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Home , Cello Concerto (Albert), Scherzo (Stravinsky), Sinfonia concertante, Sinfonietta (Prokofiev)

Program Notes

Program Notes by April L. Racana 2

Thu. February 23 The 107th Tokyo Opera City Subscription Concert 23 Sun. February 26 The 890th Orchard Hall Subscription Concert 2

Igor Stravinsky (1882-1971) 26 Russian-style Scherzo (ca. 4 min)

This Scherzo, written in a Russian style, The first contrasting section, a Trio, is was originally composed as music for a signaled by a sudden stop in the action film, though later Stravinsky would clarify and single intonation on the harp. The that it was “not ‘film music,’ which is… piano and harp are then featured in an emotional counterpart to scenery, but canon on a folk melody passage, with music for film use.” The film, The North textural and timbral variety added by Star, by Samuel Goldwyn was intended as three muted , xylophone and a kind of war propaganda piece to try to interjections by the . The persuade audiences to be more accepting opening section then returns before of Russia’s position. Ultimately, the leading to a second contrasting Trio composer and director went their separate section, with even more emphasis on off- ways, with another composer Aaron beat rhythms and unexpected silences Copland scoring the music for the film. that create an even stronger rhythmic energy, featuring additional interjections Stravinsky ended up using the ideas to keep the audience on their toes. The from this film work to fulfill a commission opening village band returns to close the from Paul Whiteman, who had become short work, leaving you hanging on the well-known when he had commissioned final chord, perhaps wondering if there George Gershwin to write “Rhapsody in will be another Trio to come. Blue” almost twenty years earlier. The arrangement for a jazz band featured six It may be hard to imagine how this saxophones and was premiered in a radio Scherzo, literally a musical joke, was broadcast in September of 1944. The intended for a war propaganda film. In composer indicated that he didn’t feel it addition, it may be difficult to understand was received all that well in this setting, how it fit within the jazz idiom before so he eventually re-arranged the work for finding it’s ultimate ‘home’ in the , which was premiered in 1946 orchestral concert hall. Stravinsky would with the San Francisco and the later arrange a version of the Scherzo for composer conducting. two pianos in 1954, however this brief curtain opener in this symphonic setting The Scherzo opens with a jovial tune seems to be performed most often of all that imitates the sound of a village band, versions of the work, bringing a taste of with the brass instruments creating an Russia to audiences worldwide. accordian-like sound effect using a special crescendo technique implemented Instrumentation: 2 , piccolo, 2 , 2 for each chordal harmony played. In , 2 , 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (xylophone, addition, this opening section features off- tambourine, triangle, high-hat cymbal, snare drum , beat rhythms that create a strong rhythmic bass drum), harp, piano, strings energy, a hallmark of Stravinsky’s works.

15 Program Notes

and in the deliberately disjointed song by Vladimir Zakharov, an （1891-1953） character of certain passages… But apparatchik who mercilessly vilified all 2 Concertante ( No. 2 in E minor, op. 125) these particular passages… must formalists. After the work was played not be construed as the predominant at the Union of Composers, Zakharov 23 Concerto and other times presented as stylistic elements of the work. On the stood up and said indignantly that he I. Alndante (ca. 11 min) Sinfonia Concertante. The latter often contrary, it is the broad and idiomatic would write to the papers complaining II. Allegro giusto (ca. 18 min) 2 refers to the late 18th century form which singing themes…that [constitute] that his own wonderful tune had been III. Andante con moto – Allegretto – presents more than one soloist with an Allegro marcato (ca. 10 min) the most prominent feature of this totally distorted. When I related this to 26 orchestra, so was considered by some composition.” Prokofiev he wrote a replacement tune scholars to be a mis-leading translation. (a waltz, which I never played), and Originally written as Prokofiev’s First Instead, the composer may have wanted One of the new elements that had said that once everything had settled in the mid-1930’s, the to emphasize that the work, which had been added to the latest version of the down we would quietly revert to the work dates from the time when the begun as a concerto and developed into work, was the incorporation of a certain original tune. The manuscript, which is composer produced some of his most more of a symphonic form, presented melody, which created some controversy, in my keeping includes both versions.” well-known pieces of music, including the soloist and orchestra more as equal the source of which Rostropovich and Romeo and Juliet. partners. Hence the Symphony-Concerto identified: Instrumentation: 2 (2nd doubling on piccolo), When the Cello Concerto No. 1 premiered title seemed to more accurately convey the 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 in Moscow in November of 1938 it work’s history to some scholars as well as trumpets, 3 trombones, tuba, timpani, percussion “In the finale…Prokofiev incorporated (cymbal, triangle, tambourine, snare drum, bass was not received as well as Prokofiev’s give a better indication of its hybrid form. a theme that was similar to a popular drum), celesta, strings other works, however, partly due to its level of difficulty and the performer’s Prokofiev would not live to hear the interpretation. The composer removed it premiere of this final revision which was from his catalog and never published it, given by Rostropovich in Copenhagen only hearing it performed again in 1947, in 1954. Presented in three movements, (1882-1971) when Rostropovich, as a young cellist in the work opens unusually with a slow Suite“” (1945 version) (ca. 31 min) his twenties, presented a performance of it movement (Andante) and an opening at Moscow Conservatory. four-note rising motive, with the cello is based on a famous Russian folk tale. Introduction playing almost immediately against However, after a year had passed and no Prelude, Dance of the Firebird Prokofiev was quite impressed by the rising four-note theme. The middle score was forth coming, Diaghilev took Variations – Firebird this performance to the point that he movement (Allegro giusto) presents the a chance and turned to the star pupil of Pantomime I approached the young cellist and asked faster tempo and a much longer section Rimsky-Korsakov for the job. At only Pas de deux for his assistance in revising the concerto. of the work, including a challenging twenty-seven years of age, it seemed Pantomime II In the meantime, the composer would cadenza, which takes up two full pages a daunting proposition, but Stravinsky Scherzo ( Dance of the Princesses ) compose a Sonata for Cello for the in the score. It is here in the score accepted and made his international Pantomime III soloist, before starting on revisions to that the composer offers some soloists debut in Paris in 1910 with great success. Rondo the Concerto. Rostropovich spent a few alternatives to the main cadenza, calling Infernal Dance summers with Prokofiev working on them facilitazione. The final movement, The description given to Stravinsky, on Lullaby ( Berceuse ) revisions of the concerto. Eventually the (Andante con moto — Allegretto — which he based his score, was as follows: Final Hymn work was modified to such an extent, Allegro marcato), presents a set of that it was re-titled as Cello Concerto No. variations on a lyrical theme played (Introduction) The czar’s son, Prince 2 when it was premiered in February of by the soloist, and closes with another The Firebird was the first of three Ivan, has an unexpected meeting 1952 by Rostropovich. cadenza, punctuated by the sounds of the ballets for which Stravinsky would with “a fabulous bird with plumage timpani. compose music, the other two being of fire” during a hunting excursion. Prokofiev was still not satisfied with Petrouchka and . The In exchange for not being hunted the work and continued re-working the This Symphony-Concerto was described turn of events that led to this first work, down by Ivan, the fabulous Firebird piece to the point that it was re-titled yet by one biographer, Israel Nestyev: and consequently to the others as well, bargains her freedom by giving Ivan one more time, given the Russian title “In the Symphony-Concerto,…the old is notable. Originally, a magic feather (The Firebird and Her Sinfonia-Kontstert. Scholars have debated and the new in Prokofiev stand side by commissioned another composer (and Dance). Later, Ivan chances upon an on the proper translation of this final title, side. The old manifests itself chiefly in his former teacher) Anatol Liadov, to enchanted castle with a courtyard full sometimes referred to as a Symphony- the harshness of timbre and harmony compose the score for this ballet, which of lovely maidens (Round Dance of the

16 17 Princesses). They warn Ivan of the evil Eventually, Stravinsky would draw from Kastchei in the castle who, for his own his ballet score of The Firebird to create amusement, turns travelers into stone. several concert suites for orchestra. The Ivan, undaunted, enters the castle, and first of these would include: Introduction; is faced by the evil Kastchei. The magic The Firebird and Her Dance; The Firebird’s feather shields him from harm, and the Entreaties; Game of the Princesses with Firebird appears, sending Kastchei and the Golden Apples; Round Dance of his ogres into a mad dance (Infernal the Princesses (Khorovod); and Infernal Dance of the King Kastchei). The evil Dance. Later Stravinsky determined that ones are left exhausted and eventually the original Finale itself was perhaps a destroyed by the Firebird (Berceuse). more satisfying conclusion and revised the Kastchei’s victims are freed from their suite accordingly in 1919, eliminating two stone spells, and Ivan wins the hand of sections and adding the Berceuse (Lullaby) a lovely Princess (Finale). and Finale to close the work. Yet another revised version was published in 1945, in Stravinsky dedicated this work to his which all the sections of the previous two teacher, Rimsky-Korsakov, who had suites were combined and orchestrated for died in 1908, two years before the work a smaller ensemble (and which is being was premiered. Within the work itself, performed for this concert series). This last homage is paid to his teacher as well, version was used by utilizing two themes that he had used and the New York City Ballet to bring in previous works: The principal theme the work back to the stage in an adapted of the second movement of Rimsky- version of the original scenes. Korsakov’s Sinfonietta on Russian Themes is the basis for the Khorovod in the ‘Dance The composer himself was very critical of the Princesses’. And the music heard of this work later in his life, along with the in ‘Witches’ Sabbath’ from Rimsky- two ballets that followed, indicating that Korsakov’s Mlada, is brought back to life he thought many conductors included as the theme of the ‘Infernal Dance of the works in their repertoire simply as Kastchei and His Subjects.’ The reference necessary accomplishments in their is deliberate, as Kastchei was one of the careers. Yet audiences have continued to characters in the opera Mlada. enjoy performances of all three of these works, and he himself seemed to have Stravinsky took much of what he eased his own harsh opinion when he had learned from Rimsky-Korsakov made his last recording as a conductor to contrast the supernatural with the sixty years after its premiere at the age of earthly beings, as well. Diatonic music, eighty-five, with one final performance of including the use of folk tunes, was used music from The Firebird. primarily to depict the human world, while the supernatural is given over to Instrumentation: 2 flute (2nd doubling on piccolo), chromaticism. And the brilliant effects 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 of various colorations of orchestration trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbal, triangle, can be attributed to Rimsky-Korsakov’s tambourine, xylophone), harp, piano, strings influence as well.

April L. Racana / Music Specialist at Nishimachi International School where she has taught since 1992. She completed her undergraduate studies at the University of Illinois, Champaign-Urbana (BS/Piano Pedagogy) and her graduate studies at San Francisco State University (MA/Music), as well as a post-graduate fellowship at Northwestern University, and the Japan Studies Program at International Christian University.

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