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Sir Mark Elder Conductor Stephen Hough Piano Liadov Baba-Yaga, Op

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Sir Mark Elder Conductor Stephen Hough Piano Liadov Baba-Yaga, Op Program ONe huNdred TweNTieTh SeASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor emeritus Yo-Yo ma Judson and Joyce green Creative Consultant Thursday, January 6, 2011, at 8:00 Saturday, January 8, 2011, at 8:00 Sir mark Elder Conductor Stephen Hough Piano Liadov Baba-Yaga, Op. 56 Liadov The Enchanted Lake, Op. 62 Tchaikovsky Piano Concerto No. 1 in B-flat Minor, Op. 23 Allegro non troppo e molto maestoso—Allegro con spirito Andantino semplice Allegro con fuoco STePheN hOugh InTErmISSIon Prokofiev Symphony No. 5 in B-flat Major, Op. 100 Andante Allegro moderato Adagio Allegro giocoso Steinway is the official piano of the Chicago Symphony Orchestra. 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 anatoly Liadov Born May 11, 1855, Saint Petersburg, Russia. Died August 28, 1914, Polïnovka, Novgorod district, Russia. Baba-Yaga, op. 56 The Enchanted Lake, op. 62 natoly Liadov is best known for staging the ballet, to fire him from Athe music he didn’t write. He the job. But in fact, Liadov wasn’t regularly surfaces in music histories even Diaghilev’s first choice—the not as the composer of a handful assignment had originally gone to of exquisitely crafted orchestral Nikolai Tcherepnin, who with- pieces, including Baba-Yaga and drew—and he declined Diaghilev’s The Enchanted Lake, but as the man offer from the start, for reasons we who blew his chance to write The may never adequately understand. Firebird, which of course turned Early on, Liadov had earned a out to be a career-making hit for reputation as a slacker. He regularly Igor Stravinsky. According to the cut classes at the Saint Petersburg most familiar—though unsubstan- Conservatory—“he simply could tiated—version, Liadov had only not be bothered,” said Rimsky- just gotten around to buying his Korsakov, who was his teacher and manuscript paper when the first found him “irresponsible.” Sergei installment of the score was due, Prokofiev, who later studied with forcing Sergei Diaghilev, who was Liadov and admired him greatly, Baba-Yaga ComPoSEd moST rECEnT horns, two trumpets, ca. 1891–1904 CSo PErFormanCES three trombones and tuba, April 17, 1942; Orchestra timpani, xylophone, cymbals, FIrST PErFormanCE hall; Frederick Stock bass drum, strings unknown conducting aPProxImaTE August 4, 1990; ravinia FIrST CSo PErFormanCE TImE Festival; Valery gergiev PErFormanCE 3 minutes November 6, 1908; conducting Orchestra hall; Frederick CSo rECordIng InSTrumEnTaTIon Stock conducting A 1941 performance two flutes and piccolo, two conducted by Frederick oboes and english horn, Stock is included in Chicago two clarinets and bass Symphony Orchestra: The clarinet, two bassoons First 100 Years and contrabassoon, four 2 admitted in his memoirs that Liadov, claiming that he was a “Laziness was [his] most remark- charming and cultured man— able feature.” But from the start of his career, Liadov also had drawn attention for the boldness and orchestral brilliance of his compositions. As early as 1873— the time of his first songs, even- tually published as his op. 1— Mussorgsky described him as “a new, unmis- Sergei Diaghilev (left) and Igor Stravinsky, 1921 takable, original, and Russian young talent.” “He always carried books under Igor Stravinsky, who owed his his arm—Maeterlinck, E.T.A. overnight fame to Liadov’s with- Hoffmann, Andersen: he liked drawing, later said he liked Liadov’s tender, fantastical things”—and, music, but that he “could never above all, that he was “the most have written a long and noisy ballet progressive of the musicians of his like The Firebird.” (“He was more generation.” Liadov had champi- relieved than offended, I suspect, oned Stravinsky’s own early works when I accepted the commission,” before others saw his genius, and Stravinsky said.) Throughout his once, in Stravinsky’s presence, he life, Stravinsky was quick to defend defended Scriabin, whose music The Enchanted Lake ComPoSEd FIrST CSo InSTrumEnTaTIon 1909 PErFormanCE three flutes, two oboes, three November 24, 1911; clarinets, two bassoons, four FIrST PErFormanCE Orchestra hall; Frederick horns, timpani, percussion, February 1909; Saint Stock conducting harp, celesta, strings Petersburg, russia moST rECEnT aPProxImaTE CSo PErFormanCE PErFormanCE TImE January 19, 2008; Antonio 7 minutes Pappano conducting 3 had not yet found an audience. and The Enchanted Lake—and they It’s hard to know what Stravinsky clearly demonstrate his mastery, really thought precisely in an art form where of Liadov as Stravinsky made little headway. a composer; Baba-Yaga takes as its subject he wrote the same witchlike character who admiringly of flies on a giant pestle or broomstick his sense of in order to kidnap children that harmony and Mussorgsky had already portrayed instrumental in his Pictures from an Exhibition color, but he for piano. Liadov’s wildly colorful also called rendition rivals Ravel’s famil- him “short- iar orchestral transcription of winded”— Mussorgsky’s piece, which wasn’t that is to say, done for another dozen years. Here, in words that in the span of a mere three minutes, Victor Hartmann’s pencil Stravinsky he establishes an otherworldly sketch, Baba-Yaga’s Hut on Hen’s Legs, could not atmosphere and a vivid sense of which Mussorgsky com- bring him- action and adventure. memorated in Pictures self to use, from an Exhibition. a master of iadov called The Enchanted Lake the minia- La fable-tableau. “How pictur- ture. (This esque it is,” he wrote to a friend, was, after all, the era of the Big “how clear, the multitude of stars Piece: Mahler’s Sixth, Seventh, hovering over the mysteries of and Eighth symphonies; Strauss’s the deep. only nature—cold, Sinfonia domestica; and Schoenberg’s malevolent, and fantastic as a Pelleas and Melisande all date from fairy tale.” Liadov’s music vividly the years Liadov was writing the suggests the serenity and delicate two works performed this week.) shadings of the night scene. “One Liadov’s catalog is slight: several has to feel the change of the colors, songs and piano pieces, a handful of the chiaroscuro, the incessantly choral compositions, and less than changeable stillness and seeming a dozen small works for orchestra. immobility.” It may not be the His most successful compositions music of a composer ideally suited are the three brief descriptive for The Firebird, but as a miniature orchestral pieces based on Russian landscape of unusual intimacy and fairy tales—Baba-Yaga, Kikimora, finesse, it is close to perfection. 4 Piotr Tchaikovsky Born May 7, 1840, Viatka, Russia. Died November 18, 1893, Saint Petersburg, Russia. Piano Concerto no. 1 in B-flat minor, op. 23 n a famously wrong snap judg- him, the composer was greeted Iment, Nikolai Rubinstein said with complete silence. “If only you that Tchaikovsky’s first piano knew,” he later wrote to Nadezhda concerto—a concerto the composer von Meck, “what a foolish and wanted him to play—was worthless unbearable situation it is to offer a and, in fact, unplayable. Rubinstein, friend a dish one has cooked oneself the director of the Moscow and to have that friend eat and Conservatory and normally an say nothing!” Undeterred, though ardent champion of Tchaikovsky’s clearly rattled, Tchaikovsky played works (he conducted the world on to the end of the concerto. Then premieres of the early symphonies Rubinstein didn’t mince words, and Romeo and Juliet), was “not only declaring that the concerto was the best pianist in Moscow but also “impossible to play, that the pas- a first-rate all-round musician,” sages were hackneyed, clumsy, and Tchaikovsky later said, explaining so awkward that there was no way why he had approached Rubinstein even to correct them, that as a com- in the first place. position it was bad, vulgar.” Except Tchaikovsky met with Rubinstein for two or three pages, Rubinstein at the Moscow Conservatory on ventured, the score had to be com- December 24, 1874. After playing pletely redone. Angry and deeply through the first movement for wounded, Tchaikovsky left the ComPoSEd moST rECEnT aPProxImaTE November 1874– CSo PErFormanCE PErFormanCE TImE February 21, 1875 November 14, 2008; Simon 33 minutes Trpceski, piano; ludovic FIrST PErFormanCE Morlot conducting CSo rECordIngS October 25, 1875; Boston 1955, emil gilels, piano; Fritz InSTrumEnTaTIon reiner conducting; rCA FIrST CSo solo piano, two flutes, two 1985, András Schiff, piano; PErFormanCE oboes, two clarinets, two Sir georg Solti conducting; October 16, 1891 (the bassoons, four horns, two london Orchestra’s inaugural trumpets, three trombones, concert); Auditorium timpani, strings 2003, lang lang, piano; Theatre; rafael Joseffy, daniel Barenboim conduct- piano; Theodore Thomas ing; deutsche grammophon conducting 5 room without the concert stage during the 1860s responding. (after his wife Cosima left him Later that for Wagner) and had only recently evening, resumed his career, he now became Rubinstein the dedicatee of the concerto and went to see agreed to play the premiere of him at home the work in Boston, where it was and, without advertised as a Grand Concerto. softening “To Boston is reserved the honor his original of its initial representation, and the appraisal, pro- opportunity to impress the first ver- posed that if dict on a work of surpassing musical Tchaikovsky’s patron, the composer interest,” the local announcement Nadezhda von Meck made numer- boasted, unaware that Rubinstein ous radical had already done so. The day after changes, he would reconsider the premiere, Bülow sent what is performing it. Tchaikovsky replied, thought to have been the first cable “I will not change a single note and ever dispatched from Boston to will publish it exactly as it is now!” Moscow, telling Tchaikovsky of the On January 9, Tchaikovsky wrote concerto’s undisputed triumph with to his brother Anatoly that he had the Boston public.
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