Ludovic Morlot Conductor Stewart Goodyear Piano Daniel Schlosberg

Program

One HUnDreD TWenTy-FIrST SeASOn Chicago Symphony orchestra 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, May 31, 2012, at 8:00 Friday, June 1, 2012, at 1:30 Saturday, June 2, 2012, at 8:00 Tuesday, June 5, 2012, at 7:30 Keys to the City Ludovic morlot Conductor Stewart goodyear Piano Daniel Schlosberg Piano Cynthia millar Ondes Martenot Women of the Chicago Symphony Chorus Duain Wolfe Director messiaen Trois petites liturgies de la Présence Divine Anthem of the Inward Conversation (God present in us . . . ) Sequence of the Word, Divine Canticle (God present in Himself . . . ) Psalmody of Ubiquity through Love (God present in all things . . . ) DAnIeL SCHLOSberG CynTHIA MILLAr WOMen OF THe CHICAGO SyMPHOny CHOrUS First Chicago Symphony Orchestra performances

IntermISSIon Falla Nights in the Gardens of Spain In the Generalife Distant Dance— In the Gardens of the Sierra de Córdoba STeWArT GOODyeAr ravel Rapsodie espagnole Prélude a la nuit Malagueña Habanera Feria

These performances are a part of the ComEd Dynamic Artists Series. The appearance of Stewart Goodyear is endowed in part by the Nuveen Investments Emerging Artist Fund. CSO Tuesday series concerts are sponsored by United Airlines. The Chicago Symphony Orchestra is most grateful to Judy Istock, CSO Life Trustee, for her generous support as lead sponsor of the Keys to the City Piano Festival. The festival receives additional generous support from The Chicago Community Trust, Dan J. Epstein Family Foundation, Mr. & Mrs. Paul G. Gignilliat, Joe and Madeleine Glossberg, and the National Endowment for the Arts. Media support for the Keys to the City Piano Festival is provided by Chicago Tribune and WFMT.

This program is partially supported by grants from the Illinois Arts Council, a state agency.

2 CommentS by PHILLIP HUSCHer

olivier messiaen Born December 10, 1908, Avignon, France. Died April 27, 1992, Paris, France.

Trois petites liturgies de la Présence Divine

ierre Boulez was in the audience voluptuous tonal colors (it is cen- Pat the premiere of these Trois tered in A major, for Messiaen a key petites liturgies in liberated Paris in of joy), or its sheer size (Stravinsky April 1945, along with compos- would later say, of Messiaen’s most ers Arthur Honegger and Francis celebrated work, “All you need in Poulenc, the writer Jean Cocteau, order to write Turangalîla is enough and the painter Georges Braque. manuscript paper”). Honegger applauded wildly at the Boulez, for whom Messiaen the end of the performance; Cocteau teacher was “the determining influ- said “It’s genius.” Boulez was less ence of my student days,” and sev- enthusiastic, although he later eral of his classmates attended the wrote admiringly of the work’s rehearsal, as well as the premiere of importance. The press was brutal. the new Messiaen work. “As far as I Within days, as the writer Claude know,” Boulez later wrote, “Olivier Rostand recalled, “the whole Messiaen was the first composer to musical world in Paris suddenly give the vibraphone an independent went mad, a madness for which, place in the orchestra; and I shall possibly, the end of the occupation never forget our amazement as his was partly responsible and which students when we first heard this had not been seen since the great instrument taking its place among days of Stravinsky.” Some of the those of the traditional orchestra. critics were put off by the new This was in 1945 at the perfor- work’s florid religious poetry, others mance of his Trois petites liturgies.” by its exotic sounds (many of them For Boulez, Messiaen’s score imme- unexpected in the concert hall), its diately took its place alongside

ComPoSeD InStrumentatIon aPProxImate november 15, 1943– women’s chorus, solo PerFormanCe tIme March 15, 1944 piano, solo ondes martenot, 37 minutes celesta, vibraphone, FIrSt PerFormanCe maracas, Chinese cymbal, April 21, 1945, Paris, France tam-tam, strings These are the first Chicago Symphony Orchestra performances

3 works such as Bartók’s Music for his first orchestral piece in more Strings, Percussion, and Celesta as than a decade. a piece that “normalized” instru- Messiaen began the Trois petites ments that had previously been liturgies in November 1943. His viewed simply as “picturesque.” original idea was to write another The Trois petites liturgies is one of work for two pianos, but that the few important cultural prod- evolved into a large-scale orchestral ucts of wartime France. Messiaen work with female voices. He wrote had joined the French army at the the poetry himself piecemeal, as outbreak of World War II. Because the work progressed: “simultane- of his poor eyesight, he was found ously with the music—and for the unfit for active service. He was music,” as he put it. “And despite its stationed at a medical auxiliary in surrealist appearance, it expresses Verdun when the German invasion only theological truths, using took place in May 1940. In June, he phrases humbly borrowed from the was captured by the Germans while Holy Scriptures.” This is one of the trying to escape on an old bicycle earliest scores to synthesize many with no tires, and he was taken of Messiaen’s ideas, obsessions, to a prison camp in Silesia (now and innovations. It is the first of Poland), carrying a bag filled with his works to evoke the glittering his “treasures”: Bach’s Brandenburg percussive sounds of the Javanese Concertos and scores by Beethoven, gamelan, which Messiaen had first Ravel, Stravinsky, and Berg. While heard in 1931 at the Exposition still in prison, he wrote the first of Coloniale in Paris. As with his wartime scores, the landmark Debussy’s discovery of Javanese Quartet for the End of Time, for music at the 1889 Exposition, the himself and three fellow inmates to encounter opened Messiaen’s ears to play together. After he was released a new world of exotic sonorities and in the spring of 1941, he took a job changed the direction of his own teaching harmony at the conserva- career. The Trois petites liturgies also tory in occupied Paris, began his is Messiaen’s first orchestral score important composition treatise, and to include the ondes martenot, the started to build a circle of gifted novel instrument with the wail- students (Boulez became an early ing, siren-like voice that Maurice member of Messiaen’s harmony Martenot had introduced in 1928. class after he moved to Paris in Although the work was finished in 1942). But he wrote virtually no March 1944, the premiere had to music for two years. His silence was be postponed because of the condi- broken with two major scores—the tions in Paris in the last months of Visions de l’amen for two pianos the occupation. It finally took place of 1943, and the solo piano work, in April 1945 in a liberated Paris. Vingt regards sur l’enfant-Jésus, Maurice Martenot’s sister Ginette composed the next year. Those were played the ondes martenot solo; the followed by the Trois petites liturgies, equally prominent piano part was the last of his wartime works and performed by Yvonne Loriod, who

4 would become Messiaen’s second complex third liturgy incorporates wife in 1961. ritualistic spoken interludes with The music, Messiaen wrote, “is, vast blocks of lavishly colored, above all, music of colors.” The first ecstatic music. Messiaen later of the three liturgies is a rapturous explained that his intent was “to adoration of Christ; the second, bring a kind of Office, a kind of a song of praise with a dancing organized act of praise, into the refrain. The much longer, more concert room.” antInenne De La antIPhon For the ConverSatIon IntérIeure InterIor ConverSatIon (DIeu PréSent en nouS . . . ) (goD’S PreSenCe In uS . . . )

Mon Jésus, mon silence, My Jesus, my silence, restez en moi. remain in me. Mon Jésus, mon royaume de silence, My Jesus, my kingdom of silence, parlez en moi. speak in me. Mon Jésus, nuit d’arc-en-ciel et My Jesus, night of rainbow and silence, de silence, priez en moi. pray in me. Soleil de sang, d’oiseaux, Sun of blood, of birds, mon arc-en-ceil d’amour, my rainbow of love, désert d’amour. wilderness of love. Chantez, lancez l’auréole d’amour, Sing, cast love’s aureole, mon amour, my love, mon Dieu. my God.

Ce oui qui chante comme un écho This “yes” that sings like an echo de lumière, of light, mélodie rouge et mauve en louange a red and mauve melody in praise of du père, the Father, d’un baiser votre main dépasse by a kiss’s breadth your hand le tableau, overreaches the painting. paysage divin, renverse-toi dans l’eau. Heavenly landscape, spill over into the water. Louange de la gloire à mes ailes Praise of glory to my wings of earth, de terre, mon dimanche, ma paix, mon toujours My Sunday, my peace, my always de lumière, of light. que le ciel parle en moi, rire, May heaven speak within me, smile, ange nouveau, new angel, ne me réveillez pas: c’est le temps de do not wake me: it’s the time of l’oiseau! the bird!

Mon Jésus, mon silence, etc. My Jesus, my silence, etc.

(Please turn the page quietly.) 5 SéquenCe Du verBe, SequenCe oF the WorD, CantIque DIvIn DIvIne CantICLe (DIeu PréSent en LuI-même . . . ) (goD’S PreSenCe In hImSeLF . . . )

Il est parti le Bien-Aimé, The Beloved has gone, c’est pour nous! it is for us! Il est monté le Bien-Aimé, The Beloved has ascended, c’est pour nous! it is for us! Il a prié le Bien-Aimé, The Beloved has prayed, c’est pour nous! it is for us!

Il a parlé, il a chanté, He has spoken, he has sung, le verbe était en Dieu! the Word was in God! Il a parlé, il a chanté, He has spoken, he has sung, et le verbe était Dieu! and the Word was God! Louange du père, Praise of the Father, substance du père, substance of the Father, empreinte et rejaillissement toujours, imprint and reflection always, dans l’amour, verbe d’amour! in love, Word of love!

Il est parti le Bien-Aimé, etc. The Beloved has gone, etc.

Par lui le père dit: c’est moi, Through the Word, the Father said: it is I, parole de mon sein! the Word of my breast! Par lui le père dit: c’est moi, Through it, the Father said: it is I, le verbe est dans mon sein! the Word is in my breast! Le verbe est la louange, The Word is praise, modèle en bleu pour anges, a model in blue for angels, trompette bleue qui prolonge le jour, a blue trumpet that prolongs the day, par amour, through love, chant de l’amour! song of love!

Il est parti le Bien-Aimé, etc. The Beloved has gone, etc.

Il était riche et bienheureux, He was rich and happy, il a donné son ciel! he gave his heaven! Il était riche et bienheureux, He was rich and happy, pour compléter son ciel! to complete his heaven! Le fils, c’est la présence, The Son is the presence, l’esprit, c’est la présence! the Spirit is the presence! Les adoptés dans la grâce toujours, Those who have received grace always, pour l’amour, for love, enfants d’amour! children of love!

6 Il est parti le Bien-Aimé, etc. The Beloved has gone, etc.

Il est parti le Bien-Aimé, etc. The Beloved has gone, etc.

Il est vivant, il est présent, He lives, he is present, et lui se dit en lui! and he speaks to himself in himself! Il est vivant, il est présent, He lives, he is present, et lui se voit en lui! and he sees himself in himself! Présent au sang de l’âme, Present in the blood of the soul, etoile aspirant l’âme, soul-breathing star, présent partout, miroir ailé des jours, everywhere present, winged mirror of days, par amour, through love, le Dieu d’amour! the God of love!

Il est parti le Bien-Aimé, etc. The Beloved has gone, etc.

PSaLmoDIe De L’uBIquIté PSaLmoDY oF uBIquItY Par amour through Love (DIeu PréSent en touteS (goD’S PreSenCe In aLL ChoSeS . . . ) thIngS . . . )

Tout entier en tous lieux, Whole in all places, tout entier en chaque lieu, whole in each place, donnant l’être à chaque lieu, bestowing being upon each place, a tout ce qui occupe un lieu, on all that occupies a place, le successif vous est simultané, the successive you is omnipresent, dans ces espaces et ces temps que vous in these spaces and times that avez créés, you created, satellites de votre douceur. these satellites of your gentleness. Posez-vous comme un sceau sur Place yourself, like a seal, on my heart. mon coeur.

Temps de l’homme et de la planète, Time of man and of the planet, temps de la montagne et de l’insecte, time of the mountain and of the insect,

(Please turn the page quietly.) 7 bouquet de rire pour le merle et garland of laughter for the blackbird l’alouette, and lark, eventail de lune au fuchsia, wedge of moon to the fuchsia, a la balsamine, au bégonia; balsam and begonia; de la profondeur une ride surgit, from the depths a ripple rises, la montagne saute comme une brebis the mountain leaps like a ewe et devient un grand océan. and becomes a great ocean, Présent, present, vous êtes présent. you to be present. Imprimez votre nom dans mon sang. Imprint your name in my blood.

Dans le movement d’Arcturus, présent, Present in the movement of Arcturus, dans l’arc-en-ciel d’une aile après l’autre in the rainbow, with one wing after the other, (echarpe aveugle autour de Saturne), (blind sash around Saturn), dans la race cachée de mes cellules, present in the hidden race of my cells, présent, dans le sang qui répare ses rives, in the blood that repairs its banks, dans vos saints par la grâce, present, présent through grace, in your saints. (Interprétations de votre verbe, (Interpretations of your Word, pierres précieuses au mur de precious stones in the wall of freshness.) la fraîcheur.) Posez-vous comme un sceau sur Place yourself, like a seal, on my heart. mon coeur.

Un coeur pur est votre repos, A pure heart is your repose, lis en arc-en-ciel du troupeau, rainbow-colored lily of the flock, vous vous cachez sous votre hostie, you hide beneath your host, frère silencieux dans la Fleur- silent brother in the Eucharist Eucharistie, of flowers, pour que je demeure en vous comme so I may dwell within you like a wing une aile dans le soleil, within the sun, vers la résurrection du dernier jour. awaiting the resurrection of the final day. Il est plus fort que la mort, votre amour. Your love is stronger than death. Mettez votre caresse tout autour. Enfold us all within your embrace.

Violet-jaune, vision, Violet-yellow, vision, voile blanc, subtilité, white-out, subtlety, orangé-bleu, force et joie, orange-blue, strength and joy, flèche-azur, agilité, azure spire, agility, donnez-moi le rouge et le vert de give me the red and green of your love, votre amour, leaf-flame-gold, clarity, feuille flamme or, clarté, no more language, no more words,

8 plus de langage, plus de mots, no more prophets or science, plus de prophètes ni de science (C’est l’amen de l’espérance, (It is hope’s amen, silence mélodieux de l’éternité.) the melodious silence of eternity.)

Mais la robe lavée dans le sang de But the raiment washed in the blood of l’agneau, the Lamb, mais la pierre de neige avec un but the stone of snow with nom nouveau, another name, les éventails, la cloche et l’ordre the fans, the clock, and the order des clartés, of light, et l’échelle en arc-en-ciel de la vérité, and the rainbow ladder of truth, mais la porte qui parle et le soleil qui but the gate that speaks and the sun s’ouvre, that opens, l’auréole tête de rechange qui délivre, the halo a change of head that redeems us, et l’encre d’or ineffaçable sur le livre; and the indelible gold ink on the book; mais le face-à-face et l’amour. but to see you face to face, and love.

Vous qui parlez en nous, You speak in us, vous qui vous taisez en nous, you who keep silent in us, et gardez le silence dans votre amour, and maintain your silence in your love. vous êtes près, You are close, vous êtes loin, you are distant, vous êtes la lumière et les ténèbres, you are the light and the darkness, vous êtes si compliqué et si simple, you are so complex and so simple, vous êtes infiniment simple. you are infinitely simple, L’arc-en-ciel de l’amour, c’est vous, the rainbow of love, that is you, l’unique oiseau de l’éternité, c’est vous! the only bird of eternity, that is you! Elles s’alignent lentement, les cloches Slowly they fall into line, the bells de la profondeur. of profundity. Posez-vous comme un sceau sur Place yourself, like a seal, on my heart. mon coeur.

Tout entier en tous lieux, etc. Whole in all places, etc.

Temps de l’homme et de la planète, etc. Time of man and of the planet, etc.

Dans le movement d’Arcturus, présent, Present in the movement of Arcturus, etc. etc.

Un coeur pur est votre repos, etc. A pure heart is your repose, etc.

(Please turn the page quietly.) 9 Violet-jaune, vision, etc. Violet-yellow, vision, etc.

Mais la robe lavée dans le sang de But the raiment washed in the blood of l’agneau, etc. the Lamb, etc.

Vous qui parlez en nous, You speak in us, vous qui vous taisez en nous, you who keep silent in us, et gardez le silence dans votre amour, and maintain your silence in your love, enfoncez votre image dans la durée de impress your image throughout the mes jours. length of my days.

Translation by Stewart Spencer

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10 manuel de Falla Born November 23, 1876, Cádiz, Spain. Died November 14, 1946, Alta Gracia, Argentina.

Nights in the Gardens of Spain

n 1921, when he was the most Nights in the Gardens of Spain Icelebrated Spanish composer began as a set of nocturnes for solo alive, Falla settled in Granada, piano. Falla started sketching in in a cottage surrounded by roses, 1909, the year his colleague Isaac honeysuckle, and jasmine, with Albéniz died, depriving Spain of an arbor and a small fountain. one of its best-known composers. At the top of a nearby hill sat the (When Enrique Granados died in great Alhambra—the fortress 1916, less than a month before the of the Moorish kings that Falla premiere of Nights in the Gardens of had famously drawn in music in Spain, Falla was thrust into his new his Nights in the Gardens of Spain. role as the country’s preeminent At the time he began the score, composer.) Ricardo Viñes, the great more than a decade earlier, Falla Catalan pianist who introduced was living in Paris and had never many of Debussy’s and Ravel’s even been to Granada; he knew works, suggested that Falla turn about the Alhambra only from an the nocturnes into a piece for piano inexpensive book he bought at a with orchestra. Falla took his bookstall on the rue Richelieu. (He recommendation to heart, but this was so captivated that he stayed up change in direction further delayed all night reading it.) completion of the score. As Falla

ComPoSeD moSt reCent aPProxImate 1909–1915 CSo PerFormanCe PerFormanCe tIme September 27, 2005, 23 minutes FIrSt PerFormanCe Orchestra Hall. Daniel April 9, 1916, Madrid, Spain barenboim conducting from CSo reCorDIngS the piano 1997. Daniel barenboim, FIrSt CSo piano; Plácido Domingo PerFormanCe InStrumentatIon conducting. Teldec December 11, 1925, solo piano, and three flutes 1997. Daniel barenboim, Orchestra Hall. rudolph and piccolo, two oboes piano; Plácido Domingo reuter, piano; Frederick and english horn, two conducting. Arthaus Musik Stock conducting clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, cymbals, triangle, celesta, harp, strings

11 became better known in Paris, brilliant, and eloquent writing. particularly after the success of his (Falla’s piano teacher studied with opera La vida breve in 1913, the a pupil of Chopin.) The score is long-awaited work became legend- dedicated to Viñes, who didn’t play ary in the city’s music circles. the first performance, but, like the When Falla fled to Spain as war composer himself, often performed broke out in August 1914 (he was the work in public in later years. in such a hurry to catch a train The orchestral writing is lush but that he lost his toupee en route) never excessive; it’s Falla’s most the nocturnes, now called Nights “impressionistic” (and arguably in the Gardens of Spain, were still his most “French”) score, and, as unfinished. Shortly after return- an evocation of atmosphere and ing to his homeland, Falla visited setting, it ranks with Debussy’s and the Alhambra for the first time, in Ravel’s greatest symphonic works. the company of his friend Maria Falla depicts three gardens. The Martínez Sierra, who noticed his first is the celebrated Generalife, “satisfaction at having guessed, the jasmine-scented gardens sur- with the help of some book, rounding the summer palace of the charm which he had never the king’s harem at the Alhambra. seen before.” (The word “Generalife” comes from After settling briefly in Madrid, the Moorish “Jennat al Arif”—the Falla lived for several months in builder’s garden.) “Nowhere,” wrote the beach town of Sitges, near Alexander Dumas, “were so many Barcelona, where he put the finish- orange trees, so many roses, so ing touches on Nights in the Gardens many jasmines gathered in so small of Spain. He worked on an old, a place . . . . Nowhere will you see out-of-tune piano in El Cau Ferrat, so many springs, so many leaping the home of the popular painter waterfalls, so many rushing tor- Santiago Rusiñol, fine-tuning his rents.” And they’re all gathered here sense of orchestral color in a house in Falla’s wondrously evocative and filled with his host’s evocative fragrant music. canvases of Spanish gardens. (It The second movement, set in was once believed, erroneously, that an unidentified distant garden, is these paintings were the inspiration an exotic dance. The piano, with for the score.) its arabesques, trills, arpeggios, and stomping octaves, suggests a ights in the Gardens of Spain is guitar, then a dancer, later a singer. Nneither a concerto, although it’s Without pause, Falla transports scored for a solo piano with orches- us to festivities in the Sierra de tra, nor a tone poem, even though Córdoba. Music historians like to it vividly portrays the spirit of a attribute this brilliant finale to the place. Falla referred to it simply as zambra gitano—a night festival “symphonic impressions.” The piano characterized by lively gypsy danc- role, prominent but rarely domi- ing and singing traditionally held nant, is characterized by elaborate, for the feast of Corpus Christi. But

12 Falla, no fan of explicit program (as is much of the composer’s music, didn’t care to be pinned earlier work) on the rhythms, down. As he wrote: modes, cadences, and ornamen- tal figures which distinguish If these “symphonic impres- the popular music of Andalusia, sions” have achieved their though they are rarely used in object, the mere enumeration their original forms; and the of their titles should be a orchestra frequently employs, significant guide to the hearer. and employs in a conventional Although in this work—as manner, certain effects peculiar in all which have a legitimate to the popular instruments claim to be considered as used in those parts of Spain. music—the composer has The music has no pretensions followed a definite design to being descriptive; it is merely regarding tonal, rhythmical, expressive. But something more and thematic material . . . the than the sounds of festivals end for which it was written is and dances has inspired these no other than to evoke places, “evocations in sound,” for sensations, and sentiments. The melancholy and mystery have themes employed are based their part also.

13 maurice ravel Born March 7, 1875, Ciboure, France. Died December 28, 1937, Paris, France.

Rapsodie espagnole

aurice Ravel was born in the was written before he had spent MFrench Pyrenees, only a few much time in that country, just as miles from the Spanish border, a his La valse predates his first visit geographical boundary he often to Vienna.) crossed in his music. Even though One of Ravel’s earliest pieces— his family moved to Paris while he written just after he left the Paris was still a baby, Ravel came by his Conservatory in 1895—was a fascination with Spain naturally, habanera for two pianos, the first for his mother was Basque and indication that he would join that grew up in Madrid. (His Swiss group of French composers, which father inspired in his son a love for includes Bizet, Lalo, and Chabrier, things precise and mechanical that who have written some of our best carried over into his impeccable Spanish music. The habanera was music, provoking Stravinsky to Ravel’s first music to be performed dismiss him as a “Swiss watch- publicly, in March 1898, and, maker.”) Rapsodie espagnole is despite the two pianists’ inability among his best-known evocations to stay together, it made a strong of the Spain he visited so seldom impression on Claude Debussy, yet seemed to know so well. who was in the audience. (He (Most of Ravel’s Spanish music hadn’t yet met the composer whose

ComPoSeD InStrumentatIon aPProxImate 1907 two flutes and two piccolos, PerFormanCe tIme two oboes and english horn, 15 minutes FIrSt PerFormanCe two clarinets and bass March 15, 1908, Paris, clarinet, three bassoons and CSo reCorDIngS France sarrusophone (traditionally 1956. Fritz reiner played by contrabassoon), conducting. rCA FIrSt CSo four horns, three trumpets, 1968. Jean Martinon PerFormanCe three trombones and tuba, conducting. rCA november 12, 1909, timpani, bass drum, side Orchestra Hall. Frederick drum, cymbals, triangle, 1991. Daniel barenboim Stock conducting tambourine, castanets, conducting. erato tam-tam, xylophone, celesta, moSt reCent two harps, strings CSo PerFormanCe September 16, 2007, Orchestra Hall. riccardo Muti conducting

14 name would one day be linked with The Habanera is a slow Cuban his own.) Debussy asked to borrow dance in duple meter (with the the score, and his La soirée dans characteristic tum, ta-tum-tum Grenade (Night in Grenada), written five years later, suggests that he studied it carefully. (The suspicious similarity of the two pieces con- tributed to the eventual falling out between the composers.) Rapsodie espagnole, the only work Ravel originally conceived as a concert piece for orchestra, is his first Spanish music to take advantage of his incomparable ear for orchestral color. In 1907, Ravel set out to write his first opera and his first orchestral score. Both Lake Oô in the French Pyrenees, around 1900 works were Spanish in flavor, and, although the opera, L’heure espagnole, would take two more years to rhythm) that Bizet imported to finish, most of Rapsodie espagnole Seville for Carmen. It has been was written quickly, as a set of four suggested that Ravel’s Habanera, Spanish sketches, incorporating the virtually identical with the 1895 1895 habanera as the third, now in two-piano music, is based on a song full Technicolor. his mother taught him. The final The first movement, Prelude à Feria is a brilliant festival, complete la nuit (Prelude to the night), is with castanets. all atmosphere over a slow, soft, but persistent descending ostinato: F, E, D, C-sharp. Malagueña is based on a type of fandango danced Phillip Huscher is the program annota- in Malaga, in southern Spain. tor for the Chicago Symphony Orchestra. Symphony Orchestra © 2012 Chicago