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Depaul Symphony Orchestra Cliff Colnot, Conductor Alina Kobialka, Violin Saturday, April 22, 2017 • 8:00 P.M. DEPAUL SYMPHONY ORCHESTRA Cliff Colnot, conductor Alina Kobialka, violin DePaul Concert Hall 800 West Belden Avenue • Chicago Saturday, April 22, 2017 • 8:00 P.M. DePaul Concert Hall DEPAUL SYMPHONY ORCHESTRA Cliff Colnot, conductor Alina Kobialka, violin PROGRAM Jean Sibelius (1865-1957) Violin Concerto, Op. 47 (1904/1905) Allegro moderato Adagio di molto Allegro, ma non tanto Alina Kobialka, violin DePaul Concerto Competition Winner 2016 Paul Hindemith (1895-1963) Symphonic Metamorphosis on Themes by Carl Maria von Weber (1944) Allegro Turandot: Scherzo Andantino Marsch DEPAUL SYMPHONY ORCHESTRA • APRIL 22, 2017 PROGRAM NOTES Jean Sibelius (1865-1957) Violin Concerto in D Minor for Violin and Orchestra (1904/1905) Duration: 35 minutes As a young man, Jean Sibelius dreamed of becoming a violin virtuoso. Born in the small town of Hämeenlinna in southern Finland, he began violin lessons at age 14 before entering the Music Conservatory in Helsinki. His ambition of becoming a violinist never came to fruition, but fortunately for the classical music world, Sibelius set his sights on composition. With early landmark pieces such as Kullerva and Finlandia, Sibelius was immediately recognized as an icon of Romantic and Finnish National music. Known for his symphonic works, Sibelius composed only one concerto throughout his career. It happens to be the most frequently recorded and performed violin concerto of the 20th century. Sibelius’ first reference to his violin concerto was in 1890, nearly 15 years before its completion. He wrote in a letter from Vienna, “yesterday I saw Don Giovanni at the opera, and as usual I composed afterwards until four o’clock in the morning… I made a sketch for a violin concerto.” In the summer of 1902, Sibelius encountered famous violinist Willy Burmester in Berlin, which may have been the catalyst for his completion of the concerto. That September, Sibelius wrote to his wife Aino: “I have got some marvelous themes for a violin concerto.” Despite plans for the first performance of the concerto to feature Burmester, logistical difficulties and perhaps Sibelius’ own envy led to a premiere in Helsinki by Viktor Nováček, a violinist of modest talent; Sibelius himself conducted. This premiere in 1904 was a flop, and Sibelius vowed “I will withdraw my concerto; it will appear only after two years.” Less than a year later, the revision was complete. The initial version had an additional cadenza at the end of the first movement, Bach-like in nature and not connected with the work as a whole. The final version does nothing extraneous, and also gives the orchestra more significance than previously composed violin concertos. There is contrast in the piece between Sibelius’ structured symphonic scoring and his virtuosic writing for solo violin. It makes for an electrifying tension between the soloist and orchestra throughout the concerto. Richard Strauss conducted the revised work in 1905 with the Berlin Court Orchestra and the orchestra’s concertmaster as soloist. The Berlin premiere was a success, and in the decades to follow the piece would continue to grow in popularity. The work reached international fame when Jascha Heifetz recorded it in the 1930s. The opening movement (Allegro moderato) is longer than the latter two combined, and requires powerful, dramatic playing from the soloist. It follows the general rules of sonata form, including an exposition or statement, development, and DEPAUL SYMPHONY ORCHESTRA • APRIL 22, 2017 PROGRAM NOTES recapitulation. Sibelius, however, takes some personal liberties. The movement starts with an atmospheric throbbing motive played by softly muted strings in D minor. The soloist comes in immediately with an expressive melody, declaring a strong-willed individualism and virtuosic capability. The violin ends the first theme with a short cadenza, and the bassoons and cellos lead the way to the next theme and new key-area. Strings and woodwinds chime in with a third theme leading to the soloist’s brilliant cadenza which takes the place of a development section. Movement two (Adagio di molto) is relaxed and lyrical in contrast to the intense, emotionally charged first movement. Inquisitive lines from the woodwinds begin the movement. The soloist enters, playing a Romantic theme which is accompanied by horns and woodwinds. The movement builds up to an exhilarating motive in the orchestra, but reflectively returns to its more somber, quiet state with delicate musings from the violinist. Music critic Donald Tovey referred to movement three as “a polonaise for polar bears.” The dazzling Allegro, ma non tanto begins with an energetic rhythmic motive in the timpani and low strings. A dance-like syncopated melody is played by the orchestra and imitated by the soloist, who adds virtuosic commentary. Nearly every virtuoso trick in the book is utilized in this movement. The jolly movement switches back and forth between D major and D minor, adding musical interest and again playing with two subjects—the solo voice of the violin versus the orchestra. The soloist demonstrates musical fireworks up until the last moments of the piece. Perhaps Sibelius was vicariously living out his violin virtuoso dream through his own Violin Concerto. Notes by Marisa Buchheit, soprano M.M. Candidate ‘18 in Vocal Performance Paul Hindemith (1895-1963) Symphonic Metamorphosis on Themes by Carl Maria von Weber (1944) Duration: 20 minutes Prior to scoring the first notes of Symphonic Metamorphosis on Themes by Carl Maria von Weber, Paul Hindemith’s life was in turmoil. Germany’s newly elected National Socialists Party saw Hindemith’s music as “cultural Bolshevism” and banned his works from being performed. With colleagues losing their orchestra jobs and few avenues to perform and write, Hindemith took jobs abroad, as a musical adviser to the Turkish government in 1935, before leaving Europe all together, emigrating to the United States in February of 1940. It is here that the first inspirational flame for Symphonic Metamorphosis ignited. In March of 1940, a choreographer and dancer named Léonid Massine approached Hindemith about composing music based on select themes and movements from Carl Weber’s piano duets for a ballet. Hindemith had written a 6-scene ballet called DEPAUL SYMPHONY ORCHESTRA • APRIL 22, 2017 PROGRAM NOTES Nobilissima Visione for Massine 2 years prior and agreed to sketch out what were to become the first and third movements of the Symphonic Metamorphosis. This new ballet never materialized, however, after Hindemith and Massine had many disagreements on style. This setback did not entirely snuff out Hindemith’s musical flame: in 1943 Hindemith revisited his work, this time for orchestra, inspired by the popularity his music gained among the American orchestras. Symphonic Metamorphosis on Themes by Carl Maria von Weber is a four- movement suite based on melodies from Carl Weber’s obscure Eight Pieces for Piano Forte, Six Pieces for Piano Duet, and music he wrote for a Carlo Gozzi play, Turandot. These simple duets transform into dramatic, magnificent movements taking on much more complexity than the original themes. Opening the work is the Allegro, which starts with powerful string passages, answered by sinister winds. Complementing these phrases is the march-like tempo and style. The contrasting section that follows showcases delicate, whimsical woodwind phrases with an equally light string section in the background. The orchestra transitions back for a formidable final section of the first movement. “Turandot” (Scherzo), the second movement, starts more solemn than the previous movement, with the initial theme played gracefully on solo flute. This simplistic folk-like melody is passed around from instrument to instrument, then section to section as a sort of imitative fugue. Like banter among close friends, each time the theme is played it gains virtuosity and complexity, outdoing the previous set of instruments. This continues until a new, syncopated fugue starts in the low brass. The movement continues to grow, unfolding into a percussion feature before trailing off into the distance with a diminuendo and final chord. The third movement, Andantino, showcases Hindemith’s tender side and expressive use of harmonies and textures within the orchestra to deliver a charming yet somber tune. Featuring dramatic petite solos as well as some elaborate solo flute work, the eloquent melody floats among instruments and sections like autumn leaves blowing across a cobblestone street. The melancholy sounds are a satisfying contrast to the powerful first and final movements. The fourth and final movement,Marsch , is an authoritative-sounding march with iconic brass fanfares and stately, yet ominous, melodies played by the woodwinds. The beginning of the piece plays out as a clash between two grand armies, each marching towards the battlefield trudging through swamps and marshes towards demise or victory. The French horns sing a regal counter melody halfway through the movement which is developed through the different instrumental sections slowly transitioning back to the initial theme of this movement. During the final recapitulation of the subject, the two themes are shouted at each other by the orchestra drawing to a magnificent end. Notes by Dan Burke, saxophone M.M. Candidate ‘18 in Jazz Studies DEPAUL SYMPHONY ORCHESTRA • APRIL 22, 2017 BIOGRAPHIES In the past decade Cliff Colnot has emerged as a distinguished conductor and a musician of uncommon range. One of few musicians to have studied orchestral repertoire with Daniel Barenboim, Colnot has served as assistant conductor for Barenboim’s West- Eastern Divan Workshops for young musicians from Israel, Egypt, Syria, and other Middle Eastern countries. Colnot has also worked extensively with the late Pierre Boulez and served as assistant conductor to Boulez at the Lucerne Festival Academy. He regularly conducts the International Contemporary Ensemble (ICE), with whom he recorded Richard Wernick’s The Name of the Game for Bridge Records, and he collaborates with the internationally acclaimed contemporary music ensemble eighth blackbird.
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