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Philharmonia

Esa-Pekka Salonen Principal Conductor and Artistic Advisor

March 12–13, 2019 Hill Auditorium Ann Arbor CONTENT

Tuesday, March 12, 7:30 pm 3

Wednesday, March 13, 7:30 pm 13

Artists 24 Philharmonia Orchestra

Esa-Pekka Salonen Principal Conductor and Artistic Advisor

Truls Mørk /

Tuesday Evening, March 12, 2019 at 7:30

Hill Auditorium Ann Arbor

36th Performance of the 140th Annual Season 140th Annual Choral Union Series Work-in-Progress Workshop: Dreamers by Jimmy López and Nilo Cruz Wednesday, March 13 // 4:30 pm // Hill Auditorium

This special preview event will focus on the creative process behind Dreamers, a new oratorio written for the Philharmonia Orchestra by composer Jimmy López and librettist Nilo Cruz that focuses on the experience of young undocumented immigrants in the United States. NPR Arts Desk Reporter Neda Ulaby will interview Mr. López, Mr. Salonen, soprano Ana María Martínez, and local immigration experts about the creation of the work and its implications in our current political climate. The Philharmonia will offer excerpts from the work in advance of its world premiere in California later this week.

The world premiere of Jimmy López’s work Dreamers will be livestreamed on Sunday, March 17 at 6:00 pm ET. The program also includes Stravinsky’s Firebird. You may access this livestream at ums.org/live. Please note that this stream will only be available at 6:00 pm on Sunday and will not be archived for on-demand listening.

This evening’s performance is supported by the Menakka and Essel Bailey Endowment Fund for International Artistic Brilliance, Peter and Julie Cummings, and Bank of Ann Arbor. This evening’s performance is funded in part by The Andrew W. Mellon Foundation. Media partnership provided by WRCJ 90.9 FM and WGTE 91.3 FM. The Steinway used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Teagan Faran, Daniel Lopez, William Lopez, Yvonne Navarrete, Neda Ulaby, Stephen West, and the U-M Department of Vocal Performance for their participation in events surrounding this week’s performances. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Philharmonia Orchestra appears by arrangement with Opus 3 Artists. The Philharmonia Orchestra’s tour is supported by the Philharmonia Foundation and the generous donors to the Philharmonia’s Future 75 Campaign. Truls Mørk appears by arrangement with Harrison/Parrott Ltd. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Esa-Pekka Salonen Cello Concerto

(In three movements)

Mr. Mørk

Sound Design by Ella Wahlström

Intermission

Igor Stravinsky The Firebird (Complete )

Introduction Kastchei’s Enchanted Garden The Firebird Enters, Pursued by Ivan Tsarevich The Firebird’s Ivan Tsarevich Captures the Firebird The Firebird Begs to Be Released Entrance of the Thirteen Enchanted Princesses The Princesses Play with the Golden Apples () Ivan Tsarevich Appears The Princesses’ Khorovod (Round Dance) Daybreak Ivan Tsarevich Enters Kastchei’s Palace Entrance of Kastchei the Immortal Dialogue between Kastchei and Ivan Tsarevich The Princesses Plead for Mercy The Firebird Enters Dance of Kastchei’s Retinue under the Firebird’s Magic Spell Infernal Dance of Kastchei and His Subjects The Firebird’s Lullaby Kastchei Awakens Kastchei’s Death Kastchei’s Spell Is Broken

5 CELLO CONCERTO (2016)

Esa-Pekka Salonen Born June 30, 1958 in Helsinki, Finland

UMS premiere: This piece has never been performed on a UMS concert.

Snapshots of History…In 2016: • The Chicago Cubs win the World Series for the first time since 1908 • The Summer Olympics are held in Rio de Janeiro, Brazil, the first time in a South American nation • The United Kingdom votes in a referendum to leave the European Union

Some of the ideas for my cello In Nietzsche’s words: “You have concerto can be traced back by at made danger your vocation; there least three decades, but the actual is nothing contemptible in that.” material for the piece was mostly (No program note feels complete developed in the summer of 2015, without a quotation from Thus Spake when I decided to spend a few months Zarathustra.) researching for new kinds of textures I have learnt, however, that virtuosity without a concrete plan of how to use doesn’t limit itself to the mechanics of them. I decided to use some phrases playing an instrument. A true virtuoso from my 2010 solo cello work ...knock, can also capture the beauty and breathe, shine… in the second and third expression in the quietest moments, movements, as I always felt that the to fill near-stasis with life through a music of the solo piece was almost musician’s imagination and ability orchestral in its scope and character, to communicate. In my other life as and would function well within an a performer I witness that almost orchestral environment. every day: how musicians can create I have never — not even during the meaning from a single note. The quite dogmatic and rigid modernist composer-me is humbled by it, but days of my youth — felt that the very also deeply grateful. After all, all those idea of writing a solo concerto would symbols on paper mean nothing until in itself be burdened with some somebody gives them life. kind of dusty bourgeois tradition. A The first movement opens with concerto is simply an orchestral work what in my sketchbook had the title where one or several instruments “Chaos to line.” Chaos here must have a more prominent role than the be understood metaphorically, as a others. A concerto does not suggest stylized version of the idea. I like the a formal design the same way a concept of a simple thought emerging symphony does. I also happen to like out of a complex landscape. Almost the concept of a virtuoso operating like consciousness developing from at the very limits of what is physically clouds of dust. (and sometimes mentally) possible.

6 This leads to the second semi- An acrobatic solo episode leads to cosmological metaphor: a comet. a fast tutti section where I imagined I imagined the solo cello line as a the orchestra as some kind of gigantic trajectory of a moving object in space lung, expanding and contracting first being followed and emulated by other slowly, but accelerating to a point of lines/instruments/moving objects. A mild hyperventilation which leads bit like a comet’s tail. In musical terms back to the dance-like material. it could be described as a canon, Quixotic solo cello lead to but not quite, as the imitation is not a joyful coda based on the “lung” always literal or precise. The gestus music, but now with a solo cello line. remains, however, almost identical Finally, the kinetic energy burns itself every time. Sometimes the imitating out gently, the rapid movement slows cloud flies above the cello, sometimes down, and the cello line climbs slowly in the very same register. It thins out up to a stratospherically high ‘B-flat,’ to two lines and finally to one. two centimeters to the left from the There are faster, more playful highest note of the piano. episodes alternating with the cloud, and finally the movement gains Program note by Esa-Pekka Salonen. enough speed for the balance to tilt towards fast music. At the end a variation of the cloud returns. The second movement is very simple in form, more complex in texture. It starts with a wedge-formed cloud [>] and ends with another [<], if one can imagine such a thing. The slow cello arches are looped to create harmony from single lines. Sometimes the loops are dispersed in space. The middle section is a playful duet between the solo cello and the alto flute. The third movement starts with a slow, brooding cello solo under the residue of the second wedge-cloud. The expression quickly becomes more extroverted through a series of accelerandi. A rhythmic mantra starts to develop in the congas and bongos. It will appear often later in the course of the movement, mostly in the . This music is often dance-like; sometimes gesticulating wildly, perhaps from the sheer joy of no longer having anything to do with clouds and processes.

7 THE FIREBIRD (COMPLETE BALLET) (1910)

Igor Stravinsky Born June 17, 1882 in Lomonosov, Russia Died April 6, 1971 in New York City

UMS premiere: conducted by ; May 1936 in Hill Auditorium.

Snapshots of History…In 1910: • African-American boxer Jack Johnson defeats American boxer James J. Jeffries in a heavyweight boxing match, sparking race riots across the US • The first air flight for the purpose of delivering commercial freight takes place in the US, between Dayton and Columbus, Ohio, made by Wright brothers pilot Philip Parmalee • Henry Ford sells 10,000 automobiles

Sergei Diaghilev’s Paris-based Since the end of the 19th century, Russes was one of the greatest ballet there had been a great affinity companies in history that united between Russia and France. The many of the best dancers of its time. political alliance between the two Diaghilev, the director, combined the countries had brought Russia closer soul of a brilliant artist with the mind to France (France had always been and skills of a shrewd businessman. close to Russia, where French had He was committed to exciting and long been the language of the innovative productions, and he educated classes). At the same time, sought out the best modern artists the geographical distance and the and composers available. Among difference in culture endowed things musicians alone, he worked over Russian with an exotic flavor in the the years with Debussy, Ravel, Falla, eyes of the French. Both Debussy and Prokofiev, and others. However, he Ravel admired, and were influenced never made a more sensational nor a by, the music of the 19th-century more fruitful musical discovery than Russian masters Mussorgsky and when he engaged the 27-year-old Rimsky-Korsakov. Igor Stravinsky to write the music To create a story of an appropriately for ’s new ballet, The exotic flavor, Fokine used several Firebird. It was the start of a long Russian fairy tales in the scenario collaboration that was to give the of The Firebird. The stories of the world , , beneficent Firebird and the evil ogre , , and Apollon Kastchei the Immortal are combined Musagète, and which ended only in an ingenious plot, which Eric Walter shortly before Diaghilev’s death White summarized in his standard in 1929. book on Stravinsky as follows:

8 A young Prince, Ivan Tsarevich, wanders belong to the first tableau, and the into Kastchei’s magic garden at night last number alone constitutes the in pursuit of the Firebird, whom he finds second tableau. The music had to fluttering round a tree bearing golden follow the plot very closely, in a strict apples. He captures it and extracts a descriptive style we don’t often find in feather as forfeit before agreeing to let it Stravinsky’s works. go. He then meets a group of 13 maidens To describe the magic world and falls in love with one of them, only to of fairy-birds and evil sorcerers, find that she and the other 12 maidens are Stravinsky had a whole tradition to princesses under the spell of Kastchei. build on, a tradition he had inherited When dawn comes and the princesses from his teacher Rimsky-Korsakov. have to return to Kastchei’s palace, he In the last years before his death in breaks open the gates to follow them 1908, Rimsky had written three operas inside; but he is captured by Kastchei’s on fantastic subjects, one of which guardian monsters and is about to suffer was titled Kastchei the Immortal (the the usual penalty of petrifaction, when he two others were The Legend of the remembers the magic feather. He waves it; Invisible City of Kitezh and The Golden and at his summons the Firebird appears Cockerel). In his fantastic operas, as and reveals to him the secret of Kastchei’s elsewhere, Rimsky-Korsakov made immortality [his soul, in the form of an ample use of a special scale Russian egg, is preserved in a casket]. Opening musicians knew as the “Rimsky the casket, Ivan smashes the vital egg, scale,” which was also adopted by and the ogre immediately expires. His the master’s most famous pupil. (The enchantments dissolve, all the captives “Rimsky” scale, also known as the are freed, and Ivan and his Tsarevna are “octatonic” scale, consists of the betrothed with due solemnity. regular alternation of half-steps and whole steps: C–C-sharp–D-sharp–E– According to the original plans, F-sharp–G–A–B-flat). This particular the music for The Firebird was to be grouping of tones, lying outside written by and, the major-minor system, is always after Tcherepnin’s withdrawal, by associated with the evil Kastchei. Anatoli Lyadov or . The music of the magical Firebird However, none of these more is also chromatic in nature, related experienced composers delivered the in part to the Kastchei music. The score on time, so Diaghilev approached motifs of the Tsarevich, on the other Stravinsky, who had already worked hand, are purely diatonic (using a for him as an orchestrator, and whose traditional seven-note scale) and are orchestral piece Fireworks had greatly derived from a central type of Russian impressed him. The young composer, folksong known as the “long-drawn- honored by the commission, put aside out” song (protyazhnaya pesnya). the opera , whose first Both the story and the musical style act he had just completed, and began of the ballet seemed highly original work on the ballet. in the West, where the Russian The complete ballet consists of 19 traditions that had nourished it musical numbers. Eighteen of these were largely unknown.

9 For all the Rimsky influence, prince. After a measure of general rest, Stravinky’s first ballet shows a the… remarkable degree of individuality. The handling of rhythm in particular The Firebird’s Dance begins. The (with already quite a few typical melody in this brilliantly orchestrated Stravinskyan ostinatos, or “stubbornly” dance is derived entirely from sound repeated figures) is quite innovative, color, with the piccolo flute and and the orchestration reveals the hand piccolo taking the lead; the of a true master. Even at this early age, harp and the strings accompany with Stravinsky knew how to draw the most trills and broken chords. The pizzicati spectacular effects from his enormous (plucked strings) in the cello provide orchestra. One may cite special items the rhythmic support. like the famous harmonic arpeggios (broken chords) for strings in the Ivan Tsarevich Captures the Firebird. introduction or the solos for the small The flourishes in the woodwinds D-clarinet at several points. But even come to a sudden standstill, and the more important are the many new repeated chords in the four horns combinations of instrumental colors indicate that the bird is no longer free appearing on virtually every page of to move. the score. The score contains numerous The Firebird Begs to Be Released. A section titles that correspond to slow, expressive melody is played by the stage action, though there solo , , and English horn, are no actual pauses in the music. later taken over by the . The The sections, with a brief musical tempo speeds up as the Firebird’s description of each, are as follows: plea becomes more insistent (flute and oboe solos). After a return of the The Introduction begins with the slower theme, the prince (solo horn) rumble of low strings, , and lets the bird go, and the flaps of its , with the higher-pitched wings can be heard in the woodwind. instruments entering gradually as the curtain rises on the first tableau. Entrance of the Thirteen Enchanted Princesses is announced by a magical Kastchei’s Enchanted Garden. The chord progression in the violins. A motif of the introduction is taken over series of expressive solos create a by the violins, punctuated by short tender, lyrical mood. figures in the woodwind, harp, and . The Princesses Play with the Golden Apples (Scherzo). Dominated by fast- The Firebird Enters, Pursued by moving 16th-notes in the strings, the Ivan Tsarevich. For the first time, the scherzo is briefly interrupted by a lyrical music becomes more agitated as middle section with a clarinet solo. the anguished fluttering of the bird is contrasted with a simple, Russian- Ivan Tsarevich Appears. As before, the flavored theme representing the prince is represented by the solo horn

10 and a simple Russian melody in the wild brass and percussion sounds. minor mode. The Firebird Enters. This brief allegro The Princesses’ Khorovod (Round section, in which the firebird’s Dance). One of the ballet’s great familiar musical style is in evidence melodies is introduced by the solo throughout, leads directly into the… oboe in a slow tempo. The actual dance is slightly faster; the strings Dance of Kastchei’s Retinue under the and woodwind are joined, after a Firebird’s Magic Spell. More and more while, by the first horn. of Kastchei’s minions are swept up in the ecstatic dance, with a gradual Daybreak. A call heralds crescendo leading to a tutti climax. the arrival of the dawn. A brief and forward-thrusting theme indicates Infernal Dance of Kastchei and His that Prince Ivan is approaching the Subjects. A fast timpani roll introduces place where he will meet his great a syncopated motif arising from the challenge. lower registers (bassoons, horn, ) and gradually taken over by the Three measures of energetic string entire orchestra. There is a lyrical scales: Ivan Tsarevich Enters countersubject symbolizing the plight Kastchei’s Palace. The distinctive of Kastchei’s prisoners. melodic style of the evil sorcerer appears here for the first time. The As a total contrast, The Firebird’s monsters charge Prince Ivan as we Lullaby is a delicate song for solo hear a massive orchestral buildup; , accompanied by harps and the motion stops abruptly as he is muted strings. captured (not unlike what happened to the Firebird earlier). A dissonant accompanies as Kastchei Awakens. But the The Entrance of Kastchei the Immortal evil sorcerer’s end is imminent: is proclaimed by austere brass chords a powerful tutti downbeat and a and frightening tremolos in strings rapidly descending orchestral figure and percussion. accompanied by a decrescendo on the drum depict… Dialogue between Kastchei and Ivan Tsarevich. It seems that the Kastchei’s Death — a short interlude poor prince can hardly get a word in of divided string tremolos. The scene edgewise in this dialog, for the short changes. section is entirely dominated by the music of the sorcerer. Kastchei’s Spell Is Broken. The finale, in which everyone celebrates The Princesses Plead for Mercy. the wedding of Prince Ivan and the The solo plays the princesses’ princess, contains what is probably theme from earlier in the ballet, but the most famous Russian folksong in the melody is cut short by Kastchei’s in the ballet. This beautiful melody,

11 first played by the first horn (Ivan’s instrument), grows in volume and orchestration until the full orchestra plays it. Here a significant rhythmic change is introduced: the symmetrical triple meter (3/2) is transformed into an asymmetrical 7/4, bringing the music to its final culmination point.

Program note by Peter Laki.

Please turn to page 24 for complete artist biographies and an orchestra roster.

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Esa-Pekka Salonen Principal Conductor and Artistic Advisor

Wednesday Evening, March 13, 2019 at 7:30

Hill Auditorium Ann Arbor

37th Performance of the 140th Annual Season 140th Annual Choral Union Series World-premiere Livestream: Dreamers by Jimmy López and Nilo Cruz

The world premiere of composer Jimmy López’s work Dreamers, as offered by Esa-Pekka Salonen and the Philharmonia Orchestra in Berkeley, California, will be livestreamed on Sunday, March 17 at 6:00 pm ET. The program also includes Stravinsky’s Firebird. You may access this livestream at ums.org/live. Please note that this stream will only be available at 6:00 pm on Sunday and will not be archived for on-demand listening.

This evening’s performance is supported by the Menakka and Essel Bailey Endowment Fund for International Artistic Brilliance, Peter and Julie Cummings, and Conlin Travel. This evening’s performance is funded in part by The Andrew W. Mellon Foundation. Media partnership provided by WRCJ 90.9 FM and WGTE 91.3 FM. Special thanks to Teagan Faran, Daniel Lopez, William Lopez, Yvonne Navarrete, Neda Ulaby, Stephen West, and the U-M Department of Vocal Performance for their participation in events surrounding this week’s performances. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Philharmonia Orchestra appears by arrangement with Opus 3 Artists. The Philharmonia Orchestra’s tour is supported by the Philharmonia Foundation and the generous donors to the Philharmonia’s Future 75 Campaign. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Arnold Schoenberg Verklärte Nacht, Op. 4

Intermission

Anton Bruckner Symphony No. 7 in E Major

Allegro moderato Adagio: Sehr feierlich und sehr langsam Scherzo: Sehr schnell Finale: Bewegt, doch nicht schnell

15 VERKLÄRTE NACHT, OP. 4 (TRANSFIGURED NIGHT) (1899; STRING ORCHESTRA ARRANGEMENT 1917, REV. 1943)

Arnold Schoenberg Born September 13, 1874 in Vienna Died July 13, 1951 in Los Angeles, California

UMS premiere: Chicago Symphony Orchestra conducted by Frederick Stock; May 1926 in Hill Auditorium.

Snapshots of History…In 1899: • A peace treaty is ratified to end the Spanish-American War; the Philippine-American War begins • writes Uncle Vanya • Sigmund Freud publishes The Interpretation of Dreams

Arnold Schoenberg was alone among but showed unmistakable signs of the great European composers in originality and even genius. being almost entirely self-taught. Two years later, Schoenberg wrote He did not have the benefit of a the string sextet Verklärte Nacht, the musical family or a good teacher work that made him first infamous early in life. He taught himself to play and, soon afterwards, famous. Growing the violin, later the cello, and played up in Vienna, the young Schoenberg an enormous amount of chamber was naturally a follower of Brahms, music with his friends, most notably who dominated musical life in the Oskar Adler, a physician who was city. Later, through Zemlinsky, he also a professional-level violinist. discovered the music of Wagner, Additional advice came from another who was considered to be Brahms’s friend named David Josef Bach and, antithesis. With Verklärte Nacht, then, most importantly, from the composer Schoenberg managed to infuriate Alexander von Zemlinsky, who later both the Brahms and the Wagner became Schoenberg’s brother-in-law. camps, transferring as he did the But none of this guidance amounted idea of program music, associated to a full-scale course of study in with Wagner and the “New German composition: Schoenberg was really School,” to the chamber medium, his own teacher. (Maybe that is which was Brahms’s bailiwick and why he could become such a great traditionally devoted to “absolute” and dedicated teacher himself.) He music only. To add insult to injury, diligently worked his way through the Schoenberg used a particular entire classical tradition and absorbed dissonance that could not be found it so completely that by 1897 (at the in the existing harmony textbooks, age of 23) he was able to write a and this gave the Vienna Composers’ string quartet in D Major that not only Association the excuse they needed demonstrated a flawless technique to turn the piece down.

16 The title Verklärte Nacht comes tremolos (“trembling” note repeats), from a poem by Richard Dehmel and pizzicatos (plucked strings). (1863–1920), a German poet very The woman’s speech, with d minor highly regarded at the time. Dehmel’s as its central tonality, is filled with success rested on his individual dramatic passion. Its tension-laden combination of naturalism and main theme rises from a subdued political consciousness with an pianissimo to a desperate outburst. expressionistic, visionary passion. The influences of Wagner and The poem in question, printed in are evident, though Dehmel’s 1896 collection Weib Schoenberg goes beyond both in his und Welt (Woman and World), is bold handling of dissonances. a good example: its central event In total contrast, the man’s speech (a woman’s admission to her lover begins in a calm and peaceful D that she is bearing another man’s Major with an entirely classical child) is a declaration of war on cadence. While the continuation is conventional bourgeois morality. (It more adventurous, the lyrical element has to be stressed, though, that she always prevails. The tenderness of conceived the child before meeting the music is underscored by special the love of her life.) This shockingly playing techniques (harmonics, and frank confession, which represents sul ponticello, or playing near the the naturalistic layer of the poem, is, bridge). The tempo, slow at first, however, immediately “transfigured,” gradually speeds up, but returns to its partly by the man’s words of comfort initial state at the end of the section. and partly by the background of the Although rejected at first, Verklärte magical, moon-lit landscape which Nacht soon became accepted as elevates the lurid story to a completely one of the greatest chamber works different, almost cosmic plane. of the decade. Richard Dehmel Schoenberg closely followed the attended a performance in 1912, and outline of Dehmel’s poem. There are subsequently wrote to the composer: five sections: introduction — the woman speaks — interlude — the man Dear Mr. Schönberg! speaks — postlude. Yesterday I heard Verklärte Nacht, and The introduction, interlude, and I should consider it a sin of omission if I postlude share the same thematic failed to say a word of thanks to you for material, a descending scale motif your wonderful sextet. I had intended with a dotted rhythm, suggestive of to follow the motives of my text in your the two people walking . composition, but I soon forgot to do so, I At the beginning, this theme is soft was so enthralled by the music .... and almost neutral. In the middle, With cordial greetings, your it becomes loud and impassioned, Dehmel with each note heavily emphasized. At the end, it is soft again, but And Dehmel added four lines of poetry surrounded by sensuous chromatic in which he expressed his gratitude countersubjects and special devices (and did not hesitate to compare such as arpeggios (broken chords), himself to God in the process):

17 A word of thanks — o beauteous tones! The echo of the creator’s word. We all can sense no loftier joy: The world now answers God in sound.

If Dehmel lost the thread of his own poetry while listening to the music, it is maybe advisable that we, too, hear it as an independent work of art, without referring to the program. On the other hand, the piece would not have been written in the first place had it not been for that program. Yet Schoenberg, with unerring instinct, concentrated not on the concrete but on the transcendent aspects of the poem (the main characters, faced with a critical situation, rise above the obstacles that stand in their way). Dehmel’s work, taken in itself, verges on the banal; it is only through the music that we realize how close the story is to Tristan, where another man (King Mark) casts a transient shadow on the love of the two protagonists. In Schoenberg’s music, the particulars of the story all disappear and only timeless feelings remain, leaving us all a little bit “transfigured” when it is over.

18 SYMPHONY NO. 7 IN E MAJOR (1881–83)

Anton Bruckner Born September 4, 1824 in Ansfelden, Upper Austria Died October 11, 1896 in Vienna

UMS premiere: The Cleveland Orchestra conducted by Erich Leinsdorf; November 1945 in Hill Auditorium.

Snapshots of History…In 1881: • The American Red Cross is established by Clara Barton • The Thumb Fire in Michigan destroys over a million acres and kills 282 people • US President James A. Garfield is assassinated in Washington, DC

Who was Anton Bruckner? This whom he proposed. All of this has question is harder to answer than led many people to see Bruckner as would be similar questions about some kind of idiot savant, hopelessly Beethoven, Wagner, Brahms, or out of sync with his environment, Mahler, to name only composers who, who removed himself from the as ancestors, contemporaries, or world in order to spend his life successors of Bruckner, are part of the stubbornly building (and rebuilding) same stream of Austro-German music his symphonies, those majestic history. Most 19th-century composers cathedrals of sound. left personal documents such as There is no doubt that Bruckner correspondence and other prose, marched to his own drummer. He in which they disclosed something didn’t conform to other people’s about themselves and about the way expectations as to what a composer they viewed their art. They wrote should be like or how he should vocal music with texts that reflected behave, and he did not articulate his their literary tastes and the ideas that artistic ideas verbally. That doesn’t preoccupied them. Bruckner, on the mean, however, that those ideas were other hand, was never particularly necessarily any less cogent or, for that good with words. His surviving letters, matter, any less “timely” (whatever with a few rare exceptions, reveal we mean by that word). In fact, in an very little about his inner world; nor era obsessed with innovation versus did he often respond to poetry with traditionalism (which is what the musical compositions. There are many respective champions of Wagner and anecdotes about Bruckner’s life, his Brahms were endlessly debating), country upbringing, his devoutness, Bruckner created a unique synthesis his odd Upper Austrian dialect, his between those two concepts. He difficulties in adjusting to life in was considered part of the Wagner Vienna, and his tragic lack of success “camp,” and there was probably with the numerous young girls to no one in his generation who felt

19 Wagner’s music more deeply and organ recitals, and he also took a train responded to it with more originality from Geneva to Chamonix, near the than he. Yet if he stood with one foot Mont Blanc. The view of the highest in the world of Zukunftsmusik (music peak of the Alps must have been of the future), his other foot was on his mind as he was embarking planted firmly in the conservative on his next monumental symphony Austrian Catholic tradition into which — although Bruckner, who wasn’t he was born. He was marked for life particularly good with words, never by the monumental monastery of St. said so explicitly. Florian, a masterpiece of Baroque Bruckner interrupted the architecture whose origins go back composition of the symphony to into the Middle Ages. In addition, this attend the premiere of Wagner’s great organist and church composer Parsifal in Bayreuth. It is, then, hardly who was deeply touched by the a coincidence that the work is full of sensuality of had Wagnerian quotations, some veiled, acquired some of his earliest musical some more overt. Commentators have experiences as a fiddle player at detected echoes from Tristan, Parsifal, village weddings, gaining an intimate and Tannhäuser. Music analyst knowledge of Austrian folk music Graham Phipps sees the whole — a knowledge manifest in several first movement as “Bruckner’s free of the scherzo movements in those application of strict Sechterian theory large “cathedrals of sound.” It took with stimulation from Wagnerian many components to bring about the sources” — Simon Sechter being the Bruckner phenomenon, and those professor who had taught Bruckner components didn’t combine in anyone counterpoint. The synthesis between else in quite the same way. traditional church style and “the Bruckner began work on his music of the future” was complete. Seventh Symphony on September 23, The first movement rests on three 1881, exactly 20 days after completing mighty pillars, three distinct thematic his Sixth. At 57, he had just enjoyed groups. The first is a soaring cello the first truly important success of melody against some quintessentially his career earlier that year when, Brucknerian tremolos in the violins. in February, Hans Richter gave a The second is a singing theme highly acclaimed performance of the marked ruhig (calm), introduced by Fourth Symphony with the Vienna the woodwinds with accompanying Philharmonic. (The Philharmonic had horns and . Finally, the earlier rejected the Second and Third third, appearing after the first of Symphonies.) At this point he had many powerful crescendo surges, been teaching organ, counterpoint, is a predominantly rhythmic idea, and harmony in Vienna for 13 years; presented by strings and woodwinds. among the many young musicians he These three different characters had inspired was a teenage Gustav start to interact in a development Mahler. The previous year (summer of section that doesn’t really “develop” 1880) Bruckner had undertaken a trip in the classical sense at all. Instead to Switzerland, where he gave many of the increasing level of activity

20 one finds in classical developments, which a slow thematic group in 4/4 the music actually becomes slower time alternates with a slightly faster and more fragmented, but then it one in 3/4. After a sensual second suddenly erupts in a molto animato theme, the Wagner-tuba theme section. The ascending motive of returns in a more elaborate form than the opening is here turned upside before, with new countersubjects, down, its serene E Major becomes varied and expanded, culminating a dramatic c minor, and instead of in a glorious outburst in the bright being played in the warm singing key of G Major. The second theme, a tone of the , it is blasted forth half-step higher (A-flat Major), also by the entire orchestra. Here and in gains in coloristic detail on second the recapitulation, Bruckner amplified hearing. Yet the high point of the his thematic material by adding rich entire movement comes when the contrapuntal voices. It is during the Wagner begin their theme for solemn concluding section that the the third time. This time, a crescendo kettledrum is heard for the first time more astonishing than anything that in the symphony. The tremolo of the has gone before brings us to the timpani lasts a full 52 measures, full radiance of C Major, a moment increasing, decreasing, and rising of arrival marked by the work’s only again in volume as the rest of the crash, appearing exactly at orchestra brings the movement to its midpoint in the hour-long symphony. stunning conclusion. The composer had progressed On one of the rare occasions he this far when he received news of revealed something of his feelings in Wagner’s death on February 13, 1883. verbal form, Bruckner told his former During the “unwinding” that follows student, the conductor Felix Mottl, the climax, a horn motive filled with about the impulse that led to the extreme pain expresses Bruckner’s composition of the sublime “Adagio” sadness more clearly than words of the Seventh Symphony: “One day could ever do. I came home and felt very sad. The As with the Fifth and Sixth thought had crossed my mind that Symphonies, the “Scherzo” of the before long the Master [Wagner] Seventh is in a minor key, which would die, and then the c-sharp minor immediately undermines the theme of the ‘Adagio’ came to me.” humorous character one habitually For this solemn theme, Bruckner expects of scherzos, despite the used a quartet of Wagner tubas, the fast tempo and the dance rhythms. special instruments Wagner had Contrary to the norm, which demands devised for his Ring cycle. It was that the minor mode be softened by the first time another composer had major at the end of the first formal employed these tubas, created to unit, Bruckner modulates from one evoke the gods of Valhalla and to minor key (a minor) to another (c portray many dramatic moments minor). A mysterious timpani solo involving death. Structurally, the serves as link between the various movement was influenced by the sections of the scherzo proper, as “Adagio” of Beethoven’s Ninth, in well as between the scherzo and the

21 slower, more genial trio. The latter, at the end, many commentators which finally brings major-mode have felt the triumph to be less than relief, begins with a singing violin complete. At 13 minutes against the melody over a long-held pedal note first movement’s 22, it is also much in the bass. Fleeting memories of the smaller in size. scherzo’s trumpet motive ruffle the Yet the finale of the Seventh is smooth surface of the music, as some unusual for reasons other than intensely Wagnerian modulations its length. Its structure is not the complicate the initially simple and usual sonata form, but something folk-like melody. The a-minor scherzo called Bogenform (arch form) in is then repeated in its entirety. German, which means that in the Bruckner’s “Finale” perplexed recapitulation, the three thematic even some of his most enthusiastic groups return in reverse order: A-B-C supporters. Both the composer becomes C-B-A. The character of Hugo Wolf and the conductor Bruckner’s three thematic groups Hermann Levi found certain parts of are as follows: “A” is resolute but it “incomprehensible,” though both understated, like a biblical “still small eventually came around to appreciate voice.” “B” is a religious chorale with its unique beauty. Even though the Tristan-like chromatic harmonies, Seventh has its share of fanfares while “C” is a variant of “A” where

22 the voice becomes powerful and was the “crowning event” of his triumphant as the Wagner tubas are career as a conductor. (This is no heard again. Both “A” and “C” are, small praise from the man who had by the way, closely related to the conducted the first performance of opening motive of the first movement. Parsifal in Bayreuth!) By reversing “A” and “C” in the After these triumphs, Bruckner’s recapitulation, Bruckner allows the home city of Vienna finally gave him more subdued form of the theme to his due as well: in 1886, he received have the last word, and even though a high decoration from the Imperial the theme gains a lot of power, Court, and, on September 23 of that especially in the coda, the tempo year, he was received by Emperor remains emphatically bewegt, doch Franz Joseph I in person. The nicht schnell (animated but not fast). monarch asked the composer if there The coda of the finale brings back the was anything he could do for him. opening motive of the first movement Bruckner, who was definitely not good in its original form, in addition to its with words, replied in his flavorful transformations which are present Upper Austrian dialect: “Your Majesty, simultaneously. Like at the end of the will you graciously forbid [music critic first movement, the timpani enters Eduard] Hanslick to write so badly after a long silence with an extended about me.” tremolo over which the concluding measures of the symphony unfold. Program notes by Peter Laki. Bruckner finished his Seventh during the first days of September 1883. After playing through the score, Arthur Nikisch, one of the great conductors of the time, immediately decided to perform it with the Gewandhaus Orchestra in Leipzig. This performance was followed by numerous others in many cities of Europe as well as the US, where it was introduced only a year and a half after the world premiere. The Seventh became, without a doubt, the greatest success of Bruckner’s life. King Ludwig of Bavaria, who had been Wagner’s great benefactor, allowed Bruckner to dedicate the work to him. As the composer reported to a friend, Hermann Levi had called the symphony “the most important symphonic work since 1827” [the year of Beethoven’s death] — a Wunderwerk (wonderful work) that

23 ARTISTS

Esa-Pekka Salonen’s (principal conductor Festival in summer 2019. Recent years and artistic advisor) restless innovation have seen Mr. Salonen experiment drives him constantly to reposition with groundbreaking ways to present classical music in the 21st century. music, with the first major virtual-reality He is known as both a composer and production from a UK symphony orchestra; conductor and is currently the principal the award-winning RE-RITE and Universe conductor and artistic advisor for the of Sound installations; and the much- Philharmonia Orchestra and the conductor hailed iPad app, The Orchestra. laureate for both the Swedish Radio Mr. Salonen has an extensive and Symphony Orchestra and the Los Angeles varied recording career. An album of Henri Philharmonic, where he was music director Dutilleux’s Correspondances, recorded from 1992–2009. In 2020, he will become in the presence of the composer, was the music director of the San Francisco released in 2013 on the composer’s 97th Symphony. He is the artist in association birthday. Also that year, Sony completed a at the Finnish National Opera and Ballet, project that began with Mr. Salonen and where he will conduct Pelléas et Mélisande the LA Phil nearly 30 years before: a two- this season. Mr. Salonen co-founded disc set of the orchestral works of Witold the annual Baltic Sea festival, serving as Lutosławski. Mr. Salonen’s most recent artistic director from 2003–2018. recordings include a disc of Stravinsky’s This season, 13 of Mr. Salonen’s works Persephone, released by Pentatone Music; are programmed around the world, from and a 61-disc box set of all Mr. Salonen’s playful early pieces to his melodically recordings for Sony. 2019 sees a much- and rhythmically complex new works. He anticipated release of Mr. Salonen’s cello also conducts his own Pollux at Maggio concerto. Fiorentino, and his cello concerto on tour with the Philharmonia Orchestra with Truls Truls Mørk’s (cello) compelling Mørk as soloist. Last year the New York performances, combining fierce intensity, Philharmonic and the Barbican Centre integrity, and grace, have established shaped their programming around Mr. him as one of the preeminent cellists of Salonen’s music as part of his composer- our time. He is a celebrated artist who in-residence in New York and a season- performs with the most distinguished long focus in London. , including the New York The current season sees Mr. Salonen Philharmonic, the Philadelphia and conducting the Philharmonia Orchestra Cleveland orchestras, Boston Symphony on tour across Europe, the US, and Asia. Orchestra, and Los Angeles Philharmonic. In spring 2019 he brings a series that In Europe he has appeared with Orchestre he created at the Philharmonia to the de Paris, Berliner Philharmoniker, Royal Los Angeles Philharmonic, presenting Concertgebouw Orchestra, Münchner programs of Stravinsky’s “Myths,” Philharmoniker, Philharmonia Orchestra, “Rituals,” and “Faith.” Mr. Salonen will and Leipzig Gewandhaus Orchestra. also direct a new Ivo Van Hove production He has collaborated with conductors of Weill’s Rise and Fall of the City of including Mariss Jansons, David Zinman, Mahagonny at the Aix-en-Provence Manfred Honeck, Esa-Pekka Salonen,

24 Gustavo Dudamel, Sir Simon Rattle, Kent Royal Festival Hall, in the heart of London, Nagano, Yannick Nézet-Séguin, and where the Philharmonia has been resident Christoph Eschenbach. since 1995 and presents a season of Following his appearance at the 2018 around 50 performances each year. Under Baltic Sea Festival performing Esa-Pekka principal conductor and artistic advisor Salonen’s Cello Concerto (2016), also Esa-Pekka Salonen, the Philharmonia has conducted by the composer, Mr. Mørk will created a series of critically acclaimed play the work again with the Philharmonia visionary projects, distinctive for both Orchestra under Mr. Salonen in London, their artistic scope and supporting live and on tour to the US, including Lincoln and digital content. Recent series include Center in New York, Hill Auditorium in Ann Stravinsky: Myths & Rituals (2016), which Arbor, and Cal Performances in Berkeley. He won a South Bank Sky Arts Award. In 2019, continues to give regular recitals at major Maestro Salonen presents his newest venues and festivals throughout the world. series with the Orchestra, Weimar Berlin: He has recently developed a collaboration Bittersweet Metropolis. with Behzod Abduraimov, which will see The Philharmonia is resident orchestra them perform on tour in the US and Europe. at Bedford Corn Exchange, De Montfort A great champion of contemporary Hall in Leicester, The Marlowe in music, Mr. Mørk has given over 30 Canterbury, The Anvil in Basingstoke, premieres, including Rautavaara’s Towards the Three Choirs Festival in the West of the Horizon with the BBC Symphony England, and Garsington Opera. At the Orchestra and John Storgårds, Pavel Haas’ heart of these residencies is an education Cello Concerto with Wiener Philharmoniker program that empowers people in every and Jonathan Nott, ’s community to engage with and participate Concerto for Three Cellos with the in orchestral music. NHK Symphony Orchestra and Charles Internationally, the Philharmonia is Dutoit, and Hafliði Hallgrímsson’s Cello active across Europe, Asia, and the US. This Concerto, co-commissioned by the Oslo season, the Orchestra performs extensively Philharmonic, Iceland Symphony, and in Europe and undertakes three major Scottish Chamber orchestras. international tours, to China and South With an impressive recording output, Korea (October 2018); to Cartagena in Mr. Mørk has recorded many of the great Colombia, in a joint digital installation-live cello concertos for labels such as Virgin concert tour (January 2019); and to the US Classics, EMI, Deutsche Grammophon, (March 2019). Ondine, Arte Nova, and Chandos, many The Philharmonia’s international of which have won international awards, reputation in part derives from its including Gramophone, Grammy, Midem, extraordinary recording legacy, which in and ECHOKlassik awards. the last 10 years has been built on by its pioneering work with digital technology, Founded in 1945, the Philharmonia most recently blazing a trail for classical Orchestra is a world-class symphony music in virtual reality. VR experiences orchestra for the 21st century. The featuring music by Sibelius, Mahler, and Orchestra’s home is Southbank Centre’s Beethoven, placing the viewer at the heart

25 of the orchestra, have been presented at (SJACC, Kuwait); Trying It On (UK tour, Southbank Centre and internationally. RSC, Royal Court); End of the Pier (Park The Philharmonia records and releases Theatre); Jellyfish(The Bush); This Restless music across multiple channels and State (The Oval House); Of Kith and Kin media. An app for iPad, The Orchestra, (Sheffield Crucible/The Bush); The Life has sold tens of thousands of copies; (English Theatre Frankfurt); The Ballad of Hollywood composers choose to record Robin Hood, A Study in Scarlet, Klippies, their scores for films, video games, and and In Lambeth (Southwark Playhouse); television series with the Orchestra; the The Bunker Trilogy, The Frontier Trilogy, Philharmonia is Classic FM’s “Orchestra on The Capone Trilogy, and Sirenia (Edinburgh Tour” and broadcasts extensively on BBC Fringe/International Tour); Chicken Dust Radio 3; and the Philharmonia releases (Finborough Theatre); Titus Andronicus live recordings of signature concerts with (Arcola); Theatre Uncut (Theatre Uncut, Signum Records. Young Vic); and The Revenger’s Tragedy Finnish conductor and composer and Henry V (Old Red Lion Theatre). She Esa-Pekka Salonen has been principal was associate sound designer for Othello conductor and artistic advisor since 2008. (Frantic Assembly), JOHN (DV8), and The Jakub Hrůša and Santtu-Matias Rouvali Cripple of Inishmaan (Michael Grandage are principal guest conductors. Christoph Company). von Dohnányi is honorary conductor for life, and Vladimir Ashkenazy is conductor laureate. Composer Unsuk Chin is artistic director of the Music of Today series. The Philharmonia’s principal international partner is Wuliangye. For more information, please visit philharmonia.co.uk.

Ella Wahlström (sound designer) is an international sound designer. She was born in Finland, where she studied violin and moved to London in 2010 to train at Rose Bruford College. She is the sound designer of Esa-Pekka Salonen’s Cello Concerto, which had its world premiere in Chicago in 2017 with Yo-Yo Ma as the soloist. She is an original sound operator of the multi-award-winning The Encounter by Simon McBurney of Complicite, which toured internationally, including in Ann Arbor, London, and Broadway. She is also the co-sound designer of Robert Wilson and Mikhail Baryshnikov’s Letter to a Man. Other sound design credits include Goes Wrong (London West End, UK and international tour); Black & White

26 UMS ARCHIVES

This week’s performances mark the Philharmonia Orchestra’s third and fourth performances under UMS auspices, following the Orchestra’s November 1955 debut in Hill Auditorium, conducted by Herbert von Karajan. The Orchestra most recently appeared in September 1986 under the baton of Giuseppe Sinopoli. UMS welcomes Esa-Pekka Salonen and cellist Truls Mørk as they make their UMS debuts this week.

27 PHILHARMONIA ORCHESTRA

Esa-Pekka Salonen / Principal Conductor and Artistic Advisor

Violin I Cello E-flat Clarinet Zsolt-Tihamér Visontay Timothy Walden Jennifer McLaren Sarah Oates Karen Stephenson Fabrizio Falasca Richard Birchall Eugene Lee Eric Villeminey Laurent Ben Slimane † Soong Choo Anne Baker Minhee Lee Ella Rundle Contrabass Clarinet Eleanor Wilkinson Alexander Rolton Laurent Ben Slimane † Victoria Irish Yaroslava Trofymchuk Adrián Varela Miwa Rosso Bassoon Karin Tilch Tessa Seymour Robin O’Neill † Lulu Fuller Shelly Organ Erzsebet Racz Bass Fraser Gordon Charlotte Reid Tim Gibbs †† Cassandra Hamilton Christian Geldsetzer Alessandro Cannizzaro Michael Fuller Luke Whitehead Caroline Frenkel Gareth Sheppard Fraser Gordon Simon Oliver Violin II Josie Ellis Horn Tamás Sándor Philip Nelson Nigel Black * Emily Davis Mark O’Leary Diego Incertis Sanchez Fiona Cornall Kira Doherty Samantha Reagan Flute Alex Wide Gideon Robinson Samuel Coles † Carsten Williams Nuno Carapina June Scott Jonathan Maloney Sophie Cameron Kristin Hammerseth Julian Milone Trumpet Jan Regulski Alto Flute Jason Evans * Susan Hedger June Scott Mark Calder * Helen Cochrane Alistair Mackie * Marina Gillam Piccolo Teresa Pople Keith Bragg † Offstage Trumpet Emma Oldfield Kristin Hammerseth Robert Farley †

Viola Oboe Yukiko Ogura Tom Blomfield † Byron Fulcher * Nicholas Bootiman Timothy Rundle †† Philip White Sylvain Séailles Katherine Bryer Cheremie Hamilton-Miller Bass Trombone Carol Hultmark English Horn James Buckle Michael Turner Jill Crowther † Gijs Kramers Tuba Linda Kidwell Clarinet Peter Smith Stephanie Edmundson Mark van de Wiel † Ellen Blythe Jennifer McLaren Rebecca Carrington Jordan Black Lucia Ortiz Sauco

28 For Opus 3 Artists Diego Incertis Sanchez David V. Foster / President and CEO Richard Berry Leonard Stein / Senior Vice President, Jonathan Maloney Director, Touring Division Carsten Williams William Bowler / Manager, Artists & Attractions Timpani Tania Leong / Associate, Touring Division Antoine Siguré Irene Lönnblad / Tour Manager Elsa Bradley Thomas F. Eirman / Stage Manager

Percussion Emmanuel Curt Paul Stoneman Peter Fry Kevin Hathway Elsa Bradley

Harp Heidi Krutzen Stephanie Beck

Piano Alison Procter

Celeste Janet Simpson Alison Procter

†† Professor at the Guildhall School of Music and Drama † Professor at the Royal Academy of Music * Professor at the Royal College of Music

29 Volunteer for UMS as a UMS Ambassador

UMS is recruiting new volunteers! If you are passionate about the arts and looking for ways to be an advocate for UMS, we hope you will consider joining us.

UMS Ambassadors advance the goals of UMS, champion the organization’s mission through community engagement, provide and secure financial support, and assist in countless other ways. If you are passionate about arts advocacy and have a desire to connect with UMS on a deep level, the UMS Ambassadors may be a great match for you.

A few of our activities include: • Hosting UMS events • Greeting and ushering K-12 students at School Day Performances • Producing fundraising events to raise money for UMS Education & Community Engagement programs • Assisting UMS on a project-by-project basis

For further information or to volunteer, please contact Cindy Straub at 734.647.8009 or via email at [email protected]. MAY WE ALSO RECOMMEND...

3/15–16 Triptych (Eyes of One on Another) (world premiere) 4/7 Takács Quartet with Anthony McGill 4/12 The English Concert: Handel’s Semele

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

3/14 Penny Stamps Distinguished Speaker Series: The Creative Team of Triptych (Eyes of One on Another) (Michigan Theater, 603 E. Liberty Street, 5:10 pm)

3/15 U-M Master Class with Eric Owens (Britton Recital Hall, Earl V. Moore Building,1100 Baits Drive, 2:30 pm)

3/15 Detroit Master Class with Lawrence Brownlee (Carr Center at Detroit School of the Arts, 123 Selden St., Detroit, 2:30 pm)

3/15 Triptych (Eyes of One on Another) Pre-Show Talk: Richard Meyer on Robert Mapplethorpe (U-M Institute for the Humanities, 202 S. Thayer Street, 6:00 pm)

Educational events are free and open to the public unless otherwise noted.

31 THIS WEEK'S VICTORS FOR UMS:

Menakka and Essel Bailey Endowment Fund for International Artistic Brilliance

Supporter of this week’s performances by Esa-Pekka Salonen.

Peter and Julie Cummings — Bank of Ann Arbor — Conlin Travel — The Andrew W. Mellon Foundation

Supporters of this week’s performances by the Philharmonia Orchestra.