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Chicago Symphony Orchestra Riccardo Muti Conductor Gérard Depardieu Program One Hundred TwenTieTH SeaSOn Chicago Symphony orchestra 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, September 23, 2010, at 8:00 Saturday, September 25, 2010, at 8:00 Friday, September 24, 2010, at 8:00 Tuesday, September 28, 2010, at 7:30 riccardo muti Conductor gérard Depardieu narrator mario ZeffiriTenor Kyle Ketelsen Bass-baritone Chicago Symphony Chorus Duain Wolfe director music by Hector Berlioz Symphonie fantastique dreams—Passions (Largo—allegro agitato e appassionato assai) a Ball (waltz: allegro non troppo) a Scene in the Country (adagio) March to the Scaffold (allegretto non troppo) dream of a witches’ Sabbath (Larghetto—allegro) IntermISSIon Lélio, or the Return to Life “The Fisherman,” Ballad by Goethe Chorus of the Shades Song of the Brigands Song of Bliss—Hymn The aeolian Harp—Memories Fantasy on Shakespeare’s The Tempest Gérard dePardieu MariO ZeFFiri KyLe KeTeLSen CHiCaGO SyMPHOny CHOruS First Chicago Symphony Orchestra performances Supertitles by Hugh Macdonald CSO Tuesday series concerts are sponsored by United Airlines. Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommentS By PHiLLiP HuSCHer his week, Riccardo Muti introduces the work Berlioz Tviewed as his signature artistic statement—the evening- long pairing of his most famous composition, the Symphonie fantastique, long a staple of our orchestra’s repertory, and its little-known sequel, Lélio, never before performed by the CSO. Berlioz wrote Lélio as the “conclusion and complement” of his Symphonie fantastique—the resolution of the earlier work’s tortured tale, a response to the symphony’s cliff-hanger end- ing, and, above all, a testament to the healing power of music. Together, they formed the Episode in the Life of an Artist—a daring mix of autobiography and fantasy, symphony and theater, music and literature, that is truly sui generis, a unique work of creative imagination and brazen self-expression. Even during Berlioz’s lifetime, Lélio was rarely performed with its companion. And only once, in a performance staged by fellow pioneer Franz Liszt in 1855, did Berlioz see his complete dramatic work, the Episode in the Life of an Artist, presented as he envisioned it, with the symphony played on the first half, and then with a curtain drawn in front of the musicians as Lélio opens—to suggest that we are hearing the music of the artist’s imagination—and then raised for the Lélio finale, as music itself—the true subject and “hero” of the composition— takes center stage. This week’s performances of the Symphonie fantastique–Lélio double bill attempt to recreate the essence of Berlioz’s own concept—moving from the realm of instru- mental drama in the first half to theater in the second, as an actor takes the stage to tell Berlioz’s tale, while a simple scrim separates reality and creative fantasy—and draws a temporary line between a modern-day Chicago audience and the daring sounds of Berlioz’s imaginary world. 2 Hector Berlioz Born December 11, 1803, Côte-Saint-André, France. Died March 8, 1869, Paris, France. Symphonie fantastique, op. 14 come now to the supreme drama Henriette, the familiar French Iof my life,” Berlioz wrote in name for her he had begun to use, his Memoirs, at the beginning of even though they wouldn’t meet the chapter in which he discov- until long after the work was fin- ers Shakespeare and the young ished. On April 16, 1830, he wrote Irish actress Harriet Smithson. to his friend Humbert Ferrand that “Shakespeare, coming up on me he had “just written the last note” unawares, struck me like a thun- of his new symphony, one of the derbolt,” he wrote after attending most shockingly modern works in Hamlet, given in English—a lan- the repertory and surely the most guage Berlioz did not speak—at the astonishing first symphony any Odéon Theater on September 11, composer has given us. “Here is 1827. But it was Smithson appear- its subject,” he continued, “which ing as Ophelia, and then four days will be published in a program and later as Juliet, who captured his distributed in the hall on the day heart and set in motion one of of the concert.” Then follows the the grandest creative outbursts in sketch of a story as famous as any romantic art. in the history of music: the tale Berlioz began the Symphonie of a man who falls desperately in fantastique almost at once, and it love with a woman who embodies immediately became a consuming all he is seeking; is tormented by passion. Throughout its com- recurring thoughts of her, and, in a position, he was obsessed with fit of despair, poisons himself with ComPoSeD InStrumentatIon ApproxImate between January and two flutes and piccolo, two PerFormanCe tIme april 1830 oboes and two english 49 minutes horns, two clarinets and FIrSt PerFormanCe e-flat clarinet, four CSo reCorDIngS december 5, 1830, in Paris bassoons, four horns, two under Sir Georg Solti in 1972 trumpets and two cornets, and 1992 for London, under FIrSt CSo three trombones and two Claudio abbado in 1983 for PerFormanCe ophicleides (traditionally deutsche Grammophon, and december 2, 1892, Theodore played by tubas), timpani, under daniel Barenboim in Thomas conducting, at the snare drum, bass drum, 1995 for Teldec auditorium Theatre cymbals, low-pitched bells, two harps, strings 3 opium; and, finally, in a horrible unmoved. It is hard to know which narcotic vision, dreams that he is provoked the greater response— condemned to death and witnesses Berlioz’s radical music or its bold his own execution. story. For Berlioz, who always Berlioz knew audiences well; believed in the bond between music he provided a title for each of and ideas, the two were inseparable. his five movements and wrote a In an often-quoted footnote to the detailed program note to tell the program as it was published with story behind the music. A few the score in 1845, he insisted that days before the premiere, Berlioz’s “the distribution of this program to full-scale program was printed in the audience, at concerts where this the Revue musicale, and, for the symphony is to be performed, is performance on December 5, 1830, indispensable for a complete under- two thousand copies of a leaflet standing of the dramatic outline of containing the same narrative were the work.” [Berlioz’s own program distributed in the concert hall, note appears on pages 26A–26B of according to Felix Mendelssohn, our book.] who would remember that night for Even in 1830, the fuss over the the rest of his life because he was so program couldn’t disguise the shaken by the music. No one was daring of the music. Berlioz’s new BerlIoZ’S Program note For tHe SYMPHONIE FANTASTIQUE Part one: pursue him incessantly like in town, in the country, the DreamS—PaSSIonS a double idée fixe. That is beloved image appears The author imagines that the reason for the constant before him and disturbs his a young musician, afflicted appearance, in every peace of mind. with that moral disease that movement of the symphony, a well-known writer calls the of the melody that begins the Part Three: a SCene vague des passions, sees for first allegro. The passage In tHe CountrY the first time a woman who from this state of melancholy Finding himself one embodies all the charms reverie, interrupted by a few evening in the country, he of the ideal being he has fits of groundless joy, to one hears in the distance two imagined in his dreams, and of frenzied passion, with its shepherds piping a ranz he falls desperately in love gestures of fury, of jealousy, des vaches in dialogue. This with her. Through an odd its return of tenderness, its pastoral duet, the scenery, whim, whenever the beloved tears, its religious consola- the quiet rustling of the image appears before the tions—this is the subject of trees gently brushed by mind’s eye of the artist, it the first movement. the wind, the hopes he has is linked with a musical recently found some reason thought whose character, Part tWo: a Ball to entertain—all concur passionate but at the same The artist finds himself in in affording his heart an time noble and shy, he the most varied situations— unaccustomed calm, and finds similar to the one he in the midst of the tumult of in giving a more cheerful attributes to his beloved. a party, in the peaceful con- color to his ideas. He This melodic image templation of the beauties reflects upon his isolation; and the model it reflects of nature; but everywhere, he hopes that his loneliness 4 symphony sounded like no other a page of this score that doesn’t music yet written. Its hallmarks contain something distinctive can be quickly listed: five move- and surprising. Some of it can be ments, each with its own title (as explained—Berlioz developed his in Beethoven’s Pastoral Symphony), idiosyncratic sense of harmony, for and the use of a signature motive, example, not at the piano, since he the idée fixe representing Harriet never learned to play more than a Smithson that recurs in each few basic chords, but by improvis- movement and is transformed ing on the guitar. But explanation dramatically at the end. But there doesn’t diminish our astonishment. is no precedent in music—just None of this was lost on Berlioz’s three years after the death of colleagues.
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