Mahler's Song of the Earth
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Season 2018-2019 the Philadelphia Orchestra
Season 2018-2019 The Philadelphia Orchestra Saturday, June 15, at 8:00 Sunday, June 16, at 2:00 Yannick Nézet-Séguin Conductor Richard Woodhams Oboe Ricardo Morales Clarinet Daniel Matsukawa Bassoon Jennifer Montone Horn Mozart Sinfonia concertante in E-flat major, K. 297b, for winds and orchestra I. Allegro II. Adagio III. Andantino con variazioni—Andante The June 15 concert is sponsored by Ralph Muller. The June 16 concert is sponsored by John McFadden and Lisa Kabnick. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. The Orchestra Center, Penn’s Landing, free Neighborhood is inspiring the future and and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The and residency work in of achievement, sustaining Orchestra maintains a Philadelphia and abroad. the highest level of artistic strong commitment to Through concerts, tours, quality, but also challenging— collaborations with cultural residencies, presentations, and exceeding—that level, and community organizations and recordings, the on a regional and national by creating powerful musical Orchestra is a global cultural level, all of which create experiences for audiences at ambassador for Philadelphia greater access and home and around the world. -
GUSTAV MAHLER's Ieh BIN DER WELT ABHANDEN GEKOMMEN AS SONG and SYMPHONIC MOVEMENT: ABDUCTION, OVER-CODING, and CATACHRESIS
DA VID L. MOSLEY GUSTAV MAHLER'S IeH BIN DER WELT ABHANDEN GEKOMMEN AS SONG AND SYMPHONIC MOVEMENT: ABDUCTION, OVER-CODING, AND CATACHRESIS While many have commented upon the manner in which Gustav Mahler quotes both himself and other sources in his music, this stylistic feature of Mahler's composition has not, to my knowledge, been examined from the perspective of intertextuality. The many intertexts of Mahler's music include: literary texts of his own creation as well as those by other authors, other musical styles and genres, musical compositions by other composers, and portions of his own oeuvre. Nowhere is Mahler's musical intertextuality more informative than in the many and varied relationships between his songs and his symphonic compositions. The case of Ich bin der Welt abhanden gekommen as poem, piano-Lied, orchestral song, and the Adagietto movement of his Symphony No.5 is one such example. This essay will employ a semiotic methodology to examine: (1) the abductive process by which Mahler approached RUckert's poem, (2) the practice of over-coding by which this poem became a piano-Lied, an orchestral song, and finally a purely instrumental symphonic movement, and (3) the manner in which the Adagietto of Mahler's Symphony No. 5 constitutes a catachresis, or misapplied metaphor, in relation to the text from which it originated. MAHLER'S ABDUCTIVE APPROACH TO LIED COMPOSITION What does it mean for a composer at the beginning of the twentieth century to quote the musical material from a vocal composition in a subsequent instrumental composition? The first implication of this question has to do with our model for understanding Lied composition itself. -
Rachmaninoff, Paganini, & the Piano; a Conversation
Rachmaninoff, Paganini, & the Piano; a Conversation Tracks and clips 1. Rachmaninoff in Paris 16:08 a. Niccolò Paganini, 24 Caprices for Solo Violin, Op. 1, Michael Rabin, EMI 724356799820, recorded 9/5/1958. b. Sergey Rachmaninoff (SR), Rapsodie sur un theme de Paganini, Op. 43, SR, Leopold Stokowski, Philadelphia Orchestra (PO), BMG Classics 09026-61658, recorded 12/24/1934 (PR). c. Fryderyk Franciszek Chopin (FC), Twelve Études, Op. 25, Alfred Cortot, Deutsche Grammophon Gesellschaft (DGG) 456751, recorded 7/1935. d. SR, Piano Concerto No. 3 in d, Op. 30, SR, Eugene Ormandy (EO), PO, Naxos 8.110601, recorded 12/4/1939.* e. Carl Maria von Weber, Rondo Brillante in E♭, J. 252, Julian Jabobson, Meridian CDE 84251, released 1993.† f. FC, Twelve Études, Op. 25, Ruth Slenczynska (RS), Musical Heritage Society MHS 3798, released 1978. g. SR, Preludes, Op. 32, RS, Ivory Classics 64405-70902, recorded 4/8/1984. h. Georges Enesco, Cello & Piano Sonata, Op. 26 No. 2, Alexandre Dmitriev, Alexandre Paley, Saphir Productions LVC1170, released 10/29/2012.† i. Claude Deubssy, Children’s Corner Suite, L. 113, Walter Gieseking, Dante 167, recorded 1937. j. Ibid., but SR, Victor B-24193, recorded 4/2/1921, TvJ35-zZa-I. ‡ k. SR, Piano Concerto No. 3 in d, Op. 30, Walter Gieseking, John Barbirolli, Philharmonic-Symphony Orchestra, Music & Arts MACD 1095, recorded 2/1939.† l. SR, Preludes, Op. 23, RS, Ivory Classics 64405-70902, recorded 4/8/1984. 2. Rachmaninoff & Paganini 6:08 a. Niccolò Paganini, op. cit. b. PR. c. Arcangelo Corelli, Violin Sonata in d, Op. 5 No. 12, Pavlo Beznosiuk, Linn CKD 412, recorded 1/11/2012.♢ d. -
Boston Symphony Orchestra Concert Programs, Season 96, 1976
ORCHESTRA © 1976 New England Mutual Life Insurance Company. Boston. Subsidiary: NEL Equity Services Corporation, mutual funds; Affiliate: Loomis, Sayles & Company. Inc., investment counselors "MyNewEngland Life Agency? Downing&Desautels,ofcourseAVhy?" Because Downing & Desautels know the ropes so well, especially in the areas of pensions, estate planning and mutual funds. To be on the safe side, call them at 542-0553 in Boston. BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA A '•: Music Director -^%) Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season 1976-77 The Trustees of the Boston Symphony Orchestra Inc Talcott M. Banks President Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer Vernon R. Alden Mrs. Harris Fahnestock John T. Noonan Allen G. Barry Harold D. Hodgkinson Mrs. James H. Perkins Mrs. John M. Bradley David O. Ives Irving W. Rabb Richard P. Chapman E. Morton Jennings, Jr. Paul C. Reardon Abram T. Collier Edward M. Kennedy David Rockefeller Jr. Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III Albert L. Nickerson John Hoyt Stookey Trustee Emeritus Henry A. Laughlin Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Joseph M. Hobbs Dinah Daniels Director of Development Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood Michael Steinberg Director of Publications Programs copyright © 1976 Boston Symphony Orchestra Inc. -
Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill). -
Rezensionen Für
Rezensionen für Gustav Mahler: Das Lied von der Erde aud 95.491 4022143954916 Badische Zeitung 18.11.2003 (Heinz W. Koch - 2003.11.18) ... Wie spezifisch, ja wie radikal sich Gielens Mahler ausnimmt, erhellt schlagartig, wenn man Rafael Kubeliks dreieinhalb Jahrzehnte alte und vor einer Weile wiederveröffentlichte Einspielung dagegenhält. Eine gehörige Überraschung gab’s schon einmal – als nämlich die nie veröffentlichten Münchner Funk-„Meistersinger“ von 1967 plötzlich zu haben waren. Jetzt ist es Gustav Mahlers drei Jahre später eingespieltes „Lied von der Erde“, das erstmals über die Ladentische geht. Es gehört zu einer Mahler Gesamtaufnahme, die offenbar vor der rühmlich bekannten bei der Deutschen Grammophon entstand. Zumindest bei den hier behandelten Sinfonien Nr. 3 und Nr. 6 war das der Fall. Beim „Lied von der Erde“ offeriert das Symphonie-Orchester des Bayerischen Rundfunks, dessen Chef Kubelik damals war, ein erstaunlich präsentes, erstaunlich aufgesplittertes Klangbild, das sowohl das Idyllisch-Graziöse hervorkehrt wie das Schwerblütig-Ausdrucksgesättigte mit großem liedsinfonischem Atem erfüllt – eine erstrangige Wiedergabe. Auch die beiden 1967/68 erarbeiteten Sinfonien erweisen sich als bestechend durchhörbar. Vielleicht geht Kubelik eine Spur naiver vor als die beim Sezieren der Partitur schärfer verfahrenden Dirigenten wie Gielen, bricht sich, wo es geht, das ererbte böhmische Musikantentum zumindest für Momente Bahn. Da staunt einer eher vor Mahler, als dass er ihn zu zerlegen sucht. Wenn es eine Verwandtschaft gibt, dann ist es die zu Bernstein. Das Triumphale der „Dritten“, das Nostalgische an ihr wird nicht als Artefakt betrachtet, sondern „wie es ist“: Emotion zur Analyse. ... (aus einer Besprechung mit den Mahler-Interpretationen Michael Gielens) CD Compact n°169 (octobre 2003) (Benjamín Fontvelia - 2003.10.01) Rafael Kubelik/Audite Rafael Kubelik/Audite Full review text restrained for copyright reasons. -
Otello Program
GIUSEPPE VERDI otello conductor Opera in four acts Gustavo Dudamel Libretto by Arrigo Boito, based on production Bartlett Sher the play by William Shakespeare set designer Thursday, January 10, 2019 Es Devlin 7:30–10:30 PM costume designer Catherine Zuber Last time this season lighting designer Donald Holder projection designer Luke Halls The production of Otello was made possible by revival stage director Gina Lapinski a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr. The revival of this production is made possible by a gift from Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 345th Metropolitan Opera performance of GIUSEPPE VERDI’S otello conductor Gustavo Dudamel in order of vocal appearance montano a her ald Jeff Mattsey Kidon Choi** cassio lodovico Alexey Dolgov James Morris iago Željko Lučić roderigo Chad Shelton otello Stuart Skelton desdemona Sonya Yoncheva This performance is being broadcast live on Metropolitan emilia Opera Radio on Jennifer Johnson Cano* SiriusXM channel 75 and streamed at metopera.org. Thursday, January 10, 2019, 7:30–10:30PM KEN HOWARD / MET OPERA Stuart Skelton in Chorus Master Donald Palumbo the title role and Fight Director B. H. Barry Sonya Yoncheva Musical Preparation Dennis Giauque, Howard Watkins*, as Desdemona in Verdi’s Otello J. David Jackson, and Carol Isaac Assistant Stage Directors Shawna Lucey and Paula Williams Stage Band Conductor Gregory Buchalter Prompter Carol Isaac Italian Coach Hemdi Kfir Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Assistant Scenic Designer, Properties Scott Laule Assistant Costume Designers Ryan Park and Wilberth Gonzalez Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department; Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; and Seams Unlimited, Racine, Wisconsin Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses strobe effects. -
Bath Festival Orchestra Programme 2021
Bath Festival Orchestra photo credit: Nick Spratling Peter Manning Conductor Rowan Pierce Soprano Monday 17 May 7:30pm Bath Abbey Programme Carl Maria von Weber Overture: Der Freischütz Weber Der Freischütz (Op.77, The Marksman) is a German Overture to Der Freischütz opera in three acts which premiered in 1821 at the Schauspielhaus, Berlin. Many have suggested that it was the first important German Romantic opera, Strauss with the plot based around August Apel’s tale of the same name. Upon its premiere, the opera quickly 5 Orchestral Songs became an international success, with the work translated and rearranged by Hector Berlioz for a French audience. In creating Der Freischütz Weber Brentano Lieder Op.68 embodied the ideal of the Romantic artist, inspired Ich wollt ein Sträuẞlein binden by poetry, history, folklore and myths to create a national opera that would reflect the uniqueness of Säusle, liebe Myrthe German culture. Amor Weber is considered, alongside Beethoven, one of the true founders of the Romantic Movement in Morgen! Op.27 music. He lived a creative life and worked as both a pianist and music critic before making significant contributions to the operatic genre from his appointment at the Dresden Staatskapelle in 1817, Das Rosenband Op.36 where he realised that the opera-goers were hearing almost nothing other than Italian works. His three German operas acted as a remedy to this situation, Brahms with Weber hoping to embody the youthful Serenade No.1 in D, Op.11 Romantic movement of Germany on the operatic stage. These works not only established Weber as a long-lasting Romantic composer, but served to define German Romanticism and make its name as an important musical force in Europe throughout the 19th century. -
Giuseppe Verdi Rigoletto
Quartetto d’Archi della Scala Hybrid Disc Francesco Manara 1° violino - Giovan Battista Guadagnini 1773 Pierangelo Negri 2° violino - Gennaro Gagliano 1756 Dal “Rigoletto” di G. Verdi Simonide Braconi viola - Giovanni Gagliano 1800 riduzione per quartetto d’ archi di A. Melchiori. Massimo Polidori cello - Bernardo Calcagnus 1752 Giuseppe Verdi C & P 2009 Audiophile Productions www.fone.it Quartetto in MI Minore Verdi\Quartetto della Scala Il panorama della musica strumentale italiana dell’Ottocento è meno deserto di quanto si Ma il Quartetto della Scala, che ha operato una selezione del lavoro di Melchiori, forse da’ il creda, almeno per il quartetto d’archi; ne fanno fede i sei di Cherubini, i diciannove di Doni- meglio di sé nel numero finale (III\10) per le giuste sfumature conferite ai momenti-chiave del zetti, i sei di Bazzini (maestro di Puccini al Conservatorio di Milano) e, nell’ultimo trentennio duetto Gilda-Rigoletto e alla brusca, tragica, chiusa. Della genesi del Quartetto in Mi minore del secolo, un paio di Busoni, l’unico di Verdi e lavori sparsi dello stesso Puccini tra i quali si sa ormai tutto: la trasferta dei coniugi Verdi a Napoli alla fine del 1872 per alcune riprese di un Quartetto da poco ‘ricostruito’. Ma nella maggior parte dei casi sono pagine che risalgono Aida e Don Carlos al San Carlo il rinvio causato da indisposizione della Stolz con conseguente agli anni di studio degli autori e di conseguenza denunciano spesso qualcosa di scolastico; permanenza forzata sino alla primavera successiva, l’idea di riempire le “molte ore d’ozio” dedi- nello stesso tempo, testimoniano la completezza della formazione di musicisti in erba ai quali i candosi “senza importanza” a un Quartetto (le parole tra virgolette sono di Verdi), la prima in rispettivi maestri facevano studiare anche la letteratura cameristica del classicismo viennese. -
PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 9 in D Major Mahler began his ninth symphony in the spring of 1909 and on April 1, 1910, he told the conductor Bruno Walter that the score was complete. Walter conducted the first performance with the Vienna Philharmonic on June 26, 1912. The score calls for four flute s and piccolo, four oboes and english horn, three clarinets, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, tam -tam, triangle, glockenspiel, chimes, two harps, and strings. Performance time is approximately eighty -one minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mahler’s Ninth Symphony were given at Orchestra Hall on April 6 and 7, 1950, with George Szell conductin g. Our most recent subscription concert performances were given on November 30, December 1, 2, and 5, 1995, with Pierre Boulez conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 11, 1979, with Lawrence Foster conducti ng, and most recently on June 28, 1991, with James Levine conducting. Because this symphony is Mahler’s last completed work, and because he died tragically of heart disease at the age of fifty shortly after finishing it, leaving behind his beautiful wife Alma and young daughter Anna, it’s often considered both his farewell and his most deeply personal score. Bruno Walter, who conducted the premiere thirteen months after Mahler’s death, said that he recognized the composer’s own gait in the limping rhythm o f the march at the climax of the first movement. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
Boston Symphony Orchestra Concert Programs, Season 130, 2010-2011
Hi 1 , 'I 2010-2011 SEASON WEEK 25 s James Levine Music Director Bernard Haitink Conductor Emeritus Seiji Ozawa Music Director Laureate Boston 320 Boylston Street (617) 482-8707 Hermes.com Summer twill giant scarf When colors meet inspiration HERMES PARIS Hermes, contemporary artisan since 1837. Table of Contents | Week 25 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 24 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 TRANSLATING SHAKESPEARE: COMING TO MUSICAL TERMS WITH THE BARD BY THOMAS MAY 38 FAREWELL, THANKS, AND ALL BEST: THIS YEAR'S BSO RETIREE 40 THIS WEEK'S PROGRAM Notes on the Program 44 Berlioz's "Romeo et Juliette" 56 To Read and Hear More... 58 Text and Translation Guest Artists 68 Charles Dutoit 69 Bernarda Fink 71 Jean-Paul Fouchecourt 72 Laurent Naouri 73 Tanglewood Festival Chorus 75 John Oliver 78 2010-2011 SEASON SUMMARY 92 SPONSORS AND DONORS 106 SYMPHONY HALL EXIT PLAN 107 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL. program copyright ©2011 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Michael J. Lutch BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org It takes a dedicated craftsman to create a flawless instrument. Shouldn't your investments be handled with the same expertise? FIDUCIARYTRUST REAP THE DIVIDENDS FIDUCIARY-TRUST.COM 175 FEDERAL STREET B0ST0.N. MA - INVESTMENT | SETTLEMEN MANAGEMENT I I TRUST SERVICES ESTATE AND FINANCIAL PLANNING I FAMILY OFFICE SERVICES ESTATE \ EVERY CLOUD HAS A SILVER LINING At EMC, success comes from creating technology which will transform the world's largest IT departments into private clouds—and from sharing that success by supporting a range of educational, cultural, and social programs in our community.