Program

One hunDreD TwenTy-FirST SeASOn Chicago Symphony 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, April 5, 2012, at 8:00 Friday, April 6, 2012, at 1:30 Saturday, April 7, 2012, at 8:00 Tuesday, April 10, 2012, at 7:30 Charles Dutoit Conductor John Sharp Charles Pikler Nikolai Lugansky Piano Strauss , Op. 35 JOhn ShArP ChArleS Pikler

INtermISSIoN rachmaninov Piano Concerto no. 3 in D Minor, Op. 30 Allegro ma non tanto Finale nikOlAi lugAnSky

These concerts are endowed in part by the Kirkland & Ellis LLP Concert Fund. The appearance of Nikolai Lugansky is endowed in part by the John Ward Seabury Distinguished Soloist Fund. 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

Born June 11, 1864, Munich, Germany. Died September 8, 1949, Garmisch-Partenkirchen, Bavaria.

Don Quixote, op. 35

ew works of art have been so play by Manuel de Falla; and Fplundered through the ages as the Broadway hit, Man of La Cervantes’s vast and great novel, Mancha—each of them proving Don Quixote. It has been danced, the indestructibility of Cervantes’s painted, and it is the subject of words. Arguably the most success- other literary works. (A “sequel” ful of all the musical adaptations is was published by another writer in that by Richard Strauss, written at 1614, before Cervantes had even the height of his great outpouring finished his own tale.) Musicians, of orchestral dur- too, were fascinated by the ing the last decade of the nine- subject—Purcell and Telemann teenth century. both wrote suites; Paisiello and It is hard to imagine men more Salieri produced operas, as did different than Cervantes and Donizetti and Mendelssohn in the Strauss. early nineteenth century. More Saavedra, born into poverty in 1547, recent efforts include Massenet’s knew domestic troubles, financial opera ; a puppet struggle, and physical hardships all

ComPoSeD moSt reCeNt INStrumeNtatIoN 1897 CSo PerFormaNCeS two flutes and piccolo, two May 28, 1991, Orchestra and english horn, two FIrSt PerFormaNCe hall. John Sharp, cello; , bass and March 8, 1898, Cologne, Charles Pikler, viola; Daniel e-flat clarinet, three bas- germany barenboim conducting soons and , six horns, three , July 2, 2005, ravinia FIrSt CSo three , two , Festival. John Sharp, cello; PerFormaNCe , , bass Charles Pikler, viola; James January 6, 1899 (u. S. pre- drum, , triangle, Conlon conducting miere), Auditorium Theatre. glockenspiel, , bruno Steindel and Franz CSo reCorDINgS , harp, strings esser, soloists; Theodore 1959. Antonio Janigro, cello; Thomas conducting aPProxImate Milton Preves, viola; Fritz PerFormaNCe tIme reiner conducting. rCA 40 minutes 1991. John Sharp, cello; Charles Pikler, viola; conducting. erato

2 his life. He fought many battles—at of Cervantes’s enormous canvas in home, as a soldier, and as an artist; forty minutes of music, even though his left hand was permanently his writing is faithful, detailed, and maimed in combat; he was cap- painstakingly descriptive. Strauss tured by pirates and incarcerated admits his solution in the subtitle: in Algeria; he later worked as a tax collector and was imprisoned once again, this time for fraud. It was in prison, and near the end of his life, that he began Don Quixote, and although it was widely read upon publication in 1605 (part 2 was published in 1615), Cervantes died virtually penniless. Three centuries later, Richard Strauss was born into a vastly different world; he enjoyed a carefree, storybook childhood; married well; and led a charmed Don Quixote life. His works were acclaimed early on and made a lot of money. He spent his days writing music not Tondichtung, or tone poem, as and playing cards with friends; for one would expect in 1897, after most of his life, he lived in the villa several brilliant works in that form he built with the royalties from his ( was com- opera . During the war, he posed just the previous year)—but simply shut the door. “Fantastic variations on a theme of And yet, Cervantes and Strauss knightly character.” Strauss’s Don found their common ground in the Quixote, then, is not a hasty tour tale of Don Quixote. Strauss knew of the novel, but instead a study little of battle—or windmills, for in character—both that of Don that matter—but he was himself Quixote and his companion Sancho a prodigious dreamer and a great Panza. And in this way, Strauss idealist. And so he understood brings Don Quixote brilliantly something of Don Quixote’s and unforgettably to life, if only makeup. And, despite his shel- for the time it would take to read tered life, he was a keen observer the first few of Cervantes’s many of human nature, and one of his hundred pages. Don Quixote is an great strengths was his ability to essay in portraiture, as is Strauss’s denote character in music. In this subsequent , the work, that talent raised music that explicitly autobiographical Ein might have been merely pictur- Heldenleben. (Strauss originally esque to a work of consequence, hoped the two works would be even greatness. premiered together, still insist- There is, of course, no way ing at the end of his life that they Strauss could convey the richness were companion pieces, each fully

3 understandable only at the side of simply windmills turning in the the other.) breeze. He falls to the ground with a crash. he music begins with Don consoles him. TQuixote, “a gentleman verging Variation 2: Envisioning a on fifty,” according to Cervantes, mighty army behind a cloud of and, as depicted in Strauss’s music, dust, Don Quixote charges straight a man who is both chivalrous into a flock of sheep, whose bleat- and courteous. We first find Don ing is one of the most celebrated Quixote pouring through his books pieces of pictorial orchestral writing on knighthood. As his dreams in all music (wind and brass players begin to take wing, the music soars flutter-tongue through a succession and struggles; there are battles of minor seconds). Don Quixote to be won and love to find. (The scatters the flock without incident. introduces the image of the (In the novel, he loses his teeth and stunning Dulcinea.) Quixote’s breaks two ribs.) ideas come faster and grow larger; Variation 3, in Strauss’s words, Strauss’s music encompasses them presents “Sancho’s conversations, all, creating an amazing musi- questions, demands, and proverbs; cal labyrinth unprecedented in Don Quixote’s instructing, appeas- nineteenth-century music. (His col- ings, and promises.” There also is a league Max Reger said: “It is fabu- long, lyrical speech from Quixote, lous what the man writes there!”) filled with dreams of hope and Finally the music halts, just on the glory. Sancho Panza tries to restore brink of excess, and Quixote, his reason. Incensed, Quixote sails off mind now aflame, stands before us. into variation 4, where he attacks Cervantes’s character, “lean-bodied, a procession of penitents chant- thin-faced, a great early riser, and ing and carrying a statue of the a lover of hunting” now speaks Madonna. (He mistakes them for with the voice of a solo cello—it outlaws abducting a beautiful girl.) is one of the richest roles in all He is knocked to the ground and music. Sancho Panza is here, too: lies there prostrate—a loud, low a country bumpkin, who, as played sustained D in the strings. Sancho by solo viola, chatters endlessly revives him. and reveals a passion for tiresome Sancho Panza now falls asleep— proverbs—splendid but earthbound attentive listeners may catch his phrases uttered as if they were great first snores—while Don Quixote soaring Straussian melodies. begins an extended rhapsody on Now come the adventures, a knighthood, crowned by a vision of series of ten variations on these Dulcinea (variation 5). There is no themes. Variation 1 is the familiar action—only moonlight, the sound battle with the windmill. Don of the night wind coming up, and Quixote and Sancho Panza set off the music of dreams. Variation 6 together; Don Quixote attacks comes as a rude awakening, with monstrous giants that are, in fact, the image of Dulcinea shattered

4 by a loud, common girl playing (large pizzicato drops)—and offer castanets. In variation 7, Quixote a hushed prayer of thanks for and Sancho sit blindfolded, astride their lives. In variation 9, Quixote a toy horse, while the sound of attacks two unaccompanied bas- great, rushing winds argue that soons, mistaking them for a pair of they are, in fact, airborne. (The Benedictine monks riding mules, wind machine contributes a mar- and then fights one last battle velous special effect here, as it does (variation 10) with the Knight of in works as disparate as Daphnis the White Moon—a seriously one- and Chloe and Vaughan Williams’s sided fight, with the solo cello pit- Sinfonia antartica.) ted against the full winds and brass, Variation 8: The two get into before beginning his pathetic, a boat at the shore near danger- heartbreaking journey home. In ous water—Strauss writes a rocky the finale, Don Quixote takes to barcarolle—where giant mill his bed, reflecting on the madness wheels eventually capsize their of his adventures and the wisdom craft. The two men emerge— and folly of both his dreams and his drenched, dripping, and shaking defeats. He dies over his cello.

Symphony Center Information

The use of still or video cameras Please turn off or silence all and recording devices is prohibited personal electronic devices in Orchestra Hall. (pagers, watches, telephones, digital assistants). Latecomers will be seated during designated program pauses. Please note that symphony Center PLease nOTe: some programs is a smoke-free environment. do not allow for latecomers to be seated in the hall. Your cooperation is greatly appreciated. Please use perfume, cologne, and all other scented products sparingly, as many patrons are sensitive to fragrance.

Note: Fire exits are located on all levels and are for emergency use only. The lighted exit sign nearest your seat is the shortest route outdoors. Please walk—do not run—to your exit and do not use elevators for emergency exit. Volunteer ushers provided by The Saints—Volunteers for the Performing Arts (www.saintschicago.org)

5 Sergei rachmaninov Born April 1, 1873, Semyonovo, Russia. Died March 28, 1943, Beverly Hills, California.

Piano Concerto No. 3 in D minor, op. 30

lthough Rachmaninov’s music later, Stravinsky called him “a six- Ais sometimes confused with and-a-half-foot-tall scowl.” the treacly romanticism of the Rachmaninov would have Hollywood soundtracks it once become famous if he had done inspired, Rachmaninov himself was nothing but concertize. But his a serious and aristocratic artist. He true aspiration was to become was one of the greatest pianists in a composer. At the Moscow history—an astonishing virtuoso in Conservatory, his teacher Nikolai the heroic tradition of Liszt—but Zverev encouraged him to stick to there was nothing flashy about his the piano instead of writing music, stage manner. Rachmaninov was but Rachmaninov tried his hand at surprisingly somber and remote composing some piano pieces and for a crowd-pleasing superstar. He an orchestral scherzo, and he even rarely smiled or courted the audi- started an opera, Esmerelda. Unable ence, and even his close-cropped to choose between composition haircut, of a kind that is ubiquitous and performance, Rachmaninov today but was highly suspect at the ultimately decided to pursue both, time (like that of a convict, as the eventually becoming a fine conduc- Russian bass Fyodor Chaliapin tor as well. In 1889, the year he and said) suggested a stern presence. Zverev parted ways, he sketched (Chaliapin also scolded him for and abandoned a piano concerto, his curt, peremptory bows.) Much but the one he began the following

ComPoSeD Later CSo PerFor- INStrumeNtatIoN 1909 maNCeS wIth the solo piano, two flutes, two ComPoSer aS SoLo ISt oboes, two clarinets, two FIrSt PerFormaNCe January 14 and 15, 1932, , four horns, two november 28, 1909, new Orchestra hall. Frederick trumpets, three trombones york City. The composer Stock conducting and , timpani, side as soloist drum, cymbals, bass moSt reCeNt drum, strings FIrSt CSo CSo PerFormaNCe PerFormaNCe October 21, 2008, Orchestra CSo reCorDINg January 23, 1920, Orchestra hall. yefim bronfman, piano; 1967. Alexis weissenberg, hall. The composer neeme Järvi conducting piano; georges Prêtre as soloist; Frederick conducting. rCA Stock conducting aPProxImate PerFormaNCe tIme 44 minutes

6 year is his first major work—his was outstanding.” The New York op. 1. This is the score that made Herald, somewhat half-heartedly, his name as a composer, and it was called the work one of the “most completed in a rush of passion and interesting piano concertos of elation, with Rachmaninov work- recent years,” but noted that “its ing from five in the morning until great length and extreme difficul- eight in the evening and scoring the ties bar it from performances by any last two movements in just two and but pianists of exceptional technical a half days. It would be ten years, powers”—an assessment that still however, before Rachmaninov holds today. (Rachmaninov played would finish his Second Piano the concerto when he appeared Concerto, which quickly became with the Chicago Symphony for the his greatest hit and his calling card. second time, in January 1920.) He played it with the Chicago Although in 1909, Rachmaninov Symphony when he made his debut was known as one of the great in Orchestra Hall, on December 3, piano virtuosos, he began his new 1909—the first of his eight appear- concerto not with solo fireworks, ances with the Orchestra. but with almost Mozartean clarity Although Chicago didn’t and understatement—a discreet get to hear it that year, by then accompaniment to which the Rachmaninov had written a third piano adds a quiet, simple melody piano concerto, tailor-made for his in bare octaves. It’s as plain and first North American tour in late haunting as chant, and although 1909. Rachmaninov introduced the Rachmaninov told musicologist work in New York on November Joseph Yasser that the theme came 28, with Walter Damrosch and the to him “ready-made,” Yasser wasn’t New York Symphony. He played it surprised when he later discovered a there again in January, with Gustav strikingly similar Russian liturgical Mahler conducting the New York melody. Rachmaninov said that Philharmonic (only weeks after he thought of the piano theme as Mahler’s own First Symphony, in a kind of song, and he took pains its American premiere, was a flop). to find an accompaniment “that Rachmaninov was bowled over would not muffle this singing.” by Mahler’s meticulous rehearsal (He was understandably delighted method—“the accompaniment,” with the care Mahler lavished on Rachmaninov recalled, “which is the orchestral part.) As the move- rather complicated, had been prac- ment progresses, both melody and ticed to the point of perfection”— accompaniment are explored and by his attention to detail, and by developed at length, as is a lyrical his refusal to stop working until second theme. The climax of the he was satisfied (rehearsal ran an movement is the magnificent solo hour overtime). The New York Times cadenza, as long and tough as any thought Rachmaninov’s playing in the repertory, which takes the occasionally lacked brilliance, but place of a formal recapitulation. that “the orchestral accompaniment (The piano writing is so symphonic,

7 complex, and multifaceted that we playing the piano, conducting, and barely notice that the orchestra has composing, he had spread himself temporarily dropped out.) too thin. “I have chased three In the middle-movement hares,” he once said. “Can I be Intermezzo—a curiously certain that I have captured one?” “light” title for music so big and For many years, Rachmaninov’s involved—the piano’s entrance is stature as a pianist was undisputed. both unmistakable and disruptive, But by the time of his death in 1943 for it takes control with its first (he appeared with the Chicago phrase and leads the music in new Symphony for the last time just directions (eventually settling in six weeks before he died), he had D-flat, an unexpected destina- been written off as an old-fashioned tion for a concerto in D minor). composer—hopelessly sentimental, A “new” waltz theme, introduced out of touch, and irrelevant. As by the clarinet and over Virgil Thomson told the young fancy piano filigree, is a cleverly playwright Edward Albee in 1948, disguised version—almost note for “It is really extraordinary, after all, note—of the concerto’s monastic that a composer so famous should opening melody. have enjoyed so little the esteem of The finale, which begins fully his fellow composers.” The sac- formed while the Intermezzo is still rosanct Grove Dictionary of Music finishing up, is the kind of virtuoso and Musicians, in its fifth edition, tour de force Rachmaninov’s fans concluded its dismal appraisal of expected in 1909 and courageous his output: “The enormous popular pianists still love delivering today. success some few of Rachmaninov’s It’s also richly inventive, with a works had in his lifetime is not fantastic, playful scherzando (in likely to last and musicians never E-flat!) as a mid-movement diver- regarded it with much favor.” But in sion. The ending, predictably, is the past few years, his star has been designed to test the limits of virtu- on the rise. Now, as Rachmaninov osity and bring down the house. always hoped, it is his music and not his piano playing that keeps his hroughout Rachmaninov’s life, name alive. Tit was fashionable—if not, in fact, honorable in progressive music circles—to disparage his music. Rachmaninov had always worried Phillip Huscher is the program annota- © 2012 Chicago Symphony Orchestra © 2012 Chicago that by splitting his time between tor for the Chicago Symphony Orchestra.

8