Chris Christodoulou Cheryl Mazak

Sunday, January 26, 2020, 3pm Zellerbach Hall Royal Philharmonic Orchestra

Pinchas Zukerman, conductor and violin

PROGRAM

Ludwig van BEETHOVEN (1770–1827) Overture to Egmont, Op. 84

Wolfgang Amadeus MOZART Violin Concerto No. 5 in A major, (1756–1791) K. 219, Turkish Allegro aperto Adagio Rondeau: Tempo di minuetto

INTERMISSION

Pyotr Ilyich TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 (1840–1893) Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Andante maestoso – Allegro vivace

This performance is made possible, in part, by Patron Sponsors Brian James and S. Shariq Yosufzai. Cal Performances’ 2019–20 season is sponsored by Wells Fargo.

16 PLAYBILL PROGRAM NOTES

Overture to Egmont, Op. 84 Violin Concerto No. 5 in A major, K. 219, Ludwig van Beethoven Turkish Just how far Ludwig van Beethoven had trav- eled stylistically during the first decade of Despite the fact that Wolfgang Amadeus Mo- the 19th century can be judged by comparing zart was taught to play the violin from a very the vivacious, post-Mozartian gestures of The early age by his expert teacher-father, Leop- Creatures of Prometheus to the galvanizing, old, the boy genius apparently hardly touched storm-tossed musical narrative of the Over- the instrument between lessons. Neverthe- ture to Egmont. Beethoven was no longer con- less, shortly after his seventh birthday, Mozart tent merely to delight and cajole his audiences; still went on to make his sensational concerto he pummeled them into submission according debut with the court orchestra in Salzburg. to his will. The rapid deterioration in his hear- It is a sign of his all-embracing creative gift that ing had not only forced him to retire from the in later life, Mozart’s prodigious talent for the concert stage as a pianist; it had profoundly af- violin and viola was reduced to little more than fected his whole way of thinking. an enjoyable pastime. Beethoven’s incidental music to Egmont The received wisdom for many years was was the result of a commission from the Burg- that Mozart’s five authenticated violin concer- theater in in 1809, and intended for tos—K. 207 in B-flat major, K. 211 in D major, a 20th-anniversary revival of Johann Wolfgang K. 216 in G major, K. 218 in D major, and von Goethe’s original play. The central plot, K. 219 in A major (Turkish)­—were composed involving Count Egmont’s unsuccessful at- during an eight-month period between April tempts to free 16th-century Netherlands from and December 1775. Alan Tyson’s paper stud- its Spanish oppressors and his subsequent ex- ies and Wolfgang Plath’s detailed examination ecution, clearly struck a chord in the compos- of the original manuscripts now suggest, how- er’s psyche. Indeed, Beethoven wrote to Goethe ever, that K. 207 actually dates from two years personally, explaining how he had been moved earlier. by “that glorious Egmont on which I have again No one is exactly certain what compelled reflected through you, and which I have repro- Mozart to show such unprecedented enthusi- duced in music as intense as my feelings when asm for the genre at this time. It is therefore I read your play.” more than likely that he simply composed On the opening night of the new production the concertos for himself to play as an act of (May 24, 1810), the audience was somewhat ingratiation for his powerful employer, the perplexed by the lack of any preparatory music: archbishop of Salzburg. The concertos were Beethoven still hadn’t completed the overture! extremely well received, so much so that the It wasn’t until the fourth performance on June following year the newly appointed leader of 15th, that this symphonic masterpiece finally the archbishop’s orchestra, Antonio Brunetti, received its grand premiere. eagerly took them under his wing. The overture immediately contrasts the Finest of all is K. 219, whose opening Alle- forces of good and evil with a slow introduc- gro aperto is notable both for its exuberant me- tory section that sets massive brass and string lodic invention and the soloist’s very first entry, chords against soothing, plaintive cries from which opens with a six-bar adagio interlude the woodwinds. This is followed by a storm- as though it were the most natural thing in the swept allegro section, a gloomy landscape star- world. Another striking feature is the finale’s tlingly illuminated by nerve-shredding strikes “noisy” third episode in A minor, composed of musical lightning. A final reminiscence of in the then fashionable Janissary (“alla turca”) the woodwind motif sets up a coda of remark- style, with cellos and double basses instructed able force (this is recalled later in the incidental to play with the wood of their bows. Apparently music in the form of a “victory symphony,” as the audiences of the time found the intensity Egmont is sent to his execution). of feeling generated by the central Adagio so

17 PROGRAM NOTES

perplexing that the following year, Brunetti to be forcibly torn away from his mother, and requested Mozart compose a substitute. The then clung onto the wheels of her carriage in result is the magical Adagio in E major, K. 261. an effort to prevent her leaving. He graduated in 1859 and immediately obtained a job with Symphony No. 5 in E minor, Op. 64 the Ministry of Justice in , but after three years of inexorable tedium, the Composed the very same year as Richard 22-year-old wrote to his father informing him Strauss’ Don Juan, Pyotr Ilyich Tchaikovsky’s that he was going to make music his career. Fifth Symphony is the most popular of all his Enrolling at the Conservatory in 1863, works in the genre. Its string of unforgettable Tchaikovsky’s progress was fairly spectacular. melodies, breathtaking emotional power, and Having composed little more than a handful of sense of a glorious triumph won in the face piano pieces and songs up to this point, within of adversity has guaranteed it an immortal five years he had the remarkably assured First place in music history. Tchaikovsky initially Symphony (Winter Daydreams) under his belt. had severe doubts about the piece, convinced In addition, he had been taken on as a lecturer that it represented the start of a creative de- at the newly founded Moscow Conservatory, cline. Having witnessed the thunderous ap- and then in 1869 produced the first version of plause that greeted the work wherever it was his seminal Romantic masterpiece, the Romeo performed, however, he later confided to his and Juliet fantasy-overture. nephew, Lev Davidov: “I like it far better now.” Despite recurring fits of depression brought Tchaikovsky was blessed with one of the about by his homosexuality and natural inse- most profoundly instinctive of creative gifts. curity, this opened the floodgates to a stream Far from merely representing the self-indul- of compositions over the following seven years gent outpourings of an emotionally unstable that indisputably established Tchaikovsky as personality, the often painful immediacy of ’s greatest living composer, including his deeply introspective and volatile soundworld the Second (Little Russian) and Third (Polish) was to touch a whole generation of composers Symphonies, the First Piano Concerto, the bal- as disparate in technique as Puccini, Sibelius, let Swan Lake, and the Variations on a Rococo and Berg. Tormented throughout his life by Theme for cello and orchestra. That same year, feelings of guilt regarding his homosexuality Tchaikovsky began exchanging letters with a (referred to simply as ‘Z’ in his correspon- wealthy widower, Nadezhda von Meck, who dence), it is a bitter irony that as little as 20 offered to support him financially (and emo- years after the composer’s death, the great tionally) on the rather strange condition that impresario Serge Diaghilev could write from neither of them should ever meet. Overwhelmed the admittedly racy artistic circles of Paris: by her generosity, he responded with three ax- “Tchaikovsky thought of committing suicide iomatic, storm-tossed masterworks: the sym- for fear of being discovered a homosexual; but phonic fantasia Francesca da Rimini, the Fourth today, if you are a composer and not a homo- Symphony, and the opera Eugene Onegin. sexual, you might as well put a bullet through At the very height of his powers, your head.” Tchaikovsky’s early musical prog- Tchaikovsky then took the appallingly ill- ress was constantly hampered by his father’s advised step of marrying a psychologically blinkered desire to see him enter the legal pro- wayward admirer of his, Antonina Milyukova. fession. Despite composing his first song setting Tormented and repulsed, after only a few weeks at the age of four and subsequently showing he escaped to the Caucasus, where he suffered signs of exceptional talent (none of the local a nervous collapse, having made a bungled at- teachers could keep pace with him), six years tempt at suicide. It took him nearly 10 years to later, Tchaikovsky was packed off to the School recover fully artistically, for while a number of Jurisprudence. This caused him such deep of works he composed during the early/mid distress that on the day of his arrival he had 1880s are highly popular today (the Capriccio

18 PLAYBILL PROGRAM NOTES

Italien, Serenade for Strings, and 1812 Overture, held that a private court of honor had met to in particular), the music of this period, despite decide the outcome of a potentially embar- many felicities and moments of burning inspi- rassing liaison that Tchaikovsky had formed ration, only occasionally manages to live up the with the nephew of a Russian nobleman— supreme promise of his earlier work. Whatever it was apparently resolved that the only course his mild creative shortcomings, Tchaikovsky’s of action open to the composer was for him reputation continued to blossom both at home to take his own life. In these more enlightened and abroad (including in North America), times, it seems barely conceivable that in order where he went on tour conducting his own to protect the reputation of a singularly anon- music and was warmly welcomed by many ymous member of the Russian aristocracy, one of his most distinguished musical colleagues, of the greatest musical talents of the 19th cen- including Dvořák, Grieg, Fauré, and Brahms tury was ruthlessly silenced. (who actually had little time for his music). In More than in any other of his symphonies, 1892, no less a figure than Gustav Mahler was Tchaikovsky attempted to impart a sense of at the helm of a celebrated Hamburg produc- unity to the Fifth by the use of a “fate” motif tion of Eugene Onegin. that we hear announced at the very opening by Tchaikovsky’s final years witnessed a glori- clarinets and bassoons over the subdued tread ous affirmation of his extraordinary creative of accompanying strings. This re-emerges in the prowess, highlighted by the ballets The Sleeping slow movement, most potently towards the end, Beauty and The Nutcracker, as well as the Fifth where the brass, underpinned by a massive tim- and Sixth (Pathétique) Symphonies, the latter pani roll, throttle the music almost to the point completed in the year of his death, 1893. The of extinction. In the waltz-like third movement, official version of Tchaikovsky’s sudden pass- “fate” emerges ghost-like from the clarinet in ing was that, having drunk unboiled water, he the closing bars, while the finale opens and subsequently contracted an extremely virulent closes with major-key versions of the motif, form of typhoid. However, it is now widely sending one’s spirits soaring into the night sky. —Julian Haylock

ABOUT THE ARTISTS

For more than seven decades the Royal ing appearances with pop stars and on video Philharmonic Orchestra (RPO) has been games, and film and television soundtracks, at the forefront of music-making in the while its artistic priority remains paramount: United Kingdom. Its home base since 2004 the making of great music at the highest level at London’s Cadogan Hall serves as a spring- for the widest possible audience. This would board for seven principal residencies as well as have been lauded by the orchestra’s founder more than 45 concerts per year in long-term and first conductor, Sir , who partnership venues across the country, often established the RPO in 1946, leading a vital in areas where access to live orchestral music revival in the UK’s orchestral life after World is limited. In London, the orchestra’s regular War II. performances at Cadogan Hall are comple- Since then, the orchestra’s principal con- mented by distinguished series at Southbank ductors have included , Antal Centre’s Royal Festival Hall and the Royal Doráti, , , Vladimir Albert Hall. With a wider reach than any other Ashkenazy, , , UK large ensemble, the RPO has truly become and ; and its repertoire has Britain’s national orchestra. encompassed every strand of music, from the Alongside its concert series, the RPO em- core classical repertoire to music of the 20th and braces 21st-century opportunities includ- 21st centuries, and works by leading composers

19 ABOUT THE ARTISTS of recent years such as Sir Peter Maxwell Davies in 2017 the RPO partnered with a concert- and Sir John Tavener. enhancing app, EnCue by Octava, becoming the The RPO’s commitment to working with the first orchestra in Europe to offer its audiences finest conductors continues and in July 2018, real-time program notes delivered to their mo- the orchestra announced as bile or tablet devices. The orchestra has become its new music director; he will assume the title increasingly active on social media platforms, of Music Director Designate in August 2020 inviting audiences to engage informally on prior to taking on the full role in August 2021. Facebook and Twitter (@rpoonline) and to enjoy Petrenko joins the RPO’s roster of titled con- behind-the-scenes insights on the RPO website ductors, which includes Pinchas Zukerman (www.rpo.co.uk), YouTube (RPOOnline), and (Principal Guest Conductor), Alexander Instagram (@RPOOnline). Shelley (Principal Associate Conductor) As the RPO proudly looks to its future, its ver- and Grzegorz Nowak (Permanent Associate satility and high standards have established the Conductor). orchestra as one of today’s most open-minded, The orchestra maintains a busy schedule of forward-thinking symphonic ensembles. prestigious international touring throughout For more information, please visit the or- Europe, the Far East, and the United States. chestra’s website at www.rpo.co.uk. It appears regularly at major fes- tivals, including, most recently, events in Poland, Austria, and Italy. Highlights of recent sea- sons include an extensive tour of and three perfor- mances at the new Sheikh Jabar Al-Ahmed Cultural Centre in Kuwait. In 2018, RPO Resound, the orchestra’s community and edu- cation program, marked its 25th anniversary. Throughout its his- tory, this effort has thrived on taking music into the heart of the regions that the orchestra serves. From Azerbaijan to Jamaica and from Shanghai to Scunthorpe, the team—comprising the ma- jority of the orchestra—has worked with young people, the homeless, recovering stroke patients (in the award-winning STROKESTRA project in Hull), and in settings ranging from the

Sea Life London Aquarium to Cheryl Mazak hospitals, orphanages, and chil- dren’s hospices. Pinchas Zukerman, principal guest conductor In 1986, the RPO became the first UK orches- With a celebrated career encompassing five tra to launch its own record label. The ensem- decades, Pinchas Zukerman is one of today’s ble has embraced digital advances; continuing most sought after and versatile musicians— its tradition of entrepreneurial innovation, violin and viola soloist, conductor, and cham-

20 PLAYBILL ABOUT THE ARTISTS ber musician. He is renowned as a virtuoso and travels with the Zukerman Trio for perfor- admired for the expressive lyricism of his play- mances throughout North and South America, ing and the singular beauty of his tone, as well Europe, and Asia, and joins longtime friend as his impeccable musicianship. Zukerman’s and collaborator Daniel Barenboim for a cycle artistry can be heard throughout his discog- of the complete Beethoven sonatas for violin raphy of over 100 albums for which he gained and piano, presented in a three-concert series two Grammy awards and 21 nominations. in Berlin. Highlights of his 2019–20 season include A devoted teacher and champion of young tours with the and musicians, he has served as chair of the Pin- Royal Philharmonic Orchestra, as well as chas Zukerman Performance Program at guest appearances with the Boston, Dallas, the Manhattan School of Music for over 25 and Prague symphony orchestras, the Berlin years, and has taught at prominent institu- Staatskapelle, and the Israel Philharmonic tions throughout the United Kingdom, Israel, Orchestra. In his fifth season as artist-in- China, and Canada, among other countries. As residence of the Adelaide Symphony Orchestra, a mentor, he has inspired generations of young he tours with the ensemble to China and Korea, musicians who have achieved prominence in and recently premiered Avner Dorman’s performing, teaching, and leading roles with Double Concerto for Violin and Cello, writ- music festivals around the globe. Zukerman ten for Zukerman and cellist Amanda Forsyth. has received honorary doctorates from Brown Subsequent performances of the important University, Queen’s University in Kingston new work take place at Tanglewood with the (Ontario), and the University of Calgary, Boston Symphony; Ottawa with the National as well as the National Medal of Arts from Arts Centre Orchestra, where Zukerman President Ronald Reagan. He is a recipient of serves as conductor emeritus; and with the the Isaac Stern Award for Artistic Excellence in Israel Philharmonic. In chamber music, he Classical Music.

21 ORCHESTRA ROSTER

First Violins Cellos Trombones Duncan Riddell Richard Harwood Matthew Knight Tamás András Jonathan Ayling Rupert Whitehead Sulki Yu Roberto Sorrentino Shana Douglas Jean-Baptiste Toselli Bass Trombone Eriko Nagayama William Heggart Josh Cirtina Andrew Klee Rachel van der Tang Kay Chappell Naomi Watts Tuba Anthony Protheroe Anna Stuart Kevin Morgan Erik Chapman Sophie Mather Double Basses Timpani Esther Kim David Stark Matt Perry Marciana Buta David Gordon Patrycja Mynarska Benjamin Cunningham Imogen East Ben Wolstenholme Mark O’Leary ROYAL PHILHARMONIC Second Violins David FC Johnson ORCHESTRA Andrew Storey MANAGEMENT David O’Leary Flutes Jennifer Christie Joanna Marsh Managing Director Charlotte Ansbergs Harry Winstanley James Williams Peter Graham Stephen Payne Piccolos Deputy Managing Director Manuel Porta Helen Keen Huw Davies Charles Nolan Sali-Wyn Ryan Oboes Concerts Director Colin Callow John Roberts Louise Badger Nicola Hutchings Timothy Watts Sheila Law Tours Manager Clarinets Dawn Day Violas Benjamin Mellefont Abigail Fenna Katy Ayling Tours Assistant Liz Varlow Charlotte Fry Ugne Tiškuté Bassoons Chian Lim Joshua Wilson Orchestra Manager Jonathan Hallett Fraser Gordon Kathy Balmain Triona Milne Clive Howard French Horns Stage and Transport Felix Tanner Austin Larson Manager Helen Picknett Finlay Bain Steve Brown Zoe Matthews Philip Woods Jonathan Bareham Stage Manager Richard Ashton Esther Robinson

Trumpets Assistant Stage Manager James Fountain Dan Johnson Adam Wright Mike Allen

22 PLAYBILL