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Monday, May 30, 2011 8:00 P.M. New York Philharmonic Memorial Day

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Monday, May 30, 2011 8:00 P.M. New York Philharmonic Memorial Day 05-30 Memorial Day:Layout 1 5/12/11 2:44 PM Page 27 Monday, May 30, 2011 8:00 p .m. New York Philharmonic Memorial Day Concert Presented by the Anna-Maria and Stephen Kellen Foundation Alan Gilbert, Conductor at The Cathedral Church of Saint John the Divine 1047 Amsterdam Avenue (at 112th Street) New York City www.stjohndivine.org May 2011 27 05-30 Memorial Day:Layout 1 5/12/11 2:44 PM Page 28 Enter the Cathedral Liturgy and Art, Discourse , and Advocacy People from many faiths and communities worship together in services held more than 30 times each week; the soup kitchen serves approximately 24,000 meals annually; so - cial service outreach has an increasingly varied roster of programs; the distinguished Cathedral School prepares young students to be future leaders; the renowned after- school and summer programs offer nurturing activities; some of the world ’s most exqui - site tapestries are preserved in the Textile Conservation Lab; concerts, performances , and civic gatherings allow conversation, celebration, reflection , and remembrance — such is the joyfully busy life of this beloved and venerated Cathedral. Summer at the Cathedral Please visit www.stjohndivine.org for information about the rich concerts , perform - ances , talks , services , and celebrations taking place all summer long. Highlights in - clude weekly guided visits with Cathedral historians, Summer Solstice with Paul Winter and Consort, organ recitals, evenings in the garden with Ralph Lee and the Mettawee River Theatre Company , and performances by I Giullari di Piazza with Alesandra Belloni. The Cathedral appreciates the generosity of the Florence Gould Foundation, the New York City Department of Cultural Affairs, the National Endowment for the Arts, Dr. Leslie D. Johnson, and the many friends and supporters who make programs and events related to art and civic en - gagement possible. Piano courtesy of Yamaha Artist Services. The Very Reverend Dr. James A. Kowalski, Dean The Cathedral Church of Saint John the Divine Cathedral Productions Kenneth S. Williams, Manager, Kristopher Keeley, Production Electrician Cathedral Productions Richard Maldonado, Lighting Designer Alejandro Catubig, House Manager Stage and Rigging by Sapsis Rigging Bonelys Rosado, Production Carpenter Audio by Audible Differences New York Philharmonic 05-30 Memorial Day:Layout 1 5/12/11 2:44 PM Page 29 MEMORIAL DAY CONCERT Presented by the Anna-Maria and Stephen Kellen Foundation Monday , May 30 , 2011, 8:00 p.m . 15,199 th Concert Alan Gilbert, Conductor Global Sponsor Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair . Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic. Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs , New York State Council on the Arts , and the National Endowment for the Arts . Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund . Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall. This concert will last approximately one hour; there will be no intermission. Exclusive Timepiece of the New York Philharmonic May 2011 05-30 Memorial Day:Layout 1 5/12/11 2:44 PM Page 30 New York Philharmonic Alan Gilbert, Conductor BARBER Adagio for Strings (1936/38) * (1910–81) BEETHOVEN Symphony No. 3 in E-flat major, Op. 55, (1770–1827) Sinfonia eroica (1802–04) * Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto — Poco andante — Presto THIS CONCERT WILL BE PERFORMED WITHOUT AN INTERMISSION. *Recorded by the New York Philharmonic and The New York Philharmonic This Week, nationally currently available syndicated on the WFMT Radio Network, is broadcast 52 weeks per year. Radio schedule The New York Philharmonic’s recording series, subject to change; for updated information visit Alan Gilbert and the New York Philharmonic: nyphil.org. 2010 –11 Season, is available through iTunes via an iTunes Pass. For more information, visit In consideration of both the artists and the audi - nyphil.org/itunes. ence, please be sure that your cell phones and paging devices have been set to remain silent. Other New York Philharmonic recordings are available on all major online music stores as The photography, sound recording, or videotaping well as on major labels and the New York of these performances is prohibited. Philharmonic’s own series. New York Philharmonic 05-30 Memorial Day:Layout 1 5/12/11 2:44 PM Page 31 Notes on the Program By James M. Keller, Program Annotator Adagio for Strings however, seemed perfectly crafted right from Samuel Barber the sta rt. It is unquestionably the heart of the work even though its materials are slight . A Samuel Barber made substantial musical con - very slow and extended melody is built from tributions in the realm of songs, stage music, stepwise intervals ; slightly varied in its nu - orchestral works, and piano solos, but he merous repetitions, uncoiling over (or in the wrote little in the way of chamber music. Small midst of) sustained chords that change with though that chapter of his catalogue is, it con - note-by-note reluctance, all of it building into tains one of the most beloved compositions a powerful climax at the high end of the in - in all of American music : the slow movement struments’ range and then quickly receding that stands at the heart of his String Quartet, to the contemplative quietude that defines Op. 11 (1936) , which he recast two years this musical expanse. later as his Adagio for Strings. As its opus An analysis of this movement reveals little number suggests, Barber’s String Quartet that qualifies as truly remarkable — nothing, was an early work; the composer wrote it surely, that easily explains the emotional wal - during his travels in Italy and Austria. Before lop it packs. It is indeed “a knockout,” and he arrived in the latter country, Barber alerted it rose to superstardom when Barber Orlando Cole, the cellist of the Curtis String arranged it as his stand-alone Adagio for Quartet, that the work was in the offing. By Strings for five-part string orchestra (two vi - the end of August 1936 he told Cole that olin, two viola, and cello sections), which was the piece would not be ready in time for first heard in 1938, in a broadcast by Arturo them to prepare it for their upcoming Euro - Toscanini and the NBC Symphony. In 1960 pean tour. At least some of the piece was Barber recalled: moving ahead, however, and on September 19 In Short Barber wrote to Cole: “I have just finished the slow Born: March 9, 1910, in West Chester, Pennsylvania movement of my quartet Died : January 23, 1981, in New York City today — it is a knockout! Now for a Finale .” Work composed: in 1936 as the slow movement of his String Quartet, Op. 11; Various delays contin - recast in 1938 as this stand-alone work ued to beset the quartet; World premiere: November 5, 1938, Arturo Toscanini conducting the NBC for one thing, Barber Symphony Orchestra continued to re-write its New York Philharmonic premiere: June 28, 1939, Massimo Freccia, conductor Finale for several years until the work was even - Most recent New York Philharmonic performance: October 10, 2009, Alan Gilbert, conductor, at Suntory Hall, Tokyo, Japan tually published in 1943. The slow movement, Estimated duration: ca. 8 minutes May 2011 05-30 Memorial Day:Layout 1 5/12/11 2:44 PM Page 32 Imagine! [William] Primrose was the first ap plauding the special qualities of Barber’s violist then, and Alfred Wallenstein was the Adagio. In a 1982 BBC broadcast, Aaron principal cellist. Wallenstein has always Copland declared: said to me that he felt this was one of Toscanini’s greatest performances. What It’s really well felt, it’s believable, you see, luck for a young composer to have such a it’s not phoney. … It comes straight from first performance! the heart, to use old-fashioned terms. The sense of continuity, the steadiness of the Toscanini included the Adagio for Strings flow, the satisfaction of the arch that it cre - in his European and South American tour ates from beginning to end. They’re all very programs, which sparked a debate among gratifying, satisfying, and it makes you be - aesthetes over the merits of modernist vs. lieve in the sincerity which he obviously put retrograde musical styles, with Barber being into it. deemed to represent the latter. Although the argument was interesting, the question was The late William Schuman — not only a dis - moot : Barber’s Adagio for Strings promptly tinguished composer but also for many years became an icon of American music. Particu - the president of The Juilliard School — said in larly associated with grief-laden situations, it the same broadcast: was played at the state funerals of two Amer - ican presidents — Franklin D. Roosevelt (in It’s so precise emotionally. The emotional 1945) and John F. Kennedy (in 1963) — and in climate is never left in doubt. It begins, 1986 it contributed to the heart-wrench ing it reaches its climax, it makes its point, and im pact of Oliver Stone’s film Platoon . it goes away. For me it’s never a warhorse; A variety of composers, even those who when I hear it played I’m always moved by it. would themselves be cited as more avant-garde voices in American music , had no trou ble Instrumentation: strings only. Further Arrangements After transcribing the Adagio of his String Quartet into the orches - tral Adagio for Strings, Barber would go on, in 1967, to adapt it for chorus as a setting of the Agnus Dei text. Beyond that he bestowed his approval on arrangements made for organ by William Strickland, for clarinet choir by Lucien Cailliet, and for woodwind ensemble by John O’Reilly.
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