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Boston Symphony Orchestra Concert Programs, Summer, 2008 and El Corpus en Sevilla) was premiered on May 9, 1906, at the Salle Pleyel in Paris by the pianist Blanche Selva, who later gave the first performance of Volume II {Rondena, Almeria, and Triana) on September 11, 1907, in St. Jean de Luz. Volume III {ElAlbaicin, El polo, Lavapies) was published in 1907 in Paris, Volume IV {Malaga, Jerez, Eritana) also in Paris in 1908, the year before his death. Born in Madrid, violinist-conductor-composer Enrique Fernandez Arbos (1863-1939) was conductor of the Madrid Symphony Orchestra until resigning in 1936 following the outbreak of Civil War. A brilliant orchestrator, his instrumentation of music from Albeniz's flm'flwas particularly popular. From 1894-1915 he taught violin and viola at the Royal College of Music in London. As a violinist he appeared not only as a soloist, but in a celebrated piano trio with Albeniz and the cellist Augustin Rubio. For the 1903-04 season he was a concertmaster of the Boston Symphony Orchestra, also appearing with the orchestra that year as soloist in the Mendelssohn concerto and playing a concert piece of his own {Tango, Opus 6, No. 3). His international conducting career included guest appearances with major orchestras on both sides of the Atlantic, including the BSO in 1929 and 1931; his 1929 program included two movements from his arrangement of Iberia, at that time just recently published. In 1932 he led the first Spanish performance of Stravinsky's Rite of Spring. Iberia's pieces typically begin with a dance pattern and later introduce a copla (vocal melody) , but show considerable freedom and variety of form in their fine structure. Growing from a glum, minor-key melody, Evocation presently reaches a major-mode Andalusian song in the tenor register, which Albeniz clothes in a series of impres- sionistic colors and harmonies, now rich, now delicate. Elpuerto takes us to Cadiz for lusty guitar-like cross accents and piping melody swathed in florid skirls. El Corpus en Sevilla, an evocation of the Corpus Christi festival, unfolds as a puckish march approaching from the distance. As the processional reaches the church before us, bell-sounds peal out, yielding, surprisingly, to a meditative cantilena. Jubilation becomes unconfined in ardent song and dervish-dancing, before a final solemn midnight mass. Triana presents Seville's Gypsies in a puckish, spiky dance on an obsessively repeated rhythm. A copla begins in ethereal colors and soon acquires luminous swirls of ornament. The initial dance returns, then combines joyously with the copla in a rich-textured climax. BENJAMIN FOLKMAN and MARC MANDEL Benjamin Folkman is a prominent New York-based lecturer and annotator whose articles have appeared in Opera News, Stagebill, Performing Arts, and other publications. Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra. CI^ Edouard Lalo (1823-1892) Cello Concerto in D minor First performance: December 9, 1877, Paris, Concerts Populaires, Jules-Etienne Pasde- loup cond., Adolphe Fischer, soloist. First Boston Symphony Orchestra performance: April 27, 1891, Philadelphia, Arthur Nikisch cond., Anton Hekking, soloist. The BSO's first Boston performances took place in October 1899, Wilhelm Gericke cond., Elsa Ruegger, soloist. This is the first Tanglewood performance; the orchestra has not played the work since January 1951, Charles Munch cond., Pierre Fournier, soloist. Edouard Lalo has retained a place in the symphonic repertory with his tuneful Symphonie espagnole, which is in fact a five-movement violin concerto, not really a sym- phony, and with his Cello Concerto, which cello students everywhere keep on their TANGLEWOOD WEEK 5 SUNDAY PROGRAM NOTES 55.
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