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Haifa Symphony Orchestra of Israel PROGRAM: HAIFA SYMPHONY ORCHESTRA OF ISRAEL Sunday, March 16, 2014 / 2:30 PM / BING Concert HALL HAIFA SYMPHONY ORCHESTRA OF ISRAEL ARTISTS PROGRAM Haifa Symphony Orchestra of Israel Carl Maria von Weber: Overture to Euryanthe (1823) Boguslaw Dawidow, Principal Guest Conductor Sergei Rachmaninoff: Piano Concerto No. 2 in C Minor, op. 18 (1900–1901) Roman Rabinovich, Piano Roman Rabinovich, Piano *INTERMISSION* Pyotr Ilich Tchaikovsky: Symphony No. 4 in F Minor, op. 36 (1877–1878) PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 20 STANFORD LIVE MAGAZINE MARCh 2014 Program: HAIFA SYMPHONY ORCHESTRA OF ISRAEL CARL MARIA VON WEBER (1786–1826) of the 20th century. He was born to composer fully regained the confidence OVERTURE TO EURYANTHE (1823) an aristocratic family and as one of in himself that he had been lacking. nine children entered the St. Petersburg Wagner was not the first composer to Conservatory. Three years later, he Work on the Piano Concerto No. 2 in C conceive of the idea of a “music drama,” transferred to the Conservatory at Minor, op. 18, occupied Rachmaninoff, that is, a composition in which all the Moscow from which he graduated on and off, from the summer of 1900 text is sung and the recitative is so with a gold medal in 1892. That same to the spring of 1901. The concerto interwoven with the melodic material year, he started on a long concert tour was given its premiere performance that a division is no longer discernible. of Russia and appeared in London in by the Philharmonic Society of Carl Maria von Weber tried this in his 1899 as a composer, conductor, and Moscow on October 14, 1901, with opera Euryanthe but with different pianist. He paid his first visit to the the composer at the piano. The work results. While Wagner’s operas are still United States in 1909 and wrote his proved to be one of his greatest, and performed today, we usually hear only Third Piano Concerto for that occasion. the performance was a tremendous an occasional aria and the numerous Various inducements to stay failed to success, catapulting Rachmaninoff overtures that Weber composed. tempt him, and he returned to live in to fame both as a composer and as a Moscow. In 1917, however, the Russian pianist. Three years later, the Second Weber’s opera Euryanthe, based on a Revolution drove him abroad, and he Piano Concerto was awarded the French theme used by several authors was never to see his native country Glinka Prize; since then, it has been (including Shakespeare in Cymbeline), again. He spent most of the rest of his heard more often than any other of had a cool reception when first produced. life in the United States and Switzerland Rachmaninoff’s large-scale works. This fact troubled Weber considerably, and, rather unwillingly, continued to although it might have come about only travel widely in Europe and America The Moderato first movement is ushered because the great opera composer Rossini giving piano recitals. His contribution in by a ten-measure introduction for was all the rage at the time and no one to the piano literature is significant, the soloist in which full chords grow could be expected to compete with him. and although his works are difficult in intensity until, at last, the passionate and demanding to the performer, first theme emerges in the strings. After The themes of the overture are taken they are particularly rewarding to a brief orchestral interlude, the more from the opera itself; however, the the listener and practitioner alike. tender, almost feminine second theme is inherent personal conflicts of the story introduced by the piano. Both themes are not represented. Instead, Weber used After the disastrous failure of his are further expounded in the “free,” these themes to create a dazzling tone First Symphony upon its premiere almost song-like development section painting. After an exciting introduction, on March 27, 1897, Rachmaninoff that ensues, although there is a definite, the listener is presented with one of those succumbed to a depressive neurotic marked emphasis on the first theme. In peculiar strains of melody belonging crisis that undermined his creative the coda that concludes the movement, solely to Weber, which soon gives way endeavors for several years. Finally, this main theme is embellished by to a more rigorous mood. A final, more the composer underwent extensive intriguing passagework from the soloist. somber theme is introduced before all hypnotic treatment administered by a is tied up in coda-like manner, which neurologist, Dr. Nikolai Dahl. Dr. Dahl The slow movement, Adagio sostenuto, returns the piece to its jovial intent. was successful in bringing the composer begins with a gentle, hymn-like back into a creative frame of mind; introduction of sustained harmonies —© 1994, Columbia Artists eventually, Rachmaninoff’s condition by the muted strings. An atmosphere Management Inc. was somewhat alleviated, helped along of surpassing peace and beauty is by the composition of the Second Piano projected in the lyrical and musing Concerto in 1901. The outpouring of melody for woodwinds and horns. SERGEI RACHMANINOFF (1873–1943) inspired melodies that abound in the The piano first provides understated PIANO CONCERTO NO. 2 IN C score certainly attests to this fact. As accompaniment to the melody before MINOR, OP. 18 (1900–1901) an expression of deep gratitude, the taking over the haunting theme. The work bears a dedication to Dr. Dahl. tempo quickens for a scherzo-like Sergei Rachmaninoff is remembered But it was not until the success of the development section, but this is brought and loved as one of the greatest pianists Second Symphony (1907) that the short by the beautiful cadenza for the encoremediagroup.com 23 Program: HAIFA SYMPHONY ORCHESTRA OF ISRAEL Notes CONTINUE ON page 26 soloist, which in turn leads back to the interest in the composer. The two left immediately for Moscow to arrange elegance of the movement’s opening entered into a fourteen-year relationship a separation from Milyukova. theme. In the vast and contemplative maintained entirely by correspondence. coda, the piano interpolates a new Remarkably, although they exchanged Both the Fourth Symphony and the theme before winding down with broad in excess of 1,000 letters, they never opera Eugene Onegin, which was chords and flowing arpeggios to the met each other. Furthermore, Mme. composed at the same time as the quiet conclusion of the movement. von Meck became Tchaikovsky’s symphony, bear unmistakable marks of patron and benefactor, supporting the events in Tchaikovsky’s private life The Allegro scherzando final movement, him at first through commissions, then at the time of their composition. In a which takes the form of a modified loans (the repayment of which was letter to Mme. von Meck in December rondo structure, is notable for its never expected), and finally through 1877, Tchaikovsky wrote: “I have not rhythmic motifs and the complex a regular monthly allowance. It was only worked steadily at the orchestration and sparkling writing for the piano. Mme. von Meck to whom Tchaikovsky of our symphony, but I am engulfed It commences with a twenty-measure would dedicate his Fourth Symphony. by it. Never before has any orchestral orchestral preface to the theme that composition entailed so much labor, the piano introduces. This leads to the The paradoxical aspect of but never before have I loved my labor statement by the cellos of the famous Tchaikovsky’s life at this time stems so much. At first I wrote simply for second theme (which in 1946 was lifted from the fact that, despite self- the sake of finishing the symphony, for the popular song “Full Moon and awareness of his sexual orientation, plowing through all difficulties, but bit Empty Arms”). The two themes are he allowed himself to be convinced by bit I was agreeably surprised to feel elaborated in subsequent sections, which to marry a beautiful young woman enthusiasm taking possession of me; include an exciting fugato episode. named Antonina Milyukova who and now it is hard to stop working. The orchestra majestically proclaims had recently graduated from the Possibly I may be mistaken, but I believe the rhapsodic second theme one last Moscow Conservatory, where he that this symphony is something out of time, supported by piano chords, taught. In early May 1877, while the ordinary, the best thing I have done before a short but exciting coda brings working on the sketches for his Fourth up to now. I am very happy that it is the work to its brilliant conclusion. Symphony, Tchaikovsky received a yours, and that hearing it, you’ll know passionate declaration of love from how in every bar I thought of you.” —© 1995, Columbia Artists Milyukova. Although the composer Management Inc. did nothing to further encourage her, Upon Tchaikovsky’s completion of the more letters followed including one score, Mme. von Meck inquired about in which she threatened suicide unless the work. The composer responded PYOTR ILICH TCHAIKOVSKY Tchaikovsky agreed to meet her. to her query with a complete literary (1840–1893) He capitulated and met Milyukova “programmatic analysis” of the SYMPHONY NO. 4 IN F MINOR, OP. 36 at her family’s home on June 1. For symphony. The extent to which this (1877–1878) reasons that are not totally clear, program governed Tchaikovsky’s within a week of their first meeting, actual creation of the work is Pyotr Ilich Tchaikovsky composed Tchaikovsky proposed to Milyukova. debatable. Nevertheless, the analysis his Fourth Symphony between is an interesting inside view to the May 1877 and January 1878.
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