzsche, and Proust as hedgehogs, It has often been suggested that KLA is hiring and Shakespeare, Goethe, Balzac, and the grandiosity of St. Florian had a Joyce as foxes. direct impact on the development of in Ann Arbor! There is no doubt that among Bruckner’s artistic outlook. But the composers, Anton Bruckner was the vast spaces in Bruckner’s musical KLA.com/Michigan quintessential hedgehog. His “one edifices are often filled out with big thing” was to write large-scale ornamental elements evoking the symphonies that, without being countryside around the monastery: 6 7 echoes of Austrian folk music and which contains a breathtaking final been inspired to expand scherzo form opted for a more circuitous route the works of Franz Schubert (himself crescendo. At the end, the opening this way by the example of Schubert’s here. He allowed himself to voice deeply influenced by folk music) mystical horn theme reappears as a “Great” C-Major symphony.) The what sometimes sound like doubts account for more than a few building glorious fanfare. grandiosity of the scherzo contrasts or uncertainties, especially in one blocks in Bruckner’s expansive The mood of the second-movement with the rustic simplicity of the trio, particular, strangely fragmented cathedrals in sound. “Andante quasi Allegretto” was best a Ländler in the best Schubertian slower section about two-thirds To listen to a Bruckner symphony is characterized by Robert Simpson, in tradition (albeit with a few modulatory through the movement. Simpson, to experience the composer putting his influential book The Essence of quirks à la Bruckner in the middle). otherwise a great admirer of those blocks on top of one another Bruckner, first published in 1967: “The Following tradition, the “Scherzo” is Bruckner’s, found that something was until the building stands before us in ‘Andante’ has something of the veiled subsequently repeated in its entirety.
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