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DE PROFUNDIS: for the Performing Atarts Bard College at the Richard B.Fisher Center OUTOF the DEPTHS

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DE PROFUNDIS: for the Performing Atarts Bard College at the Richard B.Fisher Center OUTOF the DEPTHS DE PROFUNDIS: OUT OF THE DEPTHS 27 APR 28 At the Richard B. Fisher Center for the Performing Arts at Bard College THE ORCHESTRA NOW SAT 4/27/19 at 8 PM & SUN 4/28/19 at 2 PM The Richard B. Fisher Center for the MEET THE MUSICIANS Performances #121 & #122: Performing Arts at Bard College Here’s how our vibrant, Season 4, Concerts 27 & 28 Sosnoff Theater young players are sharing Leon Botstein, conductor their love of music with you: • They wrote the concert Virgil Thomson De Profundis (1920, rev. 1951) (1896–1989) notes! Read their thoughts starting on page 4. Joachim Raff De Profundis, Psalm 130, Op. 141 (1868) • Three of them will introduce (1822–82) U.S. Premiere the pieces of music on Introduction: Andante De Profundis: Andante con moto today’s program. Si iniquitates: Andantino • They’ll be in the lobby during Quia apud te: Allegretto intermission. Come say hi A custodia matutina: Andante con moto Et ipse redimet: Allegro and have a chat! Elizabeth de Trejo, soprano DON’T MISS A NOTE - Intermission - Sign up for the TŌN email list by filling Lera Auerbach De Profundis, Concerto for Violin and (b. 1973) Orchestra No. 3 (2015) U.S. Premiere out the insert in Andante sognando this program. Allegro marcato Adagio pesante Vadim Repin, violin INSPIRE GREATNESS Help us continue concerts Lili Boulanger Psalm 130: Du fond de l’abîme (1893–1918) (De Profundis) (1914–17) like these by making a Elizabeth de Trejo, soprano donation. See page 22 Sean Fallen, tenor for details. Bard Festival Chorale James Bagwell, choral director GET SOCIAL Share your photos using The concert will run approximately 2 hours and 35 minutes, #theorchnow and tag us including one 20-minute intermission. @theorchnow. No beeping or buzzing, please! Silence all electronic devices. Photos and videos are encouraged, but only before and after the music. 2 April 2019 THE ORCHESTRA NOW PagesPages 1 1 & & 2: 2: Photos Photos by by Matt Matt Dine Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW APRIL 2019 3 THE PROGRAM THE PROGRAM De Profundis A Religious Beginning Written for soprano, small choir, and Virgil Thomson was born in Kansas orchestra, Joachim Raff’s 1868 De City, Missouri. He grew up in a religious Profundis, Op. 141 is a setting of Psalm environment and was very familiar with 130: “Out of the depths, Oh Lord, have the Latter-day Saint movement. He I cried unto thee.” Raff had multiple learned piano with the organist of the notable compositions including the Grace and Holy Trinity Cathedral, and TŌN’S EMILY BUEHLER ON patriotic Germany’s Resurrection and TŌN’S GUILLERMO GARCÍA CUESTA ON JOACHIM RAFF’S PSALM 130: VIRGIL THOMSON’S DE PROFUNDIS went on to play organ there himself. All DE PROFUNDIS his version of Sleeping Beauty, which was, this would eventually influence his style, in the opinion of Franz Liszt, some of his since hymns were in his DNA. best musical writing. From Paris to New York Raff’s Relationship with Liszt Thomson lived in Paris from 1925 to 1940 and studied for a while with Nadia Boulanger. Raff left Weimar for Wiesbaden in 1856, creating a somewhat bitter rift between He was acquainted with the group of influential composers there known as Les Six. him and Liszt, amidst an already complicated relationship. The two composers had When he returned to the U.S. he established himself in New York City and stayed there blurred lines between roles of apprentice and partner. Raff was unclear of his position for the rest of his life. He lived with his partner, Maurice Grosser, in the Chelsea Hotel, a with Liszt, while Liszt was clear on the idea that Raff was his protégé. After spending center of cultural activity. time working with Liszt, Raff decided to leave and successfully established his own career as a composer. Even after the split, Liszt always approached discussions of An American Style Raff with supportive, fatherly intent. De Profundis seems to have played a role in mild Thomson was key in the development of an American style of classical music. His use reconciliation between the two composers, highlighting a change in Raff after the of hymns is a characteristic trait, as it is in the music of Charles Ives, but Thomson war—a tip of the hat to Liszt’s wish for him to explore and write in a more religious style. stayed as close to tonality as possible. He wrote music for movies and documentaries, In the words of his daughter, Helene Raff: perhaps most famously Pare Lorentz’s The Plow that Broke the Plains (1936). His style utilized popular songs, hymns, and a new way of orchestrating. Thomson could also be It is "worshipfully dedicated to Franz Liszt." Since Vienna (1862) a controversial author, writing about hot topics like the suffragette Susan B. Anthony in Raff overcame his nature, his distrustful bitterness that had grown in his opera The Mother of Us All, and including a tango ballet in Four Saints in Three Acts, him . Liszt with his familiar personality is supposed to have made certain which premiered with an all-black cast. remarks regarding Raff in 1856 or 1857 which Raff discovered . Through the dedication of the De Profundis, Raff showed that the old personal devotion De Profundis survived despite everyday disagreements . Liszt took pleasure in the Tonight, we will listen to his choral work De Profundis, the Psalm 130. I don't know this as dedication and in the work; in a letter to the Princess Sayn-Wittgenstein a fact, but I wouldn't be surprised if he had chosen this Psalm after the famous letter (Liszt's long-time companion) he mentions it as an important work. "De Profundis," which Oscar Wilde wrote while imprisoned for being homosexual. Thomson received a copy of that letter as a birthday gift when he was 17 years old and A Re-discovery he kept it for the rest of his life. Once popular among festivals and orchestras, Raff’s De Profundis is no longer widely performed. According to Helene, one of the last performances of its time was after Raff’s death, at the city church of Weimar. This piece has since been performed in Europe, but today will be the U.S premiere. 4 APRIL 2019 THE ORCHESTRA NOW Photos by Matt Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW APRIL 2019 5 THE PROGRAM THE PROGRAM LERA AUERBACH’S DE PROFUNDIS The Composer (VIOLIN CONCERTO NO. 3) Marie-Juliette Olga “Lili” Boulanger finished her setting of the penitential Psalm 130, Du fond de l’abîme, in 1917, on In lieu of concert notes, Ms. Auerbach has requested that the cusp of World War I. The dense and the following poem be printed to accompany her music. thick orchestration that Boulanger chose for this work could easily depict the ABYSS deadly tussles related to the European conflict of the time. At the time, the It is always there, waiting, waiting. 24-year-old composer was at the peak As I wake, as I walk my dog in the morning of her suffering from a pulmonary or re-read my favorite poem illness that made her very vulnerable (the one which struck me as true in adolescence) throughout her career. She finished the Abyss is always just a step away. TŌN’S RODRIGO ORVIZ PEVIDA ON this piece, which she dedicated to the : LILI BOULANGER’S PSALM 130 memory of her father, from bed with the If you stare at anything with burning intensity – DU FOND DE L’ABÎME help of her sister, Nadia Boulanger. Du you can see the edge of its bottomless mouth. (DE PROFUNDIS) fond de l’abîme reflects this composer’s Keep on looking through your tears and sweat, troubled life, pained with the memories without turning your gaze even once – of a father whose death would leave no soon you will notice nothing else. relief from grief in the youngest of his daughters. The Abyss tempts you to lean even closer. The Music Others may think you must have gone blind, Although it is rarely performed, this is a great orchestral work. Performing this piece is but you start distinguishing black on black, difficult, given the magnitude of instrumentalists and singers required. Boulanger uses you start seeing the distant valleys. the organ and choir as representatives of her Catholic faith. The piece also makes use of the sarrusophone, which was used for outdoor military band concerts at the time. Once you’ve managed to really focus, Her compositional mastery is made clear by her combination of dense harmonies so much that the noisy light can’t disturb articulated by horizontal juxtaposed lines. Beautiful melodies richly ornamented your full concentration – at last - you see in chromaticism can be found in contrast with melodies that bring to mind early deep within the Abyss – the Sun, Gregorian Chants. Toward the end of the piece, the beautiful interaction between and stars of another great Universe, the contralto and the tenor narrates what could be if the composer met her father in calling to you with their flickering dance. heaven. Now you may take this final step, An Emotional Journey one step that still keeps you away. In my opinion, this masterwork is a beautiful way to express a personal connection As you stand on the edge, leaning ever closer between the real world and the divine in a very emotional journey. Even though the to the great expanse – the empty wow of nothing-ness – orchestration suggests a very religious background, I feel it represents in a very versatile manner the human philosophy between life and death.
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