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DE 3329 0 13491 33292 3 3329Dbook.Qxd:Layout 1 7/24/12 11:25 AM Page 2 3329Dbook.Qxd:Layout 1 7/24/12 11:25 AM Page 3 3329Dbook.qxd:Layout 1 7/24/12 11:25 AM Page 1 DE 3329 0 13491 33292 3 3329Dbook.qxd:Layout 1 7/24/12 11:25 AM Page 2 3329Dbook.qxd:Layout 1 7/24/12 11:25 AM Page 3 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 OREGON SYMPHONY 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 Carlos Kalmar pal Kenneth Finch Jennifer Craig, Principal Virginia McCarthy Gayle Budd-O’Grady BASSOON Jenny Lindner*** Associate Conductor Lynne Finch Deloris Plum Mark Eubanks, Principal Norman Leyden, 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
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