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Program Notes with the NASHVILLE SYMPHONY CLASSICAL SERIES THURSDAY, MARCH 21, AT 7 PM | FRIDAY & SATURDAY, MARCH 22 & 23, AT 8 PM NASHVILLE SYMPHONY MIGUEL HARTH-BEDOYA, conductor CHEE-YUN, violin NIKOLAI RIMSKY-KORSAKOV Capriccio espagnol, Op. 34 Alborada Variazioni Alborada Scena e canto gitano Fandango asturiano ÉDOUARD LALO Symphonie espagnole for Violin and Orchestra, Op. 21 Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo Chee-Yun, violin – INTERMISSION – JOAQUÍN TURINA Danzas fantásticas, Op. 22 MANUEL DE FALLA Suite from El sombrero de tres picos (The Three-Cornered Hat) Introduction Afternoon Dance of the Miller's Wife (Fandango) The Miller's Wife The Neighbors' Dance The Miller's Dance (Farruca) Final Dance ( Jota) This concert will last approximately 2 hours, including a 20-minute intermission. INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE NIKOLAI RIMSKY-KORSAKOV Capriccio espagnol, Op. 34 • This concert highlighting the colors, rhythms and vitality of Spanish music opens — ironically enough — with a Russian composer known for cultivating a distinctly Slavic identity in his music. Rimsky-Korsakov found precedents for this piece in the work of fellow Russian Mikhail Glinka, who had written two pieces inspired by Spanish music. • As a young composer, the composer served in the Russian navy, which at one point took him to the coast of Northwestern Spain. That experience found its way into the vivacious closing movement, which draws on a high-energy dance style from this region. • Rimsky-Korsakov’s initial plan for this piece was to compose a violin concerto, which accounts for the prominent role of violin solos. As the piece took shape, it also incorporated solo passages for other instruments. ÉDOUARD LALO Symphonie espagnole, Op. 21 • French composer Lalo attempted to make his name as an opera composer, but found success at first with his Violin Concerto, written in 1874 for Spanish soloist Pablo de Sarasate. His Symphonie espagnole, premiered the following year, continued his partnership with the violin virtuoso. • Even though the Symphonie espagnole could be considered a concerto, Lalo kept the title, as it represented “a violin soaring above the rigid form of an old symphony.” • The composer explores the full range of the violinist’s technical capabilities, but also imbues the solo part with a beguiling personality. Tchaikovsky praised Lalo’s work for its “freshness, lightness, piquant rhythms, and beautifully and admirably harmonized melodies” — and, in response, began work on his own Violin Concerto. JOAQUÍN TURINA Danzas fantásticas, Op. 22 • Hailing from the Andalusia region of Spain, Turina spent time before World War I living in Paris, where he was influenced by the work of Debussy and other French contemporaries. • His best-known work, Danzas fantásticas dates from the period after he returned to Spain. The three dance pieces contained within draw inspiration both from the music of Andalusia and from José Más y Laglera’s 1919 novella La orgía. • Each piece corresponds to a different dance or musical style: the festive jota from the Aragon region of Spain; dreamy, folk-flavored sounds from the Basque region; and the flamenco tradition. MANUEL DE FALLA Suite from El sombrero de tres picos ( The Three-Cornered Hat) • Like Lalo, Spanish composer Falla spent time in Paris, where he absorbed French musical developments and became associated with Debussy and Ravel. He also had an interest in the music of his native Andalusia. • This piece evolved out of Falla’s association with the Russian ballet impresario Serge Diaghilev, who had expressed interest in the composer’s Nights in the Gardens of Spain. The project that came to fruition, however, was El sombrero de tres picos, based on an 1874 novella by Pedro Antonio de Alarcón. • The narrative tells of a miller and his wife, who bring down the pompous town magistrate after he tries to seduce the miller’s wife. As with other works on this program, the piece effectively evokes the sounds and spirit of Spain, drawing on styles from Andalusia and Aragon, as well as the flamenco, fandango and Roma styles. 34 MARCH 2019 NIKOLAI ANDREYEVICH RIMSKY-KORSAKOV Composed: 1887 Born in Tikhvin, near the First performance: November 12, 1887, with the Russian city of Novgorod, composer conducting the Saint Petersburg Imperial on March 18, 1844; Opera Orchestra died at his estate in Lyubensk (c. 90 miles south of Saint First Nashville Symphony performance: CLASSICAL Petersburg) on June 21, 1908 February 11, 1947, with Music Director William Strickland Estimated length: 15 minutes Capriccio espagnol, Op. 34 or his program guest-conducting the and Wagner. This attitude opened him up to the FNashville Symphony, Miguel Harth-Bedoya countless lessons he could learn about the art of turns our attention to music inspired by the orchestration, for example. colors, rhythms and vitality of Spanish music — Ultimately, the skill of knowing how to juxtaposing a pair of composers born in Spain pinpoint the riches of folkloric dance and melody with a Frenchman and a Russian, each respectively and adapt them artistically — a skill that should be channeling the irresistible dance impulses and distinguished from “cultural appropriation” — was lyricism associated with the Iberian Peninsula. one that Rimsky-Korsakov could readily transfer Each of them employs the resources of the from Russian sources to other cultures. As a young orchestra to intensify these local flavors. composer, he had a parallel career in the Russian In fact, Nikolai Rimsky-Korsakov, who is navy, which gave him far-ranging experiences as celebrated as a magician of orchestral painting, a traveler — including, in his early 20s, a voyage wrote a still-valued textbook on effectively to America that included a stop for a few days on utilizing this collective of musicians (Principles the coast in Northwest Spain. of Orchestration) — and passed along secrets A couple of decades later, in 1887, after of the trade to such students as Igor Stravinsky. Rimsky-Korsakov had started on a project to When he emerged in the second half of the 19th complete orchestration of the opera Prince Igor century, his fellow Russian composers were by his recently deceased colleague Alexander pushing to cultivate a distinctly Slavic brand of Borodin, he took a break and reset his compass by music. Not surprisingly, this often meant seeking composing the Capriccio espagnol. His initial plan inspiration from folk sources — melodies, dance was to craft a violin concerto, which accounts for rhythms and the like — but it also involved an the prominent role of violin solos, especially in us-versus-them attitude. At its most extreme, this the fourth movement. The musical term “capriccio” Russian musical nationalism entailed rejecting connotes images of virtuosity and fantasy, and, Western models and technical polish. as the piece took shape, the Capriccio came to The young Rimsky-Korsakov became allied include many solo passages for other instruments with this movement. So how did one of his most as well. popular compositions turn out to be a vivid evocation of the spirit of Spanish music? (A fiesta WHAT TO LISTEN FOR of color, it is also remarkably refined in orchestral technique.) n addition to the Spanish associations Rimsky- For one thing, Mikhail Glinka, a pioneering I Korsakov elicits, the Capriccio espagnol can Russian composer from an earlier generation, be enjoyed as a crash course in the marvelous had written two highly regarded orchestral contrasts and combinations of sound that a pieces inspired by Spanish musical imagery. In brilliant orchestrator can implement. It was an addition to this precedent, Rimsky-Korsakov instant success. Even the players to whom Rimsky- refused to tether himself to ideological constraints Korsakov introduced (and dedicated) the fresh and was keen to learn from the experiments of score broke out in applause over the pleasure forward-looking Western composers like Liszt it gave them to play at the first rehearsal, and INCONCERT 35 it quickly won praise precisely for that quality. and lays out five variations on the reflective The composer even ended up grumbling a bit, melody first heard in the horns. CLASSICAL making the contrarian point that the Capriccio’s The second larger section, nearly cinematic in reputation as “a magnificently orchestrated piece is the way it alternates solo close-ups with a wide shot wrong” — by which he seems to have meant that of the full ensemble, depicts a “Scene and Gypsy the instrumentation should not be approached Song” in five fantasia treatments of the material as mere surface ornament, but as an essential (suggesting a nice parallel to the five variations). embodiment of his musical thought. These end with a full-scale outburst of orchestral Cast in five brief movements divided among sonority that sets the tone for the dance-oriented two larger sections, the Capriccio begins with a final movement (Fandango asturiano). Based on a lively, fanfare-like “morning song” (Alborada). This high-energy dance theme from the northwestern music is repeated in the third movement — but region the composer had visited, the finale not quite verbatim. Rimsky-Korsakov shifts the key also throws backward glances at the Capriccio’s up a half-step and reassigns his instrumentation, earlier themes as it whirls toward its finish with which makes for a fascinating comparison of thrilling energy. how the “same” music can give off a notably different flavor and scent: notice the more
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