Riccardo Muti Conductor Dvo Rák Symphony No. 5 in F Major, Op. 76

Program

ONe HuNdred TWeNTy-SeCONd 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 20, 2012, at 8:00 Saturday, September 22, 2012, at 8:00 Wednesday, September 26, 2012, at 8:00 Friday, September 28, 2012, at 8:00 riccardo muti Conductor Dvo ˇrák Symphony No. 5 in F Major, Op. 76 Allegro ma non troppo Andante con moto— Scherzo: Allegro scherzando Finale: Allegro molto

IntermIssIon martucci Notturno, Op. 70, No. 1 respighi Feste romane Circenses Il Giubileo L’Ottobrata La Befana

The concerts on September 22, 26 & 28 are generously sponsored by Cindy Sargent. The concert on September 26 is generously supported by the Julius N. Frankel Foundation. Comments By PHILLIP HuSCHer

antonín Dvo ˇrák Born September 8, 1841, Mühlhausen, Bohemia (now Nelahozeves, Czech Republic). Died May 1, 1904, Prague, Czechoslovakia.

symphony no. 5 in F major, op. 76

o the late nineteenth century, 1936) did we begin to use the cur- TDvořák was the composer of rent numbering. five—not nine—symphonies. His This F major symphony is first four, never published during Dvořák’s most significant product his lifetime, were unknown, and of 1875, a result of the encourage- so his last, From the New World, ment he felt after winning the spent its first half century as no. 5. Austrian competition—along The F major symphony performed with powerful endorsements and at these concerts is really Dvořák’s four hundred gulden—for the fifth, although it took some time first time, and the most promising to get this all straightened out. sign that the judges had picked Like his nineteenth-century col- extremely well. The prize launched leagues Schubert and Bruckner, one of the most prolific years of Dvořák has been good to musi- Dvořák’s career, and in addition to cologists, who sometimes make this symphony, composed in just a living cleaning up after the six weeks during the summer, he fact. Only with the publication also wrote his five-act grand opera of Dvořák’s first four symphonies Vanda in three months and turned in the 1950s (the long-lost First out several substantial chamber Symphony was rediscovered pieces as well. But the symphony after the composer’s death and is the giant leap—a great advance performed for the first time in over anything he had written

ComPoseD most reCent aPProxImate 1875 Cso PerFormanCe PerFormanCe tIme March 29, 2003, 39 minutes FIrst PerFormanCe Orchestra Hall. Pinchas March 25, 1879, Prague Zukerman conducting

FIrst Cso InstrumentatIon PerFormanCe two flutes, two oboes, January 24, 1919, Orchestra two clarinets and bass Hall. Adolf Weidig conducting clarinet, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, strings

2 before. It’s easy now to see it as a heavy Wagnerian fog that clouds score of extraordinary promise, some of his early works and has a because we know the brilliant natural warmth and simplicity that Seventh Symphony, for example, often eluded Brahms. Still, Dvořák or the timeless From the New couldn’t escape the inevitable World that followed, but the Fifth comparison to Brahms: when he Symphony is itself a very impres- dedicated this symphony to Hans sive accomplishment. von Bülow, the great conductor said We tend to think of Brahms he was thrilled to accept this honor and Dvořák as contemporary from Dvořák, “next to Brahms, the symphonists—their most famous most gifted composer of today.” symphonies were all premiered within the span of some fifteen his symphony is the first years—who influenced each other Timportant work of Dvořák’s in various ways. (When Dvořák maturity, and Simrock insisted began his Seventh, for example, (against Dvořák’s wishes) on pub- he was still under the spell of lishing it with a phony, high opus Brahms’s new Third, which he had number to give it the stature of an just heard.) But Dvořák composed even later composition. (Simrock this F major symphony a year picked op. 76, which puts it in the before Brahms finished his first, company of pieces composed a full and so this is his answer to the decade later, even though Dvořák classics by Beethoven, Schubert, had appropriately written op. 24 and Schumann that he knew, not at the top of his manuscript.) For a reaction to a work saddled with such a convo- Brahms. (In luted numbering history, the music fact, if either itself is a marvel of natural, unfussy composer had expression and clarity of form. The an influence entire symphony reveals remarkable on the other assurance and control, suggesting at this point, that the speed of its composi- it’s the other tion was the result of certainty, way around: not haste. Brahms got The opening Allegro ma non to know at troppo is filled with genial, out- least three doorsy music—clarinet bird calls of Dvořák’s and hunting horns paint an inviting symphonies pastoral scene in high summer. The while he was movement is vigorous and muscular Conductor Hans von Bülow, still writing until the very end, when Dvořák the dedicatee of Dvo ˇrák’s Fifth Symphony his first one.) opts for quiet contentment over Dvořák’s visceral excitement. F major The melancholy Andante—an symphony sings with his own intermezzo in a moderate tempo unmistakable voice; it’s free of the rather than a self-important slow

3 movement—suggests the dumka, F major work. Dvořák shrewdly the mournful peasant dance that withholds F major for a very long Dvořák loved. The scherzo, which time, which only adds to the sus- follows immediately after only a pense and drama. This entire move- moment’s hesitation, takes its time ment, with its driving rhythms, big shaking the spell of the Andante themes, and heated development, before it breaks into a jovial, rustic confirms Dvořák’s stature as a dance. (The way Dvořák blurs natural symphony composer. Both the distinction between the two the brief, unannounced return of inner movements is novel and the opening material of the first highly effective.) movement, pianissimo, and the The finale shatters the sym- triumphant recovery of F major, phony’s pastoral mood with its celebrated with pealing trumpets, powerful opening in A minor—an only add to its continuous sense of unexpectedly foreign key in an excitement and discovery.

4 giuseppe martucci Born January 6, 1856, Capua, Italy. Died June 1, 1909, Naples, Italy.

notturno, op. 70, no. 1

lthough he grew up during the not abandon his career as a piano Agreat age of Verdi—he was virtuoso, and in 1874, he gave a born two years after the premiere concert in Rome that was highly of La traviata—and died when praised by Liszt. Once he settled Giacomo Puccini was at the peak in Naples in 1881, where he was of his success, Giuseppe Martucci named conductor of the Orchestra is the rare Italian composer of his Napoletana, Martucci established generation who never wrote an himself in that most elite circle opera. After studying piano with of musicians—the triple threat of his father, a trumpet player and being an accomplished pianist, bandmaster in the Neapolitan army, conductor, and composer. in 1867, Martucci publicly played Martucci wrote music for piano a piece that he had composed for throughout his career. His earli- the first time. Soon afterwards, est works are mainly short piano he began to work in Naples with pieces—of the first fifty opus Beniamino Cesi, who had studied numbers in his catalog, all but three with the great piano virtuoso and are for solo piano—and they range sometime Liszt rival (though that from barcarolles and mazurkas to was largely a public relations con- fugues and sonatas (there also is a coction) Sigismond Thalberg. At piano duet arrangement of themes the same time, the young Martucci from Verdi’s Un ballo in maschera). began to study composition seri- In 1886, Martucci gave the pre- ously at the Naples conservatory. At miere of his B-flat minor piano his father’s insistence, Martucci did concerto, a large and ambitious

ComPoseD most reCent aPProxImate 1891, for piano; Cso PerFormanCe PerFormanCe tIme orchestrated 1901 January 23, 1959, 6 minutes Orchestra Hall. Fernando FIrst PerFormanCe Previtali conducting date unknown InstrumentatIon FIrst Cso two flutes, two oboes, two PerFormanCe clarinets, two bassoons, two March 24, 1919, horns, harp, strings Orchestra Hall. Giorgio Polacco conducting

5 score that solidified his reputation originally composed this nocturne for infusing the Austrian-German in G-flat major for solo piano (it was tradition with an Italian sensibil- the first in a set of two) in 1891, the ity. (Riccardo Muti and the CSO year the Chicago Symphony played played the concerto last season with its first concerts, and then orches- Gerhard Oppitz as the pianist.) trated it in 1901. Particularly in its Although Martucci’s attention had orchestral version, it has become shifted to the classic large forms by one of his most frequently per- then—he began two symphonies in formed works, and as an example of 1889—he occasionally returned to the Italian gift for natural sing- the piano miniatures on which he ing melody and for simple, direct had cut his teeth as a composer. He expression, it is without peer.

6 ottorino respighi Born July 9, 1879, Bologna, Italy. Died April 18, 1936, Rome, Italy.

Feste romane

ttorino Respighi came to this of Respighi’s greatest champions. Ocountry for the first time in Feste romane, the third panel in December 1925. He was already Respighi’s Roman triptych, and the well known among music lovers for work that closes this concert, was The Fountains of Rome, a brilliant not yet written, but it would join its tone poem composed in 1916, three two companions three years later. years after he settled in Rome. “His After New York, Respighi Fountains of Rome has been played traveled to Chicago to appear with by practically every orchestra in the Chicago Symphony, which the United States and Europe,” had already welcomed a number The New York Times said before of composers as guest conductors, he arrived, a remarkable feat for including Richard Strauss; Sergei a piece of music not yet ten years Prokofiev; and Respighi’s fellow old. Respighi and his wife Elsa, countryman, Ferruccio Busoni. a soprano, began their American Respighi (like Martucci, whose sojourn in New York City, where he Nottorno is performed at these played his new piano concerto with concerts) was the rare artist who the philharmonic under Willem held the stage in three different Mengelberg. The Pines of Rome, a roles—as composer, conductor, sequel to The Fountains of Rome, and pianist, “a dangerous test for was to be given its world premiere any man to subject himself to,” later that season by the philhar- the Chicago Post said the day after monic, under the baton of Arturo his January 29 debut. “But he is Toscanini, who was already one one of those who, with proper

ComPoseD most reCent (ancient roman trumpets 1926–1928 Cso PerFormanCe conventionally replaced by June 15, 1985, Orchestra trumpets), three trombones FIrst PerFormanCe Hall. Michael Tilson and tuba, timpani, February 21, 1928, Thomas conducting side drum, bass drum, New york City. Arturo tambourine, rattle, sleigh Toscanini conducting InstrumentatIon bells, cymbals, triangle, three flutes and piccolo, two gong, glockenspiel, bells, FIrst Cso oboes and english horn, two xylophone, mandolin, piano, PerFormanCe clarinets, e-flat clarinet and organ, strings April 4, 1930, Orchestra Hall. bass clarinet, two bassoons Frederick Stock conducting and contrabassoon, four aPProxImate horns, four trumpets, PerFormanCe tIme three offstage buccine 24 minutes

7 humility, has estimated his pow- among early twentieth-century ers accurately.” composers (Respighi studied with Respighi had caused a stir in Rimsky-Korsakov, the master of New York when he spoke bluntly orchestration, in Saint Petersburg) with a Musical America reporter: is easily overlooked in the electronic “Atonality? Thank heaven, that’s age. His brilliant color palette and done for! The future course of the powerful sweep of his writ- music? Who can say? I believe that ing long ago became the lingua every composer should first of all franca of film scores. (Even though be individual.” Respighi went on Respighi’s work is no longer in to clarify that, for him, dissonance, fashion as concert music, his is like polytonality, had its place—“as still the style of choice for epic a means to expression it has impor- adventure movies—John Williams, tant uses.” For many in the Chicago arguably today’s most celebrated audience, who had already heard film composer, claims Respighi as some of Schoenberg’s thorniest one of his primary inspirations.) music, including the US premiere Respighi’s most widely performed of his Five Pieces for Orchestra works exemplify a lavish musical in 1913, Respighi’s works came as style that today’s culture ordinar- a welcome sign of modernism in ily condescends to, but his biggest moderation. As the Chicago Post hits—and they were genuine critic wrote, popular successes, the best sellers of their time—are enduring land- He has mixed intimately with marks, classics of their kind. the advanced thinking of our Respighi’s US tour was a tri- day and the resources of the umph. In Chicago, audiences modern orchestra are at his embraced his appearance (the fingertips, but he has kept his powerful, classic cut of his profile head. No pioneering excursions was, as one critic noted, familiar to into the trackless wilderness for most Americans only from statues him. The Italian blood runs too of long-departed Roman nobles), strongly in his veins with the his stage presence (“there radiates instinctive feeling for melody from him a quality of straight- and the clarity of thought. forwardness, a vigor of mind, and honesty of purpose that makes him The novelty of Respighi’s what the Italians call simpatico”), language is largely lost on audi- his considerable pianistic skills, ences today. Some of his most his intoxicating music, and his radical sound effects, such as a ability to coax powerful perfor- phonograph recording of a night- mances from the orchestra. Back in ingale’s song in The Pines of Rome, Europe at the end of 1926, he told which were once hotly debated, can a Berlin reporter that he found US seem passé nearly a century later. orchestras “unbelievably excellent. The imagination of his orchestral I often noticed, while conducting writing, rivaled only by Ravel in America, that when I struck a

8 particularly difficult passage the of what we still are, in spite of men plunged into it with an almost television and cars, and we very fanatic zeal, as though to show me much need them in order to remain that they were equal to any demand what we are, and not become sav- made upon their virtuosity.” He ages again.” made another trip to the U.S. early Feste romane marked the end of in 1929, returning to Chicago to the line for Respighi; it is the last play and conduct more of his music. of his great orchestral showpieces. By then, he had completed his “With the present constitution Roman trilogy with Feste romane, of the orchestra,” he wrote after which Toscanini and the New completing the work, “it is impos- York Philharmonic premiered in sible to achieve more, and I do not Carnegie Hall in that February. think I shall write any more scores of this kind.” In his remaining eight s the last of the Roman por- years, he concentrated on small- Atraits, Feste romane is the most scale works for reduced forces. His spectacular of the three. It avoids only orchestral compositions were the danger inherent in writing transcriptions of music by earlier sequels by approaching its subject composers and arrangements of from a fresh point of view. After organ works by Bach. But, even the landscape painting and scenic though they represent merely one splendors of Fountains and Pines, chapter in Respighi’s rich career, it Feste romane aims for something is his spectacular Roman pictures bigger and more dramatic—it is that keep his name alive today. almost cinematic in its effect, with panoramic crowd scenes, action espighi’s brief description of sequences, and sudden close-ups. Rhis four movements, which At its Chicago premiere in 1930, follows, is all one needs in the way the Herald Examiner critic called it of a roadmap, for the music itself “a gorgeous riot of tone, an encyclo- provides the details. pedia of the colors and the sonori- ties of the orchestra, a splendid Circenses. A threatening sky example of symphonic theater.” hangs over the Circus Maximus, Feste romane is a formidable but it is the people’s holiday: “Ave example of sophisticated orchestra- Nero!” The iron doors are unlocked, tion and spot-on tone painting. the strains of a religious song and Respighi’s entire Roman triptych, the howling of wild beasts mingle with its evocation of the city’s in the air. The crowd comes to layered history, cultural riches, and its feet in frenzy. Unperturbed, intense connection to life, has itself the song of the martyrs gathers become one of Rome’s indispens- strength, conquers, and then is able monuments. As the Italian drowned out in the tumult. author Giorgio Bassani wrote in 1972, monuments are “reminders Il Giubileo [The Jubilee]. (this is the meaning of the word) Pilgrims trail along the long road,

9 praying. Finally, from the summit Navona: a characteristic rhythm of Monte Mario, appears to ardent of trumpets dominates the frantic eyes and gasping souls the Holy clamor; above the swelling noise City: “Rome! Rome!” A hymn of float, from time to time, rustic praise bursts forth; the churches motifs, saltarello cadenzas, the ring out their reply. strains of a barrel organ in a booth, and the call of a barker, the harsh L’Ottobrata [The October song of the intoxicated, and the Festival]. The October festival in lively stornello with its expression of the Roman castelli covered with the popular sentiment—“Lassàtase vines: echoes of the hunt, tinkling passà, somo Romani!” [Let us pass, bells, songs of love. Then in the we are Romans!]. tender twilight arises a roman- tic serenade.