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Estonian National Symphony Orchestra Zellerbach Hall Eri Klas, Conductor

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Estonian National Symphony Orchestra Zellerbach Hall Eri Klas, Conductor Cal Performances Presents Orchestra Roster Sunday, March 29, 2009, 3pm Estonian National Symphony Orchestra Zellerbach Hall Eri Klas, conductor First Violin Cello Uku Ratas Estonian National Arvo Leibur, Concertmaster Pärt Tarvas Tõnu Künnapas Elar Kuiv, Concertmaster Andreas Lend Kalmer Kiik Symphony Orchestra Marge Uus Lauri Toom Valdek Põld Piret Sandberg Katrin Oja Eri Klas, conductor Imbi-Malle Kuus Andrus Vihermäe Trumpet Eva Liisa Heinmaa Marius Järvi Indrek Vau with Meelis Orgse Margus Uus Roman Petuhhov Tarmo Truuväärt Joosep Kõrvits Erki Möller Sirje Allikmäe Enno Lepnurm Ivar Tillemann Kaiu Pent Maris Vallsalu Joyce Yang, piano Hanna-Liis Nahkur Trombone Villem Peäske Double Bass Andres Kontus Kirti-Kai Loorand Mati Lukk Peeter Margus PROGRAM Tõnis Pajupuu Imre Eenma Väino Põllu Andrus Tork Janel Altroff Guido Kongas Kristina Kungla Ants Õnnis Hendrik Soon Meelis Ainsalu Tuba Arvo Pärt (b. 1935) Cantus in Memory of Benjamin Britten Danae Taamal Maret Orgmets Andrei Sedler for Strings and Bell (1977) Kaupo Olt Second Violin Madis Jürgens Percussion Urmas Roomere Madis Metsamart Kadi Vilu Flute Rein Roos Serge Rachmaninoff (1873–1943) Piano Concerto No. 2 in C minor, Op. 18 Epp Karin Mihkel Peäske Kristjan Mäeots (1900–1901) Varje Remmel Frederike Wiechert Terje Terasmaa-Leibur Moderato Marika Hellermann Mari-Liis Vihermäe Vambola Krigul Adagio sostenuto Aleksandr Zagorulko Karolina Leedo Kaspar Eisel Ülle Allade Rein Saue Allegro scherzando Marlis Timpmann Oboe Mari-Katrina Suss Nils Rõõmussaar Administration Sirje Paliale Aleksander Hännikäinen Andres Siitan, Managing Director INTERMISSION Triin Krigul Tõnis Traksmann Marko Metsaru, Orchestra Manager Mail Sildos Heli Ernits Marika Mälksoo, Librarian Kristjan Nõlvak Jean Sibelius (1865–1957) Symphony No. 2 in D major, Op. 43 (1901–1902) Tanel Nurk Clarinet Toomas Vavilov For Opus 3 Artists Allegretto Viola Madis Kari David V. Foster, President & CEO Tempo Andante, ma rubato Rain Vilu Hannes Altrov Byron Gustafson, Managing Partner Vivacissimo — Lento e suave — Tempo primo — Liina Žigurs Meelis Vind Leonard Stein, Senior Vice President, Lento e suave — Finale: Allegro moderato Toomas Veenre Director, Tour Administration Pille Saluri Bassoon Robert Berretta, Manager, Artists & Mall Help Peeter Sarapuu Attractions Kaja Kiho Tarmo Velmet John C. Gilliland III, Associate, The Orchestra gratefully acknowledges the Estonian Ministry of Culture, the Estonian Cultural Foundation Anne Ilves Kaido Suss Tour Administration and the Estonian Ministry of Foreign Affairs for their support of the Orchestra’s 2009 North American tour. Mari Aasa Andres Lepnurm Nadia Mokhoff, Company Manager Juhan Palm-Peipmann Richmond Davis, Stage Manager Joyce Yang is a Steinway Artist. Kenti Kadarik Horn Kadri Rehema Vigo Uusmäe Exclusive Tour Management: Opus 3 Artists, 470 Park Avenue South, Ninth Floor North, New York, New York 10016. Gerli Vaher Kalle Koppel Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. 22 CAL PERFORMANCES CAL PERFORMANCES 23 Program Notes Program Notes Arvo Pärt (b. 1935) piece Für Alina, which utilizes quiet dynamics, honors, transcends the too-short time that it dwells described, and he showed little inclination of ever Cantus in Memory of Benjamin Britten rhythmic stasis and open-interval and triadic har- among us. climbing out. His family, alarmed at the prospect for Strings and Bell monies to create a thoughtful mood of mystical of the brilliant young musician wasting his prodi- introspection reflecting the composer’s personal gious talents, expended their own capabilities to Composed in 1977. piety. His subsequent works, all of which eschew Serge Rachmaninoff (1873–1943) help him, and then sought out professional psychi- electronic tone production in favor of traditional Piano Concerto No. 2 in C minor, Op. 18 atric counsel. Arvo Pärt, born on September 11, 1935, in Paide, instruments and voices, have been written in this An aunt of Rachmaninoff, Varvara Satina, had Estonia, 50 miles southeast of Tallinn, gradu- pristine, otherworldly style inspired by Gregorian Composed in 1900–1901. Premiered on October 14, recently been successfully treated for an emotion- ated from the Tallinn Conservatory in 1963 while chant and Renaissance polyphony, and seek to 1901, in Moscow, conducted by Alexander Siloti with al disturbance by a certain Dr. Nicholas Dahl, a working as a recording director in the music divi- unite ancient and modern ages in music that seems the composer as soloist. Moscow physician who was familiar with the latest sion of Estonian Radio. A year before leaving the rapt out of time. psychiatric discoveries in France and Vienna, and Conservatory, he won first prize in the All-Union Pärt calls his manner of composition “tin- When he was old and as mellow as he would ever it was arranged that Rachmaninoff should visit Young Composers’ Competition for a children’s tinnabulation,” from the Latin word for bells. get, Rachmaninoff wrote these words about his him. Years later, in his memoirs, the composer re- cantata and an oratorio. In 1980, he emigrated to “Tintinnabulation,” the composer explains, “is an early years: “Although I had to fight for recogni- called the malady and the treatment: “[Following Vienna, where he took Austrian citizenship; since area I sometimes wander into when I am searching tion, as most younger men must, although I have the performance of the First Symphony,] some- 1982, he has made his home in West Berlin. Pärt’s for answers—in my life, my music, my work. In my experienced all the troubles and sorrow which pre- thing within me snapped. All my self-confidence many distinctions include the Artistic Award of dark hours, I have the certain feeling that every- cede success, and although I know how important broke down. A paralyzing apathy possessed me. I the Estonian Society in Stockholm, Scholarship thing outside this one thing has no meaning. The it is for an artist to be spared such troubles, I realize, did nothing at all and found no pleasure in any- Award of the Musagetis Society in Zurich, honor- complex and many-faceted only confuses me, and when I look back on my early life, that it was en- thing. Half my days were spent on a couch sighing ary memberships in the Royal Swedish Academy of I must search for unity. What is it, this one thing, joyable, in spite of all its vexations and bitterness.” over my ruined life. My only occupation consisted Music, American Academy of Arts and Letters and and how do I find my way to it? Traces of this per- The greatest “bitterness” of Rachmaninoff’s career in giving a few piano lessons to keep myself alive.” Belgium’s Royal Academy of Arts, five Grammy fect thing appear in many guises—and everything was brought about by his Symphony No. 1, a work For more than a year, Rachmaninoff’s condition Award nominations, honorary doctorates from that is unimportant falls away. Tintinnabulation that had such a disastrous premiere he forbade any persisted. He began his daily visits to Dr. Dahl the universities of Sydney, Tartu, Durham and the is like this. Here, I am alone with silence. I have other performances of the piece while he was alive. in January 1900. “My relatives had informed Music Academy of Tallinn, Order of the Estonian discovered that it is enough when a single note is The total failure of the Symphony at its premiere in Dr. Dahl that he must by all means cure me of State Second Class, the Herder Award conferred beautifully played. This one note, or a silent beat, 1897 was a traumatic disappointment to him, one my apathetic condition and bring about such re- by the University of Vienna, and recognition as a or a moment of silence, comfort me. I work with that thrust him into such a mental depression that sults that I would again be able to compose. Dahl Commandeur de l’Ordre des Arts et des Lettres de very few elements—with one voice, with two he suffered a complete nervous collapse. had inquired what kind of composition was de- la République Française. voices. I build with the most primitive materials— Such a hyper-emotional attitude was not sired of me, and he was informed ‘a concerto for Pärt’s earliest works show the influence of the with the triad, with one specific tonality. The three unusual at the turn of the 20th century for the pianoforte,’ which I had given up in despair of ever Soviet music of Prokofiev and Shostakovich, but notes of a triad are like bells. And that is why I call Russian aristocracy of which Rachmaninoff was writing. In consequence, I heard repeated, day af- beginning in 1960 with Necrology for Orchestra, it tintinnabulation.” a member. Melancholia was virtually a way of ter day, the same hypnotic formula, as I lay half he adopted the serial principles of Schoenberg. This Pärt composed the Cantus in Memory of upper-class life at the time, as the Russian critic somnolent in an armchair in Dr. Dahl’s consulting procedure quickly exhausted its interest for him, Benjamin Britten for Strings and Bell in 1977 in and composer Leonid Sabaneiev described: “The room: ‘You will start to compose a concerto—You however, and, for a fruitful period in the mid– tribute to the renowned English composer, who famous Moscow restaurants, the no-less famous will work with the greatest of ease—The composi- 1960s during which he produced a cello concerto, died on December 4, 1976, in Aldeburgh, Suffolk. Gypsy choruses, the atmosphere of continuing tion will be of excellent quality.’ Always it was the the Second Symphony and the Collage on BACH This brief but deeply moving threnody, begun by dissipation in which perhaps there was no merri- same, without interruption.” Almost like a movie for Orchestra, he explored the techniques of col- the solitary, pealing bell, is based on a single the- ment at all, but on the contrary, the most genuine, script from the Hollywood where Rachmaninoff lage and quotation.
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