NATIONAL FESTIVAL ORCHESTRA APPALACHIAN SPRING

DAVID ALAN MILLER, conductor SATURDAY, JUNE 13, 2015 . 8PM ELSIE & MARVIN DEKELBOUM CONCERT HALL

PROGRAM

Michael Torke Bright Blue Music

Aaron Copland Appalachian Spring (Suite from the Ballet)

- intermission -

John Corigliano Symphony No. 1 Apologue: Of Rage and Remembrance Tarantella Chaconne: Giulio’s Song Epilogue

13 Bright Blue Music When Bright Blue Music had its Appalachian Spring (Suite from MICHAEL TORKE premiere, in 1985, Torke wrote that he the Ballet) had been inspired by ideas put forward Born September 22, 1961, Milwaukee, by the respected Austrian/British AARON COPLAND Wisconsin philosopher Ludwig Wittgenstein Born November 14, 1900, Brooklyn, Now living in Las Vegas, Nevada (1889–1951) “that meaning is not in New York words themselves, but in the grammar Died December 2, 1990, North Tarrytown, This work was composed in 1985, under of words used: I conceived of a New York a commission from the New York Youth parallel in musical terms. Harmonies Symphony, which gave the premiere at in themselves do not contain any Copland composed his music for the Carnegie Hall on November 23 of that meaning; rather, musical meaning ballet Appalachian Spring under a year, with David Alan Miller conducting. results only in the way harmonies are commission from the Elizabeth Sprague The score calls for 2 piccolos, 3 flutes, 2 used. Harmonic language is then, in Coolidge Foundation in 1944; the oboes, 2 clarinets, 2 bassoons, 4 horns, a sense, inconsequential. If the choice work was given its first performance on 3 trumpets, 3 trombones, tuba, timpani, of harmony is arbitrary, why not then October 30 of that year at the Coolidge xylophone, brake drums, tam-tam, use tonic and dominant chords — Auditorium of the Library of Congress, vibraphone, claves, wood block, triangle, the simplest and most direct, and, for in Washington, with choreography by glockenspiel, cymbals, suspended cymbal, me, the most pleasurable? Once this Martha Graham, who also danced the bongo, tubular bells, tambourine, maraca, decision was made and put in the back leading role. The concert suite, arranged piano, harp and strings. Duration, 9 of my mind, an unexpected freedom by the composer shortly after the minutes. of expression followed. With the ballet’s premiere, was introduced by the simplest means, my musical emotions New York Philharmonic under Artur Michael Torke was only 24 when and impulses were free to guide me. Rodzinski on October 4, 1945, and won this work was introduced. It was one The feeling of working was exuberant; both the Pulitzer Prize in Music and the of a number of early pieces relating I would leave my outdoor studio, and New York Music Critics’ Circle Award to specific colors, and was included the trees and bushes seemed to dance, for that year. on an Argo CD of his “Color and the sky seemed bright blue. The score calls for 2 flutes and Music” performed by the Baltimore “That bright-blue color piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 Symphony Orchestra under David contributed toward the piece’s title, but horns, 2 trumpets, 2 trombones, timpani, Zinman, its companion pieces being in conjunction with another personal long drum, glockenspiel, triangle, wood Green, Purple, Ecstatic Orange and association. The key of the piece, D block, xylophone, snare drum, bass Ash. In the nearly 30 years since major (from which there is no true drum, cymbals, harp, piano and strings. this work’s premiere, Mr. Torke has modulation), has been the color for me Duration, 25 minutes. been active in various genres and since I was five years old.” many different locales. His orchestra Philip Kennicott, in his annotation Appalachian Spring was the culmination piece Javelin was part of the music for the Zinman recording, back in of Copland’s series of “Americana” for the 1996 Olympics. Two years 1990, expanded on the composer’s in dance, having been preceded by later he was composer-in-residence own remarks regarding Wittgenstein, Billy the Kid, with choreography by for the Royal Scottish National who, “it will be remembered, also Eugene Loring (1938), and Rodeo, for Orchestra, which he provided with argued against the possibility of private Agnes de Mille (1942). In Appalachian a percussion concerto and the tone languages, and that at first seems to be Spring the composer struck a deeper, poem An American Abroad. In 2003 what Torke is after in his music. Take more poignant note than in the he established his own record label, what you care about, leave the rest. two “Westerns”; here the music is Ecstatic Records, which in addition to If I like these particular harmonies, I illumined by an inner glow of greater new recordings reissued the landmark will use them within my own private warmth than perhaps any of his earlier Zinman collection. The Théâtre du grammar. … Despite this, there is works. Copland himself noted that Châtelet, Paris, commissioned his opera nothing solipsistic about Torke’s “the music of the ballet takes as its Pop-pea, and introduced it in 2012. composition, and there is no self- point of departure the personality of The Royal Liverpool Philharmonic indulgence either. The music is public, Martha Graham,” and his score bears commissioned his Concerto for appealing and popular. Repetition, the affectionate subtitle “Ballet for Orchestra, and recorded it in 2014. rhythmic propulsion and bright clear Martha,” which had been the working David Alan Miller, who conducted the harmonies may be private pleasures for title until Graham herself found the premiere of the present work and is on Torke, but they are also public pleasures felicitous phrase “Appalachian spring” the podium for this evening’s concert, for his audience. Bright Blue Music and in a poem by Hart Crane. The scenario, has remained a steadfast champion Ash seem at first to be displaced from created well before she and Copland of Torke’s music, commissioning, the development section or coda of a began their collaborative effort, performing and recording new works classical symphony, to be fragmented was summarized by Edwin Denby with his Albany Symphony Orchestra views of the earliest quintessentially (Copland’s librettist for the 1937 high (the cello concerto Winter’s Tale was public music. The writing is free school opera The Second Hurricane), given its premiere last December, with and exuberant …; it is the sound reporting the New York premiere in Julie Albers as soloist; a piano concerto of a composer reveling in his own the Herald Tribune of May 15, 1945, will be introduced soon), and the rearrangement of familiar materials, as “a pioneer celebration in spring Milwaukee Ballet, in the composer’s oblivious to time-worn arguments.” around a newly built farmhouse in the home town, has commissioned two Pennsylvania hills in the early part of new works. the last century. The bride-to-be and 14 the young farmer-husband enact the of the material in the late 1960s.) The suspended cymbal, finger cymbals, temple emotions, joyful and apprehensive, their suite’s eight sections, played without blocks, triangle, tambourine, crotales, new domestic partnership invites. An pause, were described as follows by glockenspiel, whip, ratchet, flexatone, older neighbor suggests now and then the composer in his note for the 1945 metal plate, tam-tam, brake drum, the rocky confidence of experience. premiere: xylophone, vibraphone, marimba, chimes, A revivalist and his followers remind anvil, police whistle, mandolin, onstage the new householders of the strange 1. Very Slowly. Introduction of piano, offstage piano, harp and strings. and terrible aspects of human fate. At the characters, one by one, in a Duration, 40 minutes. the end, the couple are left quiet and suffused light. strong in their new house.” 2. Fast. Sudden burst of unison Many of John Corigliano’s most Having effectively used Western strings in A major arpeggios starts significant works are “about” tunes in his earlier ballets Billy the the action. A sentiment both elated something — opera, film score, music Kid and Rodeo, Copland introduced and religious gives the keynote to for the theater, song-cycles, descriptive in this score a hymn-like Shaker this scene. or “programmatic” concertos and song, or spiritual, that was to prove 3. Moderate. Duo for the Bride other instrumental pieces. The First extraordinarily effective in creating and her Intended — scene of Symphony is very definitely in precisely the atmosphere of simple tenderness and passion. this category, as indicated not only wonder, humility and faith that is 4. Quite Fast. The Revivalist in the headings of the respective the essence of this work. The song, and his flock. Folksy feelings — movements but in the dedication as composed in or about 1875 by Elder suggestions of square dances and well. The pianist Sheldon Shkolnik Joseph Brackett (1797–1882), who is country fiddlers. and Mr. Corigliano were lifelong said to have sung and danced it himself 5. Still Faster. Solo dance of friends and frequent collaborators. “with his coat tails flying,” is called the Bride — presentiment of In February 1969 Shkolnik was the “Simple Gifts”: motherhood. Extremes of joy and soloist, with the Chicago Symphony fear and wonder. Orchestra under Irwin Hoffman, in ’Tis the gift to be simple, ’tis the 6. Very Slowly (as at first). the first performance of Corigliano’s gift to be free; Transition scenes reminiscent of the Piano Concerto after that work’s San ’Tis the gift to come down where introduction. Antonio premiere the previous year, we ought to be; 7. Calm and Flowing. Scenes of and the Symphony was not the only And when we find ourselves in the daily activity for the Bride and her work the composer dedicated to him. place just right, farmer-husband. There are five This particular dedication, though, ’Twill be in the valley of love and variations on a Shaker theme … took a tragic twist, if not an entirely delight. sung by a solo clarinet … unforeseen one. Shortly before the 8. Moderate. Coda. The Bride Symphony’s premiere Corigliano asked When true simplicity is gain’d, takes her place among her Shkolnik, who is actually described To bow and to bend we sha’n’t be neighbors. At the end the couple in the work’s opening movement, asham’d are left “quiet and strong in their for permission to dedicate the score To turn, turn will be our delight, new house.” Muted strings intone to him, and Shkolnik, delighted by ’Til by turning, turning we come a hushed, prayerlike passage. The the gesture, was present at all three round right. close is reminiscent of the opening Chicago performances in the middle music. of March 1990. Barely a week later, (In 1950 Copland made a vocal though, the pianist was dead, and in setting of “Simple Gifts” as part of Symphony No. 1 the published score the dedication his first set of Old American Songs; this takes a memorial form. Shkolnik setting, for baritone and piano, was JOHN CORIGLIANO was one of the victims of acquired subsequently orchestrated and also Born February 16, 1938, New York City immunodeficiency syndrome, and his arranged for chorus. Eventually the Now living there death so soon after the Symphony’s composer arranged his original use premiere was a poignant reminder of it in the ballet as a freestanding John Corigliano was the Chicago of what this music is about: the orchestral piece called Shaker Variations. Symphony Orchestra’s composer- devastating disease known by the The tune bears more than a passing in-residence when that orchestra acronym AIDS. resemblance to the Hungarian folk commissioned this work for its centenary; The musical community had song quoted in the concluding section he composed it in 1988–89, and it was sustained perhaps more than its share of Bartók’s Rhapsody No. 1 for violin, given its premiere performances (and of losses to this plague, and Corigliano composed in 1928.) recorded for Erato) in Chicago on March was impelled to produce an expression The original ballet score called for 15, 16 and 17, 1990, under Daniel of concern, of something more than only 13 instruments (flute, clarinet, Barenboim. lamentation or empty protest, focusing bassoon, piano and strings), in keeping The score, dedicated to the memory of on the thousands of victims through with the restricted dimensions of Sheldon Shkolnik, calls for 3 piccolos, 3 the prism of those closest to him, as he the pit in the Coolidge Auditorium. flutes, 3 oboes, English horn, 3 clarinets, explains in a detailed note of his own. The music has become far more E-flat clarinet, bass clarinet, contrabass widely known in the suite for full clarinet, 3 bassoons, contrabassoon, orchestra, which omits only about 6 horns, 5 trumpets, 4 trombones, 2 eight minutes of the ballet score. tubas, timpani, field drum, snare drum, (Copland orchestrated the remainder tenor drum, 2 bass drums, roto-toms, 15 Historically, many symphonists friend. This is the start of an extended as well as the moments of lucidity. (Berlioz, Mahler and Shostakovich, lyrical section in which nostalgic This movement is formally less to name a few) have been inspired by themes are mixed with fragmented organized than the preceding one, and important events in their lives, and suggestions of the Tango. Little by little, intentionally so — but there is a slow perhaps occasionally their choice of the chattering brass motives begin to and relentless progression toward an the symphonic form was dictated by reappear, interrupted by the elements accelerated “madness.” The ending can extra-musical events. In the decade of tension that initiated the work, until only be described as a brutal scream. preceding the composition of my own the lyrical “remembrance” theme is The third movement (Chaconne: First Symphony I lost many friends accompanied by the relentless pulsing Giulio’s Song) recalls a friendship that and colleagues to the AIDS epidemic, timpani heartbeat. At this point, the dated back to my college days. Giulio and the cumulative effect of those lyrical theme continues in its slow and was an amateur cellist, full of that losses, naturally, affected me deeply. even rhythm, but the drumbeat begins enthusiasm for music that amateurs My First Symphony was generated by simultaneously to accelerate. The seem to have and professionals try feelings of loss, anger and frustration. tension of a slow, steady melody played to keep. After he died several years A few years before I undertook this against a slow, steady accelerando ago, I found an old tape recording of work, I was extremely moved when culminates in a recapitulation of the the two of us improvising on cello I first saw “The Quilt,” an ambitious multiple accelerations heard earlier and piano, as we often did. That tape, interweaving of several thousand in the movement, starting the final dated 1962, provided material for the fabric panels, each memorializing a section. extended cello solo in this movement. person who had died of AIDS, and, But this time the accelerations Notating Giulio’s improvisation, I most importantly, each designed and reach an even bigger climax, in which found a pungent and beautiful motto constructed by his or her loved ones. the entire orchestra joins together which, when developed, formed the This made me want to memorialize playing a single dissonant chord in melody played by the solo cello at this in music those I had lost, and reflect a near-hysterical repeated pattern point. … That theme is preceded by a on those I was losing. I decided to that begins to slow down and finally chaconne, based on twelve tones (and relate the first three movements of the stops. Unexpectedly, the volume of the chords they produce), which runs Symphony to three lifelong musician this passage remains loud, so that the through the entire movement. The first friends. In the third movement, still effect is that of a monstrous machine several minutes of this movement are other friends are recalled in a quilt-like coming to a halt but still boiling with played by the violas, cellos and double interweaving of motivic melodies. energy. This energy, however, is finally basses alone. The chaconne chords are Cast in free, large-scale A-B-A exhausted, and there is a diminuendo immediately heard, hazily dissolving form, the first movement A( pologue: to piano. A recapitulation of the into each other, and the cello melody Of Rage and Remembrance — original motives along with a final begins over the final chord. Halfway the term Apologue defined as “an burst of intensity from the orchestra through this melody a second cello allegorical narrative usually intended and offstage piano concludes this joins the soloist. This is the first of a to convey a moral”) is highly charged movement, which ends on a desolate series of musical remembrances of and alternates between the tension of high A. other friends (the first [of them] having anger and the bittersweet nostalgia of The second movement been a professional cellist who was remembering. It reflects my distress (Tarantella) was written in memory Giulio’s teacher and who also died of over a concert pianist friend. The of a friend who was an executive in AIDS). opening (marked “Ferocious”) begins the music industry. He was also an In order to provide themes for the with the nasal open A of the violins amateur pianist; in 1970 I wrote a set interweaving of lost friends, I asked and violas. This note, which starts of dances (Gazebo Dances for piano, William M. Hoffman, the librettist of and finishes the Symphony, grows four hands) for various friends to play, my opera The Ghosts of Versailles, to in intensity and volume until it is and dedicated the final movement, a eulogize them with short sentences. answered by a burst of percussion. tarantella, to him. This was a jaunty I then set those lines for various solo A repeat of this angry-sounding little piece whose mood, as in many instruments and, removing the text, note climaxes, this time, in the tarantellas, seems to be at odds with its inserted them into the symphony. entrance of the full orchestra, which purpose. For the tarantella, as described These melodies are played against the is accompanied by a slow timpani in Grove’s Dictionary, is a “South Italian recurring background of the chaconne, beat. This steady pulse — a kind of dance played at continually increasing interspersed with dialogues between musical heartbeat — is utilized in this speed [and] by means of dancing it the solo cellos. At the conclusion of movement as the start of a series of a strange kind of insanity [attributed the section, as the cello recapitulates overlapping accelerandos interspersed to tarantula bite] could be cured.” Giulio’s theme, the solo trumpet with antagonistic chatterings of The association of madness and my begins to play the note A that began antiphonal brass. A final multiple piano piece proved both prophetic and the symphony. This is taken up by acceleration reaches a peak climaxed bitterly ironic when my friend, whose the other brass, one by one, so that by the violins in their highest register, wit and intelligence were legendary the note grows to overpower the which begins the middle section. in the music field, became insane as a other orchestral sonorities. The entire As the violins make a gradual result of AIDS dementia. string section takes up the A and diminuendo, a distant (offstage) piano In writing a tarantella movement builds to a restatement of the initial is heard, as if in a memory, playing for this symphony, I tried to picture assertive orchestral entrance in the first Leopold Godowsky’s transcription of some of the schizophrenic and movement. The relentless drumbeat Isaac Albéniz’s Tango (made in Chicago hallucinatory images that would returns, but this time it does not in 1921), a favorite of my pianist have accompanied that madness, accelerate. Instead, it continues its slow 16 and somber beat against the chaconne, augmented by two sets of antiphonal chimes tolling the twelve pitches as the intensity increases and the persistent rhythm is revealed to be that of a funeral march. Finally the march rhythm starts to dissolve, as individual choirs and solo instruments accelerate independently, until the entire orchestra climaxes with a sonic explosion. After this, only a solo cello remains, softly playing the A that opened the work, and introducing the final part E( pilogue). This entire section is played against a repeated pattern consisting of waves of brass chords. To me, the sound of ocean waves conveys an image of timelessness. I wanted to suggest that in this symphony, by creating sonic “waves,” to which purpose I partially encircled the orchestra with an expanded brass section. Behind the orchestra five trumpets are placed with the first trumpet in the center; fanning outwards around the orchestra are six horns (three on each side), four trombones (two on each side), and finally one tuba on each end of the semicircle of brass. The waves begin with a high note in the solo trumpet and then move upward and around the orchestra so that the descending brass notes form chords. A slowly moving pattern of four chords is thus built; this repeated pattern creates sonic waves throughout the Epilogue. Against these waves, when they begin, the piano solo from the first movement (the Albéniz/Godowsky Tango) returns, as does the tarantella melody (this time sounding distant and peaceful), and the two solo cellos, interwoven between, recapitulate their dialogue. A slow diminuendo leaves the solo cello holding the same perpetual A until it finally fades away.” John Corigliano

Notes by Richard Freed © 2015

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