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Dmitri Shostakovich (1906–1975)

Symphony No. 11 in G Minor, Op. 103 “The Year 1905”

1. The Palace Square (13:19) 2. The 9th of January (19:31) 3. In Memoriam (11:32) 4. The Tocsin (15:50)

TOTAL PLAYING TIME : 60:12

JAMES DEPREIST , CONDUCTOR

Recorded Live in the Arlene Schnitzer Concert Hall in Portland, Oregon, January 18, 19, & 20, 2003

Executive Producers: Amelia S. Haygood, Carol Rosenberger Microphones: Sennheiser MKH series, Recording Producer: Michael Fine Neumann KM184, AKG 451 Recording Engineer: Jeff Mee Console: Spirit LX7, Grace 801 Associate Engineer: Andrés Villalta Editing: Andrés Villalta DePreist Photo: C. Bruce Forster This recording was made Production Assistant: Tamra Saylor Fine possible through the Gretchen Brooks Recording Creative Direction: Harry Pack, Tri Arts and Associates Recorded: January 18–20, 2003, Live in Concert Graphics: Mark Evans Fund for the Oregon Symphony. Arlene Schnitzer Concert Hall, Portland, Oregon DSD Processing: Emm Labs ADC 8 Special thanks: Michael Johnson & the technical staff of the DSD Editing and Mixing: Sony Sonoma Audio Workstation Arlene Schnitzer Concert Hall. Monitor Loudspeakers (recording): B & W Nautilus 805, JBL LSR 28; (post-production): JBL 250Ti / LSR 28

7 & W 2003 Delos Productions, Inc., P.O. Box 343, Sonoma, California 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 • Made in USA • www.delosmusic.com 3329Dbook.qxd:Layout 1 7/24/12 11:25 AM Page 4

NOTES ON THE PROGRAM

SHOSTAKOVICH: Symphony No. 11, “The Year 1905” ple of “musico-historical painting,” a fact which led some to accuse the composer of having meekly toed the party line — others, like the composer’s friend Lev Lebe - Shortly after completing his Second Piano Concerto in dinsky, heard something entirely different: “True, February of 1957, Dmitri Shostakovich began work on a Shostakovich gave it the title `1905,’ but it was com - new symphony written to mark the fortieth anniversary posed in the aftermath of the Soviet invasion of Hun - of the October Revolution. The actual programmatic gary. What we heard in this music was not the police content of the Eleventh Symphony would be the pre-rev - firing on the crowd in front of the Winter Palace in 1905, olutionary events of 1905, especially those of “Bloody but the Soviet tanks roaring in the streets of Budapest. Sunday,” January 9th, when the troops of Tsar Nicholas This was so clear to those `who had ears to listen,’ that II opened fire on a crowd of unarmed civilians demon - his son, with whom he wasn’t in the habit of sharing his strating in front of the Winter Palace in St. Petersburg. deepest thoughts, whispered to Dmitri Dmitriyevich during the dress rehearsal, `Papa, what if they hang you The incident sparked a wave of strikes, terrorist for this?’” reprisals and social unrest that would eventually spread to the army and navy. Although the demonstrations would not end completely until the country was swept Much of the Symphony’s resonance and ambiguity lies up in the wave of patriotism which attended the out - in its direct quotation of various songs of the period. break of World War I, the spirit of “Bloody Sunday” Lyrics such as “The autumn night is as black as treason, would be rekindled with world-shaking consequences black as the tyrant’s conscience,” or those of another fa - in the Revolution of 1917. mous revolutionary song heard in the finale — “Rage, you tyrants — Mock at us, threaten us with prison and Although from the day of its first performance on Octo - chains. We are strong in spirit, if weak in body! Shame, ber 30, 1957, Soviet officials pointed to the Eleventh shame on you tyrants!” — would seem to apply with Symphony as another triumph of socialist realism — the equal force to Tsarist or Stalinist tyranny. Party musicologist Boris Asafiev called it a prime exam - 3329Dbook.qxd:Layout 1 7/24/12 11:25 AM Page 5

The Eleventh Symphony is cast in four movements, each The third movement, In Memoriam , is a requiem for the bearing a descriptive subtitle. more than one thousand victims of the massacre. Based on another revolutionary song, “You Fell As Victims,” The first movement, The Palace Square , presents a bleak the mood is essentially positive and forward looking, as vision of the scene of the massacre, its tense, stultifying though it were less a threnody for the victims than a calm leavened only by occasional hints of the impending challenge to the survivors. disaster. The timpani quietly announces a motto-theme which will recur throughout the entire work, after which The finale, Tocsin (Alarm) begins with a purposeful the flute intones the prison song “Listen,” while the dou - march which will eventually quote fragments of the mil - ble-basses quote another dour prison song called “The itant songs, “Rage, Tyrants!” and “Whirlwind of Dan - Convict.” ger.” Eventually, the music draws in themes from the earlier movements — especially those of Ninth of January In the second movement, Ninth of January , the events of — until a solemn quotation of the principal theme of The that day are depicted with horrifying vividness. The Palace Square is followed by a final reference to “Bare movement begins with the workmen peacefully petition - Your Heads” in the solo horn. At the end, the motto ing the Tsar to a song which begins: “Oh, Tsar, our little theme rings out on the bells against the entire orchestra father! Look around you. Life is impossible for us be - — a blaring, fortissimo vision of final victory. cause of the Tsar’s servants, against whom we are help - Jim Svejda less...” Another song, “Bare Your Heads,” suggests both their determination and humility as they approach the Palace. The central section of the movement describes in the most graphic possible terms their confrontation with the guards and brutal slaughter. Ninth of January ends suddenly with a muted reference to the opening of the first movement, a shuddering image of the Palace Square now drenched in blood. 3329Dbook.qxd:Layout 1 7/24/12 11:25 AM Page 6

ORCHESTRA PERSONNEL FOR THE RECORDING

Music Director Robin Cook* Hayes, Jr. Principal Cello Chair CLARINET TUBA and Conductor Margaret Bichteler*** David Socolofsky, Assistant Prin - Yoshinori Nakao, Principal JaTtik Clark, Principal James DePreist cipal Cheri Ann Egbers The Jean Vollum Music Director VIOLIN II Naomi Blumberg** Todd Kuhns KEYBOARD and Conductor Chair Chien Tan, Truman Collins, Sr., Timothy Scott Katherine George, Principal Principal Second Violin Chair Bridget Kelly E FLAT/BASS CLARINET Music Director Designate Dolores D’Aigle, Assistant Princi - Stephanie McDougal Todd Kuhns HARP pal Kenneth Finch Jennifer Craig, Principal Virginia McCarthy Gayle Budd-O’Grady BASSOON Jenny Lindner*** Associate Conductor Lynne Finch Deloris Plum Mark Eubanks, Principal , Tom & Daniel Ge Feng Heather Blackburn* Robert Naglee TIMPANI Gretchen Holce Associate Conductor Leah Frajola Phil Hansen *** Steve Ingle* Paul Salvatore, Principal Chair Eileen Lande Ann Leeder-Beesley BASS CONTRABASSOON PERCUSSION Conducting Assistant Lisa Hansen Frank Diliberto, Principal Steve Ingle* Niel DePonte, Principal Jonathan Pasternack Denise Huizenga Kenneth Baldwin, Assistant Prin - Steve Lawrence Gregory Ewer cipal HORN Christine Perry VIOLIN I Matthew Faust Tommy Thompson John Cox, Principal Gordon Rencher*** Herbert Greenberg, Guest Con - Eva Rosenberg* Jeffrey Johnson Joseph Berger, Associate Principal Brenda Trowbridge*** certmaster Tylor Neist* Donald Hermanns Lawrence Johnson, Assistant Michael Foxman**, Janet & Kathy Hubbard*** William Oftstad Principal PRINCIPAL LIBRARIAN Richard Geary Concertmaster Chair Jason Schooler Mary Grant Peter Moore Peter Frajola, Del M. Smith & VIOLA Geoffrey Osika* Barton Parker Maria Stanley Smith Associate Joël Belgique, Maybelle Clark ASSISTANT LIBRARIAN Concertmaster Chair Macdonald Fund Principal Viola Chair FLUTE TRUMPET Eva Rosenberg Erin Furbee, Harold & Jane Pollin Charles Noble, Assistant Principal Dawn Weiss, Bruce & Judy The - Fred Sautter, Principal Assistant Concertmaster Chair Martha Warrington senga Principal Flute Chair Sally Kuhns, Assistant Principal ORCHESTRA MANAGER Paloma Griffin Patricia Miller Martha Herby, Acting Principal David Bamonte, Musicians of the Marilyn Rife Kathryn Gray Brian Quincey Carla Wilson Oregon Symphony Richard Thornburg Eileen Deiss Connie Whelan Trumpet Chair PERSONNEL MANAGER Clarisse Atcherson** Stephen Price PICCOLO Steve Conrow*** Jason Schooler Mary Ann Coggins Kaza Anna Schaum Carla Wilson Deborah Singer Peggy Swafford TROMBONE STAGE MANAGER Marlene Majovski Mara Lise Gearman OBOE Aaron LaVere, Principal Bob McClung Jonathan Dubay Jessica Fashena*** Frederick Korman, Principal Robert Taylor Ronald Blessinger Tim Christie*** Karen Wagner Alan Pierce * acting Marty Jennings Kjersten Oquist*** Harris Orem ** leave of absence Julie Coleman BASS TROMBONE *** extra musician Fumino Ando CELLO ENGLISH HORN Alan Pierce Karen Hilley* Nancy Ives, Mr. & Mrs. Edmund Harris Orem 3329Dbook.qxd:Layout 1 7/24/12 11:25 AM Page 7

ARTIST BIOGRAPHIES

Currently Laureate Music Director of the Oregon Symphony and Principal of Cultural Merit of Monaco. He is the nephew of the legendary con - Artistic Advisor for the Phoenix Symphony, James DePreist has recently tralto Marian Anderson. been named Permanent Conductor Designate of the Tokyo Metropolitan Symphony Orchestra. Widely esteemed as one of America’s finest conduc - For more information visit: www.JamesDePreist.com tors, James DePreist, during the past three decades has served as Music Di - rector of L’Orchestre Symphonique de Québec, Sweden’s Malmö Symphony, The 2002-2003 season marks the 107th season of the Oregon Symphony . L’Orchestre Philharmonique de Monte Carlo and the Oregon Symphony. Founded as the Portland Symphony in 1896, and renamed the Oregon As a guest conductor he has appeared with every major North Amer - Symphony in 1967, the Oregon Symphony has grown to be one of the ican orchestra, and internationally he has conducted in Amsterdam, largest arts organizations in the Pacific Northwest and among the finest Berlin, Budapest, Copenhagen, Helsinki, Manchester, Melbourne, Mu - major orchestras in the nation. It has been ranked “first-class” by Gramo - nich, Prague, Rome, Rotterdam, Seoul, Stockholm, Stuttgart, Sydney, Tel phone and a “virtuoso ensemble” by The Washington Post . Aviv, Tokyo and Vienna. He will make his London debut with the Lon - The 2002-2003 season also is the James DePreist Tribute Season, De - don Symphony at the Barbican in April 2005. Preist’s 23rd and final season as Music Director and Conductor of the Ore - James DePreist appears regularly at the Aspen Music Festival, with the gon Symphony. DePreist assumes the title of Laureate Music Director in Boston Symphony at Tanglewood and with the Philadelphia Orchestra at June of 2003 when Vienna’s Carlos Kalmar becomes the orchestra’s 10th the Mann Music Center. He is closely associated with the Juilliard School Music Director. As Laureate, DePreist will continue to conduct and record where he regularly conducts its orchestras in concerts at Lincoln Center with the orchestra. and Carnegie Hall. In addition to its centerpiece Classical concerts, the Symphony presents With more than 50 recordings to his credit, James DePreist has a sub - one of the country’s most successful Pops series with Associate Conductor stantial presence in the recording arena. His varied recorded repertoire in - Norman Leyden, as well as the innovative “Nerve Endings” series, Kids cludes a celebrated Shostakovich series with the Helsinki Philharmonic and Concerts, family concerts, education/youth concerts and a wide range of 15 recordings with the Oregon Symphony which have helped establish that Special Event concerts and presentations. The Oregon Symphony serves the orchestra as one of America’s finest. entire state with an innovative community partnership program with a Born in Philadelphia in 1936, he studied composition with Vincent major focus on music education. Persichetti at the Philadelphia Conservatory of Music and earned bache - In addition to these performing activities, the Oregon Symphony has lor’s and master’s degrees from the University of Pennsylvania. In 1962, released a series of eight exceptionally successful commercial recordings. A while on a State Department tour in Bangkok, he contracted polio but re - $1 million gift from Gretchen Brooks, longtime Symphony supporter, has covered sufficiently to win a first prize in the Dimitri Mitropoulous Inter - made recent recordings possible that will pay tribute to James DePreist’s national Conducting Competition. He was selected by Leonard Bernstein artistic accomplishments. The latest feature works by and to be an assistant conductor of the New York Philharmonic for the 1965-66 , both issued by Delos International. season. DePreist made his highly acclaimed European debut with the The Symphony’s audience totals more than 320,000 people annually. Rotterdam Philharmonic in 1969. In 1971 Antal Dorati chose him to be - Before this vast audience, DePreist and the Oregon Symphony have cham - come his Associate Conductor with the National Symphony in Washing - pioned the music of composers of our time and our nation. It has an active ton, D.C. program both of commissioning new works and of presenting perform - James DePreist has been awarded 13 honorary doctorates and is the ances of works which have dropped out of the active repertoire. author of two books of poetry. He is an elected fellow of the American The Oregon Symphony is proud to provide varied music of the highest Academy of Arts and Sciences and the Royal Swedish Academy of Music, artistic standards to diverse audiences, with close attention paid to educat - and is a recipient of the Insignia of Commander of the Order of the Lion ing children as the musicians and audiences of tomorrow. The orchestra’s of Finland, the Medal of the City of Québec and is an Officer of the Order Web site is located at www.orsymphony.org. 3329Dbook.qxd:Layout 1 7/24/12 11:27 AM Page 8

OTHER DELOS RECORDINGS FEATURING JAMES DEPREIST AND THE OREGON SYMPHONY

BRAVURA • RESPIGHI: Roman Festivals TCHAIKOVSKY: 1812 Overture • Hamlet RACHMANINOFF: The Sea and the Gulls KORNGOLD: The Sea Hawk • Symphony MUSIC of STRAVINSKY: The Rite of Spring • STRAUSS: Don Juan • LUTOSLAWSKI: • The Tempest • “… unquestionably the (Étude-Tableau Op. 39 No. 2, orch. in F-Sharp • DE 3234 (DDD) • The Firebird Suite (1919 version) Concerto for Orchestra • Recording of most successful modern recording.” Respighi) • Symphony No. 2 • Vocalise • DE 3278 (DDD) Distinction, Ovation • DE 3070 (DDD) Gramophone • DE 3081 (DDD) Recording of Distinction, Ovation • DE 3071 (DDD)

RESPIGHI’S ROME – Fountains of Rome AMERICAN CONTRASTS – Benjamin SIBELIUS: Symphony No. 2 • Symphony WALTON: Suite from Henry V, Cello – WAGNER: Prelude and • Pines of Rome • Roman Festivals • Lees : Passacaglia for Orchestra • Vincent No. 7 • Recorded Live • DE 3334 (DDD) Concerto, Violin & Piano Sonata • Liebestod from Tristan und Isolde • DE 3287 (DDD) Persichetti : Symphony No. 4 • Michael RANDS: Tre Canzoni senza Parole • BERLIOZ: Romeo et Juliette, Op. 17 - II. Daugherty : Philadelphia Stories for Mark Kosower, cello; Herbert Greenberg, Scene d’amour • TCHAIKOVSKY: Romeo violin; Ann Schein, piano • Orchestra: Sundown on South Street; Hell's and Juliet Fantasy-Overture • DE 3369 DE 3342 (DDD) (DDD) Angels • DE 3291 (DDD)

“One of the most important American Conductors of the day.” — Chicago Sun-Times “One of the finest conductors this nation has produced.” — Chicago Tribune