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Home , Alfred Hertz, Basil Cameron, Issay Dobrowen, Michael Tilson Thomas, San Francisco Symphony

CAL PERFORMANCES PRESENTS PROGRAM

Tuesday, May 1, 2012, 8pm Zellerbach Hall Symphony ,

Jane Glover, conductor Bach Brandenburg Concerto No. 6 in B-flat major, bwv 1051 [Allegro] PROGRAM Adagio ma non tanto Allegro Jonathan Vinocour viola I Yun Jie Liu viola II George Frideric Handel (1685–1759) Water Music Suite No. 3 in G major, Barbara Bogatin viola da gamba I hwv 350 (1717) Marie Dalby Szuts viola da gamba II [Sarabande] or [Menuet] Rigaudons I and II Menuets I and II [Bourrées I and II] Handel Music for the Royal Fireworks, hwv 351 (1749) Overture Bourrée La Paix Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 in G major, La Réjouissance bwv 1048 Menuet I [Allegro] Menuet II Adagio Allegro

Bach Brandenburg Concerto No. 2 in F major, bwv 1047 [Allegro] Andante Allegro assai Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Nadya Tichman violin Robin McKee flute Jonathan Fischer oboe John Thiessen trumpet

INTERMISSION

28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES

George Frideric Handel (1685–1759) Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 “for three presumably means a recorder when he just says Water Music Suite No. 3 in G major, hwv 350 Brandenburg Concerto No. 3 in G major, violins, three violas and three violoncelli, with flauto; however, as in most modern-instrument (1717) bwv 1048 bass for the harpsichord” (all the instrumenta- performances in large halls, the part will here be Brandenburg Concerto No. 2 in F major, tions are transcribed from Bach’s autograph) has translated to regular flute). Handel’s life is the source of many anec- bwv 1047 no players specifically and consistently desig- Brandenburg Concerto No. 6 in B-flat for dotes, none more famous than the story of Brandenburg Concerto No. 6 in B-flat major, nated as soloists, but Bach can arrange his seven “two violas, two violas da gamba, violoncello, the Water Music. In 1712–1713, Handel, then bwv 1051 voices—three violins and three violas, with ev- bass and harpsichord” would, for Bach’s audi- Capellmeister to the Elector of Hanover, out- erybody else working on the bass line—to get ence, have introduced a new sound: the contrast rageously overstayed a leave of absence. He had Bach moved to Cöthen at the end of 1717 more different combinations than any orthodox of the gambas with their modern replacement, gone to and had all but settled there. to assume the post of Kapellmeister to His solo concertino could provide. All the violin and the violoncello. The Adagio is an impassioned In the summer of 1714, the Elector of Hanover Most Serene Highness, Leopold, Prince of viola parts at some point become soloistic, and vocal duet like the Adagio in No. 1, the finale a became King George I of England, so Handel Anhalt‑Cöthen, a dignitary who loved music. all contribute to the tutti in what is texturally gigue as in No. 5. But how different the adagios found himself again within easy reach of his Bach’s chief task was to compose instrumental the most inventive of the Brandenburgs. and gigues are, how varied Bach is even when former and understandably angry employer. music and see to its performance, and he was Bach’s concertos, like those of Vivaldi (on the same labels must serve. The first movement’s Baron Kielmansegge, Master of the Horse at staggeringly productive. which they are modeled), normally have three closely woven canon between the two violas is Hanover and now part of the new king’s court Bach composed the concertos we know as movements, fast–slow–fast. Brandenburg No. 1 one of Bach’s most renowned tours de force. in , arranged reconciliation. When the the Brandenburgs not later than March 1721 in is an exception, in that it adds a minuet with king took an excursion by barge on the Thames, the ordinary fulfillment of his duties to Prince three contrasting trios; Brandenburg No. 3 is an- Michael Steinberg Kielmansegge had a second barge with musi- Leopold, but by then he had grown restless other in that it lacks a slow movement. Between cians follow. The music they played was by and was determined to leave Cöthen. With the two Allegros there is only a pair of chords Handel, and it so enchanted the king that he his departure in mind, he prepared a presen- marked Adagio and forming a possible close to Handel forgave the delinquent . tation copy and sent it to His Royal Highness a movement in E minor, the relative minor of Music for the Royal Fireworks, hwv 351 (1749) Charming as the story is, it does not seem Christian Louis, Margrave of Brandenburg. the home key of G. It is perfectly clear from the to be true. Handel was never in trouble with the (Brandenburg is the Prussian province immedi- autograph that nothing is lost or missing. We do In October 1748, England and France signed king, What is true is that Handel did compose ately north of .) That copy went accompa- not know what Bach intended, and many solu- the Treaty of Aix-la-Chapelle, ending the War music for at least one royal river excursion, and nied by a letter in Bach’s most courtly French, a tions have been tried. of the Austrian Succession. The war actually in- at the king’s request. The one we know of for bid for employment. Two of the Brandenburgs are for strings volved Austria and Prussia, but Britain was an certain took place on July 17, 1717. Similar royal The presentation is as to a connoisseur, and alone, and there Bach sets himself the challenge ally of Austria while France, in an uncharacteris- river trips with music followed. That the music Bach picked carefully from his Cöthen repertory, of creating contrast where none explicitly exists. tic moment, was in league with the Prussians (as on those occasions was Handel’s is possible but revising while he was at it and, as usual when In Brandenburg Concerto No. 2 in F for “one was Spain). In any case, the treaty ensured that not certain. assembling a collection, taking pains to make its trumpet, one flute, one oboe, one violin, all solo, the war was about to conclude. To celebrate, an Several movements exist in variant versions, members as diverse as possible. Musicians have and two violins, one viola and bass in the or- immense structure in Palladian style was built but no autograph material exists for any of the always been struck by the wonderful timbral chestra, with violoncello and bass for the harp- in London’s Green Park, meant as a launching Water Music. The whole composition consists variety of the Brandenburgs. No doubt Bach sichord,” Bach’s task is the opposite: to integrate pad for a spectacular fireworks display to cel- of 22 movements that fall into three groups, wished to impress his prospective patron with his most heterogeneous consort of instruments. ebrate the peace. Handel was the man to supply or suites, distinguished by key and instrumen- the coloristic possibilities a composer on his No wonder the dynamics are marked in unprec- the music. tation. This eloquent and ingratiating music plane of imagination and technique could draw edented detail. The Andante is for the three gen- Mirroring the graciousness towards a former captures the spirit of 18th-century dance. We from a band of 18 players. tler-voiced soloists with figured bass only. Here enemy expressed in the signing of the Treaty of can well imagine how delighted the king must Bach was the first composer to respond to is another beautifully made passage that attests Aix-la-Chapelle, Handel here writes music “in have been. the as such, not just to the nature of to Bach’s concern with texture as structure: The French.” The French overture style, as codi- specific instruments. Again and again in the pathetic three-note sighs are, at their last ap- fied by Lully and adapted in the 18th century Michael Steinberg Brandenburgs, he defines and articulates the pearance, so consistently voiced as to be serial by Rameau, had provided a model for many succession of musical events by textural‑timbral in their instrumentation. What is best remem- outside France. Structurally, it in- means. This is music “about” its textures, its col- bered about this concerto is the trumpet part, volved a slow, often pompous opening section, ors, its instrumentation. the zenith of the whole clarino tradition, and on followed without break by rapid music marked the right day the most spectacular sound in all by considerable imitative counterpoint. Handel of baroque music. (Since Bach specifies a traver- generally follows that plan here, inserting a brief sière or transverse flute in Concerto No. 5, he modulating passage between the two parts of

30 CAL PERFORMANCES CAL PERFORMANCES 31 PROGRAM NOTES the overture. But he adapts the classic models in a way that is entirely his own. Notice, for ex- ample, how far the opening music transcends mere pomposity, achieving a noble, hymnlike feeling. And who but Handel would have gone the extra distance to harmonize that opening material in three different ways as it recurs in the movement? The composer is similarly idio- syncratic in the Allegro section, which is based on fanfare figures and their echoes, and which keeps the ear alert through constant variation of instrumental groupings. A French dance follows, a merry Bourrée for two upper parts plus bass. The next two move- ments reflect the import of the occasion: a gentle siciliano titled La Paix (“Peace”), and a martial movement called La Réjouissance (“Rejoicing”). The latter is to be played three times through: the first time featuring trumpets, woodwinds and strings; the second by horns and wood- winds; and the third with all the instruments together. The cumulative effect is wonderful; a listener might imagine the music being played by a military band marching on a drill field, fac- ing first one direction, then another, then turn- ing to address the audience head-on. To end, Handel lines up two minuets in succession— the first full-toned and ebullient, the second restrained—and then repeats the first to round out the finale.

James M. Keller

Michael Steinberg, the ’s program annotator from 1979 to 1999 and a con- tributing writer to the Symphony’s program book until his death in 2009, was one of the nation’s pre-eminent writers on music, author of three “lis- tener’s guides”—The Symphony, The Concerto and Choral Masterworks—and co-author with Larry Rothe of the essay collection For the Love of Music. James M. Keller, program annotator for the San Francisco Symphony and the , is the author of Chamber Music: A Listener’s Guide. Mr. Steinberg’s and Mr. Keller’s books, published by Oxford University Press, are available at sfsymphony.org/store.

32 CAL PERFORMANCES ORCHESTRA ROSTER ORCHESTRA ROSTER

SAN FRANCISCO SYMPHONY flute trombone Tim Day, Principal, Caroline H. Hume Chair Timothy Higgins, Principal, Robert L. Samter Chair Michael Tilson Thomas,Music Director & Conductor Robin McKee, Associate Principal, Paul Welcomer , Resident Conductor Catherine & Russell Clark Chair Ragnar Bohlin, Chorus Director Linda Lukas, Alfred S. & Dede Wilsey Chair bass trombone , Chorus Director Emeritus John Engelkes , Conductor Laureate piccolo Catherine Payne tuba Jeffrey Anderson, Principal, James Irvine Chair first violin viola oboe Alexander Barantschik, Concertmaster, Jonathan Vinocour, Principal William Bennett, Principal, Chair harp Chair Yun Jie Liu, Associate Principal Jonathan Fischer, Associate Principal Douglas Rioth, Principal Nadya Tichman, Associate Concertmaster, Katie Kadarauch, Assistant Principal Pamela Smith, Dr. William D. Clinite Chair San Francisco Symphony Foundation Chair John Schoening, Joanne E. Harrington & timpani Mark Volkert, Assistant Concertmaster, Lorry I. Lokey Second Century Chair english horn David Herbert, Principal, 75th Anniversary Chair Nancy Ellis Russ deLuna, Joseph & Pauline Scafidi Chair Marcia & John Goldman Chair Jeremy Constant, Assistant Concertmaster Gina Feinauer Mariko Smiley, Paula & John Gambs David Gaudry clarinet percussion Second Century Chair David Kim Carey Bell, Principal, Jack Van Geem, Principal Melissa Kleinbart, Katharine Hanrahan Chair Christina King William R. & Gretchen B. Kimball Chair Raymond Froehlich Yun Chu Wayne Roden Luis Baez, Associate Principal & E-flat Clarinet Tom Hemphill Sharon Grebanier Nanci Severance David Neuman James Lee Wyatt III Naomi Kazama Hull Adam Smyla In Sun Jang Stephanie Fong† bass clarinet keyboards Yukiko Kurakata, Catherine A. Mueller Chair Steve Sánchez† Robin Sutherland, Jean & Bill Lane Chair Suzanne Leon* cello Leor Maltinski Michael Grebanier, Principal, Philip S. Boone Chair bassoon Diane Nicholeris Peter Wyrick, Associate Principal, Stephen Paulson, Principal administration Sarn Oliver Peter & Jacqueline Hoefer Chair Steven Dibner, Associate Principal John D. Goldman, President Florin Parvulescu Amos Yang, Assistant Principal Rob Weir Brent Assink, Executive Director Victor Romasevich Margaret Tait, Lyman & Carol Casey John Kieser, General Manager Catherine Van Hoesen Second Century Chair Nan Keeton, Director of External Affairs Barbara Andres, The Stanley S. Langendorf Steven Braunstein D. Lance King, Director of Development second violin Foundation Second Century Chair John Mangum, Director of Artistic Planning Dan Nobuhiko Smiley, Principal, Barbara Bogatin horn Oliver Theil, Director of Public Relations Dinner & Swig Families Chair Jill Rachuy Brindel, Gary & Kathleen Heidenreich Robert Ward, Principal, Rebecca Blum, Orchestra Personnel Manager Dan Carlson, Associate Principal, Second Century Chair Jeannik Méquet Littlefield Chair Margo Kieser, Orchestra Librarian Audrey Avis Aasen-Hull Chair Sébastien Gingras Nicole Cash, Associate Principal Joyce Cron Wessling, Manager, Paul Brancato, Assistant Principal David Goldblatt, Christine & Pierre Lamond Bruce Roberts, Assistant Principal Tours and Media Production Kum Mo Kim, The Eucalyptus Foundation Second Century Chair Jonathan Ring Tim Carless, Production Manager Second Century Chair Carolyn McIntosh Jessica Valeri Vance DeVost, Stage Manager Raushan Akhmedyarova Anne Pinsker Kimberly Wright Dennis DeVost, Stage Technician David Chernyavsky Rob Doherty, Stage Technician John Chisholm double bass trumpet Roni Jules, Stage Technician Cathryn Down Scott Pingel, Principal Mark Inouye, Principal, William G. Irwin Darlene Gray Larry Epstein, Associate Principal Charity Foundation Chair Amy Hiraga Stephen Tramontozzi, Assistant Principal, Glenn Fischthal, Associate Principal, * On leave Chunming Mo Richard & Rhoda Goldman Chair Peter Pastreich Chair † Acting member of the San Francisco Symphony Kelly Leon-Pearce S. Mark Wright Michael Tiscione,* Polina Sedukh,* Chair Charles Chandler Ann L. & Charles B. Johnson Chair The San Francisco Symphony string section utilizes revolving seat- ing on a systematic basis. Players listed in alphabetical order change Robert Zelnick Lee Ann Crocker Jeff Biancalana seats periodically. Chen Zhao Chris Gilbert Micah Wilkinson† Brian Marcus William Ritchen

34 CAL PERFORMANCES CAL PERFORMANCES 35 ABOUT THE ARTISTS ABOUT THE ARTISTS

he san francisco symphony (SFS), Jane Glover (conductor) book, Mozart’s Women, published in 2005, was Robin McKee (flute) is Twhich celebrates its centennial this sea- is Music Director of nominated for the Samuel Johnson Prize and the Associate Principal Flutist son, gave its first concerts in December 1911. Its Chicago’s Music of the Whitbread Prize for nonfiction. Ms. Glover of the San Francisco music directors have included Henry Hadley, Baroque and Artistic holds honorary degrees from several universities Symphony and occu- , , , Director of Opera at and is a fellow of the Royal College of Music. pant of the Catherine , Enrique Jordá, , London’s Royal Academy She was named a Commander of the British and Russell Clark Chair. , Edo de Waart, Herbert Blomstedt of Music. She studied at Empire in 2003. A native of Tulsa, and, since 1995, Michael Tilson Thomas. The St. Hugh’s College, Oklahoma, she began SFS has won such recording awards as France’s Oxford, and made her Nadya Tichman (vio- her music studies on pi- Grand Prix du Disque, Britain’s Gramophone professional debut at the lin), Associate Concert- ano before switching to Award and the United States’ Grammy Award. Wexford Festival in master and occupant flute. She later studied For RCA Red Seal, Michael Tilson Thomas and 1975, when she conducted her own edition of of the San Francisco with Robert Willoughby the SFS have recorded music from Prokofiev’s Cavalli’s L’Eritrea. She was music director of the Symphony Foundation at the Oberlin Conservatory. Before joining the , Berlioz’s Symphonie fantas- Glyndebourne Touring Opera from 1981 to Chair, joined the SFS in 1984, she played piccolo in the Richmond tique, two Copland collections, a Gershwin 1985. Artistic director of the London Mozart Orchestra in 1980 and (Virginia) Symphony and served as assistant collection, Stravinsky ballets (Le Sacre du prin- Players from 1984 to 1991, she has also served as served as acting con- principal flutist of the Baltimore Symphony. temps, and Perséphone) and Charles principal conductor of the Huddersfield and the certmaster from 1998 Ms. McKee has performed as soloist many times Ives: An American Journey. Their cycle of Mahler London Choral Societies. Ms. Glover made her to 2001. Born in New with the SFS, including in the May 2004 symphonies has received seven Grammys and San Francisco Symphony debut in 2006, con- York, she studied with “Beethoven’s Vienna” Festival and in perfor- is available on the Symphony’s own label, SFS ducting Messiah. She has conducted all the ma- Dorothy DeLay at mances of the Brandenburg Concertos; in Media. Some of the most important conductors jor British , as well as many orchestras Juilliard and received a bachelor’s degree from February 2005 she was featured in Gang Situ’s of the past and recent years have been guests on in Europe, the United States, Asia, Australia and the Curtis Institute. She was a founding mem- Echoes at the Chinese New Year concert. She is a the SFS podium, among them , New Zealand. She has appeared with numerous ber of the Donatello Quartet and co-directed frequent participant in the SFS Chamber , and Sir opera companies, including the Royal Opera, Chamber Music Sundaes from 1984 to 1986. Music Series. , and the list of composers who have Covent Garden, English National Opera, Berlin Ms. Tichman has often been a soloist with the led the Orchestra includes Stravinsky, Ravel, State Opera, Royal Danish Opera, New York Orchestra, and her performance of Vaughan Jonathan Fischer (oboe) and . City Opera, Opera Theatre of Saint Louis and Williams’s The Lark Ascending was selected by joined the San Francisco The SFS Youth Orchestra, founded in Teatro La Fenice. Her repertory includes all the the San Francisco Chronicle as one of 2009’s ten Symphony in 2003, and 1980, has become known around the world, as Mozart operas; Handel’s Giulio Cesare, Alcina, outstanding performances. Before joining the he currently serves as has the SFS Chorus, heard on recordings and Agrippina, Tamerlano, Ariodante and Theodora; SFS, she was a member of ensembles including Associate Principal Oboist. on the soundtracks of such films as Amadeus and her own editions of the Monteverdi trilogy. the Santa Fe Opera Orchestra, Aspen Festival He has served as assis- and Godfather III. For two decades, the SFS Among the other operatic productions she has Orchestra and Concerto Soloists of Philadelphia. tant principal with the Adventures in Music program has brought mu- led are Orfeo ed Euridice, , Il barbiere di She has performed at such festivals as the Grand and sic to every child in grades 1 through 5 in San Siviglia, Don Pasquale, Albert Herring, A Teton Music Festival, Chamber Music West and as principal oboist with Francisco’s public schools. SFS radio broadcasts, Midsummer Night’s Dream, The Turn of the Midsummer Mozart. Ms. Tichman plays a 1724 the Lyric Opera of the first in the United States to feature sym- Screw and Oliver Knussen’s Where the Wild Stradivarius violin purchased by the San Chicago and the Grant phonic music when they began in 1926, today Things Are. She collaborates closely with the Francisco Symphony for her exclusive use. Park Symphony Orchestra. He has performed as carry the Orchestra’s concerts across the coun- Mark Morris Dance Group, for whom she has soloist with the Grant Park and New World try. In a multimedia program designed to make conducted productions of Purcell, Handel and Symphony Orchestras, and he has held positions classical music accessible to people of all ages Mozart. Ms. Glover’s recordings include a series with the Savannah Symphony and the Santa Fe and backgrounds, the SFS has launched Keeping of Mozart and Haydn symphonies for ASV, all and Canadian Opera Orchestras. He holds a Score on PBS-TV, DVD, radio and at the web- with the London Mozart Players. She has also degree from the Curtis Institute of Music, where site keepingscore.org. San Francisco Symphony recorded with the London Philharmonic, Royal he studied with Richard Woodhams. In May recordings are available at sfsymphony.org/ Philharmonic and BBC Singers. Her broadcast- 2004, Mr. Fischer performed Beethoven’s store, as is a history of the SFS, Music for a ing credits include the television series Orchestra Variations on “Là ci darem la mano” from Don City, Music for the World: 100 Years with the San and Mozart and the radio series Opera House Giovanni with SFS musicians William Bennett Francisco Symphony. and Musical Dynasties, all for the BBC. Her and Pamela Smith in the Symphony’s festival focusing on Beethoven’s Vienna.

36 CAL PERFORMANCES CAL PERFORMANCES 37 ABOUT THE ARTISTS ABOUT THE ARTISTS

John Thiessen (trumpet) Prussia Cove, the Aspen Music Festival and the and baroque cellist, she has performed and re- appears as soloist and prin- . In June 2010, corded with Aston Magna, Connecticut Early cipal trumpet with the Mr. Vinocour was featured in the Symphony‘s Music Festival, the Amati Trio and New York’s Philharmonia Baroque performances of Berlioz’s Harold in Italy. Classical Band. Orchestra, American Bach Soloists, Juilliard Baroque, Yun Jie Liu (viola) is Marie Dalby Szuts Tafelmusik, Boston Early Associate Principal Violist (viola da gamba) fre- Music Festival, Trinity of the San Francisco quently performs on Baroque Orchestra, Early Symphony. Born in viola da gamba in the Music Vancouver, the Shanghai, he began his American Classical Orchestra violin studies with his fa- and around the coun- and other early music ensembles. He has also per- ther. He entered the try. In New York and formed with the English Baroque Soloists, middle school of the Connecticut, she was a Amsterdam Baroque Orchestra, Taverner Shanghai Conservatory member of the New Players and the Academy of Ancient Music. This of Music and was named York Consort of Viols season, he records Messiah with Tafelmusik and assistant professor of and various other is featured in Vivaldi’s Concerto for Two viola upon graduation. Mr. Liu regularly gives groups. She was on the Trumpets with the American Classical chamber music concerts and solo recitals, hav- teaching faculty of the Neighborhood Music Orchestra. Mr. Thiessen serves on the faculties ing performed in New York, , San School in New Haven, Connecticut, and also of Juilliard’s Historical Performance depart- Francisco, San Diego, Washington DC, founded and directed the Yale Temperament ment and the American Bach Soloists Academy. Shanghai and Hong Kong. In 1990, he was in- Consort. Ms. Szuts is a founding member of He has recorded extensively for the Sony vited by to join the Quaver viol consort, which recently performed Classical Vivarte, Telarc, EMI, BMG, Deutsche National Symphony. Mr. Liu joined the SFS in at the National Gallery of Art in Washington Harmonia Mundi, London Decca, Analekta, 1993 and has played chamber music with the DC and has appeared on both coasts and at the CBC and Denon labels. SFS many times. Viola da Gamba Society of America Conclave. The ensemble’s first CD was released in 2010. Jonathan Vinocour (vio- Barbara Bogatin (viola This July, Ms. Szuts will become the youngest- la) joined the SFS as da gamba) joined the ever President of the Viola da Gamba Society Principal Violist in 2009, San Francisco Symphony of America. having previously served in 1994. She has served as principal violist of the as principal cellist with Saint Louis Symphony the Milwaukee and New and guest principal of the Jersey symphony orches- Gewandhaus Orchestra tras, and she was a fre- of Leipzig. A native of quent substitute player Rochester, New York, he with the New York graduated from Princeton Philharmonic for ten University in 2001 with a degree in chemistry years. A native of Santa Rosa, she studied at the and was awarded the university’s Sudler Prize in San Francisco Conservatory of Music the Arts. He completed his master’s degree in Preparatory Division and holds bachelor’s and 2003 at the New England Conservatory of master’s degrees from the . Music, where he studied with Kim Kashkashian. Ms. Bogatin has performed with the New York Mr. Vinocour has been a regular participant at Chamber Soloists and Chamber Music Society the Marlboro Music Festival and has toured of Lincoln Center, and at the Casals Festival and with Musicians from Marlboro in past seasons; Chamber Music Northwest. As viola da gambist he has also participated in numerous other festi- vals, including the Steans Institute at the Ravinia Festival, Open Chamber Music at

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