SAVANNAH MUSIC FESTIVAL 30TH FESTIVAL SEASON MARCH 28–APRIL 13, 2019

PROGRAM NOTES BY KEN MELTZER

ATLANTA SYMPHONY ORCHESTRA ROBERT SPANO, MUSIC DIRECTOR DANIEL HOPE, DAVID FINCKEL, WU HAN, Saturday, March 30 at 7 pm Ludwig van was baptized in Bonn, Testament,” written in October of 1802. 6 pm Pre-Concert Talk with Ken Meltzer Germany, on December 17, 1770, and died in Addressed to his two brothers, the Testament Lucas Theatre for the Arts Vienna, Austria, on March 26, 1827. was found among Beethoven’s papers after the composer’s death in 1827. “My hearing has grown steadily weaker” In the “Heiligenstadt Testament,” Beethoven (1770–1827) By the close of the 18th century, Ludwig van confessed: Overture to , Opus 84 (1810) Beethoven had established himself as one of for Piano, Violin, Cello and Vienna’s foremost pianists and composers. In But how humiliated I have felt if somebody Orchestra in , Opus 56 (“Triple”) June of 1801, Beethoven wrote to a friend: standing beside me heard the sound of a (1804) in the distance and I heard nothing, I. Allegro My compositions are bringing in a great or if somebody heard a shepherd sing and II. Largo III. Rondo alla Polacca deal of money, and indeed I have almost again I heard nothing—Such experiences more commissions than I can satisfy. almost made me despair, and I was on the Moreover, for each work I can have six or point of putting an end to my life—The INTERMISSION seven publishers, or even more if I choose to only thing that held me back was my art. concern myself with the business; they no For indeed it seemed to me impossible ROBERT SCHUMANN (1810-1856) Symphony No. 1 in B-flat Major, longer make agreements with me; I state my to leave this world before I had produced Opus 38, “Spring” (1841) terms and they pay up... all the works I felt the urge to compose; I. Andante un poco maestoso; and thus I have dragged on this miserable Allegro molto vivace But in that same letter, Beethoven—then thirty existence—a truly miserable existence… II. Larghetto years old—revealed the onset of a condition that III. Scherzo. Molto vivace would plague him for the remainder of his life: In the decade following the “Heiligenstadt IV. Allegro animato e grazioso “But now that envious demon, my bad health, Testament,” Beethoven responded with ferocious, has played me a scurvy trick, namely: for the unflagging energy and determination. During past three years my hearing has grown steadily this extraordinary period, Beethoven composed weaker...” such masterpieces as the Symphonies Nos. 2-8, the Fourth and Fifth (“Emperor”) Piano Beethoven consulted with physicians in a , the “Razumovsky” String Quartets, desperate attempt to save his hearing. In April the “Waldstein,” “Appassionata,” and “Les Adieux” of 1802, on the advice of his doctor, Beethoven Piano Sonatas, and the composer’s only opera, relocated to the beautiful country village of . Heiligenstadt, where he remained until the early fall. During his stay in Heiligenstadt, it appears The first half of this concert features two Beethoven experienced a further decline in his Beethoven compositions from that remarkable hearing. Beethoven was forced to confront the post-Heiligenstadt decade. possibility, even the likelihood, that he would lose his hearing altogether. It was, of course, the Overture to Egmont, Opus 84 (1810) cruelest joke fate could play upon Beethoven. He would soon become a virtuoso pianist unable to The first performances of Beethoven’s perform in public, and a composer unable to hear incidental music to Egmont took place at the his own music. Burgtheater in Vienna on June 15, 1810. The Overture to Egmont is scored for piccolo, two “A truly miserable existence” , two , two clarinets, two , four horns, two trumpets, timpani, and strings. It is not surprising that Beethoven spent much Approximate performance time is 9 minutes. time contemplating the meaning of his life. One SMF performance history: SMF premiere of the products of this soul-searching process was the document known as the “Heiligenstadt

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Beethoven maintained a lifelong admiration for Concerto for Piano, Violin, Cello and soloists’ vibrant ascending and descending the immortal German poet Johann Wolfgang Orchestra in C Major, Opus 56 (“Triple”) passages lead to the orchestra’s fortissimo start von Goethe (1749–1832). In February of 1811, (1804) of the recapitulation. The trio’s brilliant flourishes, Beethoven wrote to a friend: “If you write to punctuated by the orchestra, bring the opening Goethe about me, try to find all the words that In addition to the solo piano, violin, and cello, movement to a stirring close (Più allegro). will assure him of my deepest respect and the “Triple” Concerto is scored for flute, two admiration…who can ever give enough thanks to oboes, two clarinets, two bassoons, two horns, II. Largo—The brief slow-tempo movement a great poet, the most precious jewel a nation can two trumpets, timpani, and strings. begins with a passage for strings, including possess?” Beethoven composed several works Approximate performance time is 36 minutes. muted . The solo cello enters with a inspired by the writings of Goethe, including SMF performance history: SMF premiere leisurely presentation of the Largo’s beautiful songs, the incidental music to the play Egmont (1810), and the cantata for chorus and orchestra, Beethoven began composition of his Concerto principal theme (molto cantabile). The theme Calm Sea and Prosperous Voyage (1815). for Piano, Violin, Cello and Orchestra in late serves as the basis for a series of tender 1803, completing the work in the summer of exchanges by the soloists. A brief, vibrant Beethoven composed his Egmont incidental 1804. Beethoven composed the piano part of the passage for the solo cello serves as a bridge to music for a production of Goethe’s 1788 play at “Triple” Concerto for Archduke Rudolph (1788– the finale, which follows without pause. the Vienna Burgtheater. The story of Egmont 1831), the youngest son of Emperor Leopold II. greatly appealed to Beethoven, a tireless Rudolph, a longtime pupil, friend and patron of III. Rondo alla Polacca—The solo cello introduces champion of political freedom. Egmont takes Beethoven, was the dedicatee of such pieces as the central theme of the Rondo finale, based place in the 16th century, and concerns the the Fourth and “Emperor” Piano Concertos, the upon a polonaise, a sparkling Polish dance in oppression of the Netherlands at the hands of “Archduke” , the Piano Sonatas Opus triple meter. The dance returns throughout a the Spanish dictator, the Duke of Alva. Count 90 (“Les Adieux”), 106 (“Hammerklavier”), and movement notable for its high spirits and brilliant Egmont, a Dutch patriot, is imprisoned by the 111, the great choral work, the Missa solemnis, passagework for the soloists. Toward the close of Duke, and sentenced to death. Egmont’s heroic and the Grosse Fuge for string quartet. the finale, Beethoven converts the polonaise into martyrdom serves as a rallying cry for the Dutch a vibrant dance in duple meter (Allegro). A final people to defeat the Spanish invaders. The fact that Beethoven composed the keyboard reprise of the 3/4 polonaise (Tempo I) brings the parts of both the Triple Concerto and the “Triple” Concerto to a rousing conclusion. The Egmont Overture begins with a slow-tempo “Archduke” Trio for Rudolph is testament to his introduction (Sostenuto ma non troppo). A considerable talents as a pianist. Beethoven Symphony No. 1 in B-flat Major, Opus 38, powerful orchestral chord yields to an imposing dedicated the “Triple” Concerto to another of his “Spring” (1841) statement by the strings, to which the winds patrons, Prince Joseph Franz von Lobkowitz. The offer a subdued response. After a repeat of this first public performance of the “Triple” Concerto Robert Schumann was born in Zwickau, sequence, the first violins quietly introduce took place in Vienna, in May of 1808. Germany, on June 8, 1810, and died in a descending motif. This motif launches the Endenich, Germany, on July 29, 1856. The first ensuing Allegro, and serves as the basis for the I. Allegro—Beethoven composed the “Triple” performance took place at the Gewandhaus first principal theme, played by the . The Concerto around the same time as his path- in Leipzig, Germany, on March 31, 1841, with theme undergoes a powerful transformation by breaking “Eroica” Symphony, Opus 55 (1803). Felix Mendelssohn conducting. The Symphony the orchestra. The second principal theme is in However, the Concerto displays a far more No. 1 is scored for two flutes, two oboes, the form of an exchange between the strings genial and lyrical side of Beethoven’s craft. two clarinets, two bassoons, four horns, two and winds—a descendant of the slow-tempo The work opens with the traditional orchestral trumpets, three trombones, timpani, triangle, introduction’s opening measures. The brief exposition of the movement’s principal themes. and strings. development section focuses upon a portion The cellos and basses immediately present Approximate performance time is 31 minutes. of the cello theme. The cellos once again play the first theme, building to the orchestra’s SMF performance history: SMF premiere that theme to launch the recapitulation. The fortissimo proclamation. The succeeding momentum is abruptly halted by the violins’ two- themes incorporate the first’s dotted rhythm. Robert and Clara note descending figure, and a brief silence. The The solo cello enters with a dolce version of the music resumes in the quietest fashion, but soon opening theme. The violin and piano soon join The early 1840s were glorious years for generates tremendous energy (Allegro con brio), their counterpart. The soloists offer elaborate Robert Schumann. On September 12, 1840, the culminating in the triumphant final bars. versions of the principal themes, often in tandem German composer wed his beloved Carla Wieck with each other. A series of trills by the soloists (1819–1896). The courtship had been a long yields to the orchestra’s fortissimo close of and stressful one, as Clara’s father, Friedrich the exposition. The solo cello inaugurates the Wieck, vehemently opposed any union between development section. The exchanges between his daughter and Robert. But, the day after the the trio are by turns intense and tender. The wedding (which was also Clara’s birthday), Robert

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was able to write the following in the couple’s this composition.” The poem in question, written clarinets and bassoons, serves as the second joint diary: by Adolf Böttger, concludes with the following principal theme. The spirited development lines: section concludes with a reprise of the opening My most beloved young wife! Let me greet fanfare. After a varied recapitulation, there is an you with a tender kiss on this special day, “O wende, wende deinen Lauf, extended coda, whose moments of repose are the first of your womanhood, the first —Im Tale blühet Frühling auf!” finally dispelled by a vibrant dash to the finish. of your twenty-first year. The little book “O turn, turn aside your course, which I open herewith has a very particular, —Spring is blossoming in the vale!” II. Larghetto—Divided first violins sing the intimate meaning; it is to record everything radiant central melody of this slow-tempo that affects us together in our household Schumann sketched his “Spring” Symphony movement. The melody returns in various guises, and married life, our wishes, our hopes…your in the span of just four days, from January alternating with more agitated episodes. A brief fair hopes and mine—may heaven bless 23 to January 26, 1841, using, according to coda, featuring a trombone chorale, serves as the them; your anxieties and mine…in short, all the composer, a steel pen that he found near transition to the ensuing Scherzo, which follows our hopes and sorrows… Beethoven’s grave in Vienna. Schumann without pause. completed the orchestration on February Robert’s union with Clara—a gifted pianist 20. Originally, the composer provided titles III. Scherzo. Molto vivace—The Scherzo is based and composer—seemed to inspire his creative for each of the Symphony’s four movements: upon a brusque melody, introduced by the powers. In the year of their marriage, Robert “(1) Spring’s Awakening,” “(2) Evening,” “(3) strings. There are two intervening Trio sections. Schumann wrote some 150 songs, including Happy Playfellows” and “(4) Spring’s Farewell.” The first (Molto più vivace) features a dialogue the glorious cycles Frauenliebe und -leben (A Schumann later discarded those titles. between strings and winds. The second Trio is Woman’s Love and Life) and Dichterliebe (A a perpetuum mobile in triple time. After a final Poet’s Love). The premiere of the “Spring” Symphony reprise of the Scherzo, a mysterious coda leads took place at the Leipzig Gewandhaus on directly to the final movement. In 1841, Robert Schumann focused his energies March 31, 1841. Felix Mendelssohn led the upon orchestral music. In the early portion of that performance (Clara also performed on the piano IV. Allegro animato e grazioso—The finale begins year, Schumann completed his joyous “Spring” at the concert). It was a fine success, with the with a grand ascending passage that recalls the Symphony (No. 1 in B-flat Major). Schumann Symphony receiving a glowing reception from the Symphony’s opening fanfare. After a dramatic then composed his Overture, Scherzo and Finale. audience. pause, the first violins offer the finale’s impish In May, Schumann penned a single-movement first theme. The broad second theme is based Fantasy in A minor for piano and orchestra (four With music that is as enticing and life-affirming upon an eight-note figure that, again, bears a years later, Schumann added an Intermezzo and as its subject, the “Spring” Symphony remains kinship to the opening fanfare. The development Allegro vivace, transforming that Fantasy into one of Robert Schumann’s most beloved section concludes with a sentinel passage for the magnificent three-movement A minor Piano compositions. horns, followed by a cheerful flute cadenza that Concerto). In that same productive year of 1841, launches the recapitulation. A stirring coda Schumann composed the original version of his I. Andante un poco maestoso; Allegro molto brings the “Spring” Symphony to a bracing Symphony No. 4 in . vivace—The Symphony opens with a fanfare for conclusion. trumpets and horns. In a letter to conductor Karl “Under the urge of spring” Gottfried Wilhelm Taubert, Schumann directed: “I should like the very first trumpet call to sound Clara Schumann was a constant source of as though it came up from on high, like a call to comfort and inspiration for her husband. But, wake up.” The eight-note fanfare is based upon the composition of the Symphony No. 1 was the the final line of Böttger’s poem, reproduced product of some additional stimuli. On November below. The added bold type corresponds to the 23, 1842, Schumann wrote to his friend, composer musical emphasis Schumann suggests in his Ludwig Spohr: “I composed the symphony, so to score: speak, under the urge of spring which every year comes over men anew, even in full maturity.” “Im Ta-le blü-het Früh-ling auf!”

On January 25, 1841, Clara wrote in the joint diary: The orchestra repeats the fanfare motif. The “Today, Monday, Robert has nearly finished his slow-tempo introduction (Andante un poco Symphony. It was composed chiefly at night—for maestoso) gathers momentum, leading to the some nights my poor Robert has not slept on principal Allegro molto vivace. Its opening theme account of it. He calls it ‘Spring Symphony.’ A is a lively figure, again based upon the fanfare. A poem about Spring…was the first inspiration for more restrained, dolce motif, introduced by the

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FIRST VIOLIN VIOLA FLUTE HORN PERCUSSION David Coucheron Vacant Christina Smith Brice Andrus Joseph Petrasek Concertmaster Principal Principal Principal Principal The Mr. and Mrs. Howard R. The Edus H. and Harriet H. The Jill Hertz Chair The Betty Sands Fuller Chair The Julie and Arthur Peevy Chair Warren Chair Montgomery Chair Robert Cronin Susan Welty Justin Bruns Paul Murphy Associate Principal Associate Principal William Wilder Associate Concertmaster Acting/Associate Principal Assistant Principal C. Todd Skitch Kimberly Gilman • The Charles McKenzie Taylor The Mary and Lawrence The William A. Schwartz Chair Gellerstedt Chair Gina Hughes Chelsea McFarland • Chair Bruce Kenney Vacant Catherine Lynn PICCOLO Vacant Assistant Concertmaster Assistant Principal The Connie and Merrell Jaclyn Rainey * Gina Hughes Calhoun Chair Jun-Ching Lin Marian Kent Assistant Concertmaster TRUMPET Michael Stubbart Yang-Yoon Kim Stuart Stephenson Anastasia Agapova Elizabeth Koch Tiscione Yiyin Li Principal HARP Acting Assistant Principal The Madeline and Howell Concertmaster Lachlan McBane The George M. and Corrie Elisabeth Remy Johnson Adams Chair Principal Carolyn Toll Hancock Jessica Oudin Hoyt Brown Chair The Sally and Carl Gable The Wells Fargo Chair Michael Tiscione Madeline Sharp Vacant Associate Principal Chair John Meisner Associate Principal CELLO The Kendeda Fund Chair Mark Maliniak • KEYBOARD Christopher Pulgram Vacant Samuel Nemec The Hugh and Jessie Carol Ramírez TROMBONE Principal Acting Associate Principal Hodgson Memorial Chair Juan R. Ramírez Hernández The Miriam and John Conant Vacant Emily Brebach Peter Marshall † Chair Principal Olga Shpitko Xiaodi Liu• The Terence L. Neal Chair, Sharon Berenson Daniel Laufer Kenn Wagner Honoring his dedication Acting/Associate Principal ENGLISH HORN and service to the Atlanta LIBRARY Lisa Wiedman Yancich The Livingston Foundation Symphony Orchestra Chair Emily Brebach Nicole Jordan Sissi Yuqing Zhang Nathan Zgonc Principal Karen Freer CLARINET Acting/Associate Principal The Marianna & Solon SECTION VIOLIN ‡ Acting Associate/Assistant Patterson Chair Principal Laura Ardan Jason Patrick Robins • Judith Cox Principal Holly Matthews Dona Vellek Brian Hecht Raymond Leung The Robert Shaw Chair Assistant Principal Librarian Assistant Principal Emeritus The Carolyn McClatchey The Mabel Dorn Reeder BASS TROMBONE Hannah Davis Thomas Carpenter Honorary Chair Chair ASYO/Assistant Librarian Brian Hecht Ted Gurch Sanford Salzinger Joel Dallow The Home Depot Veterans Associate Principal The UPS Foundation Chair Chair SECOND VIOLIN Larry LeMaster Marci Gurnow Julianne Lee Alcides Rodriguez TUBA Brad Ritchie Principal Michael Moore E-FLAT CLARINET The Atlanta Symphony Paul Warner Principal Associates Chair Ted Gurch The Delta Air Lines Chair BASS Sou-Chun Su Associate Principal Joseph McFadden BASS CLARINET TIMPANI Principal The Frances Cheney Boggs Alcides Rodriguez Mark Yancich Chair The Marcia and John Donnell Principal Chair Jay Christy The Walter H. Bunzl Chair Assistant Principal Gloria Jones Allgood Andrew Brady William Wilder Associate Principal Sharon Berenson Principal Assistant Principal The Lucy R. & Gary Lee Jr. The Abraham J. & Phyllis David Braitberg Chair Katz Foundation Chair Noriko Konno Clift Karl Fenner Anthony Georgeson David Dillard Sharif Ibrahim Associate Principal Eleanor Kosek Michael Kenady Laura Najarian The Jane Little Chair Ruth Ann Little Juan de Gomar Michael Kurth Thomas O’Donnell CONTRA-BASSOON ‡ Rotate between sections Daniel Tosky * Leave of absence Ronda Respess Juan de Gomar † Regularly engaged musician Frank Walton • New this season

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