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Philharmonia esa -P ekka salonen PrinciPal conductor and artistic advisor t e l l a B

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a r e p O

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october 7-9, 2016 N

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Zellerbach hall /

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a n n i

Fall 2016 M

k c i n n orchestra residency A  ABOUT THE ARTISTS

ne of the world’s great symphonic 2017), both with esa-Pekka salonen. recent ensembles, the Philharmonia orch- highlights include the 2016 Festival interna - oestra is distinguished for its pioneer - tional d’art lyrique d’aix-en-Provence, where ing approach to the role of an orchestra in the orchestra and esa-Pekka salonen were in the 21st century. the ensemble is a leader in residence performing two stravinsky programs the field for the quality of its playing and its and debussy’s Pelléas et Mélisande , directed by innovative work with residencies, music edu - katie mitchell. cation, audience development, and the use of central to the Philharmonia and esa-Pekka new technology to reach a global audience. salonen’s work in , the uk, and inter - together with its relationships with the world’s nationally are their digital projects, all of which most sought-after artists, most importantly its are designed to communicate the thrill of the principal conductor and artistic advisor esa- experience of a live orchestra to audiences out - Pekka salonen, the Philharmonia is at the heart side hall. in september 2016, in of british musical life. partnership with , the or - the Philharmonia performs more than 160 chestra presented The Virtual Orchestra, a free concerts a year, as well as recording music for two-week series in the public spaces of royal films, video games, and commercial audio Festival hall, culminating with a specially pro - releases. the orchestra’s home is southbank grammed concert at the venue. the project centre’s in the heart of featured 360 Experience, the first major virtual london, where the Philharmonia has been reality presentation from a uk or - resident since 1995 and performs 40 concerts a chestra, and a giant audio-visual installation, year. under esa-Pekka salonen a series of flag - Universe of Sound: , first premiered ship, visionary projects at royal Festival hall— at the science museum in 2012. distinctive for both their artistic scope and both Universe of Sound and its predecessor supporting live and digital content—have won RE-RITE (2010, based on stravinsky’s The Rite critical acclaim. Projects including City of Light: of Spring ) toured internationally and were at the 1900 –1950 (2015), City of Dreams: heart of a major two-year audience development 1900 –1935 (2009), Bill ’s and education initiative, iOrchestra (2014 –15), (2010) and i nfernal Dance: Inside the World of which took place in southwest and Béla Bartók (2011) were followed in 2016 by engaged over 120,000 people. the project also the major, five-concert series Stra vinsky: Myths featured a pop-up interactive digital music in - & Rituals . stallation, musiclab, which used the latest tech - the orchestra is committed to presenting the nologies to create a series of hands-on musical same world-class, live music-making in venues games and interactions. the orchestra has won throughout the country as it does in london, four royal Philharmonic society awards for its especially at its uk residencies, where up to digital projects and audience engagement work. seven concerts each season are complemented the was formed by a wide-ranging education and audience de - in 1945 by . it has been a self- velopment program. the orchestra’s uk resi - governing orchestra since 1964 and is owned by its dencies are at bedford’s corn exchange (since 80 members. during its first seven decades, the 1995), de montfort hall in (since orchestra collaborated with most of the great 1997), the marlowe theatre in , classical artists of the 20th century. con ductors three Festival, and the anvil in basing- associated with the orchestra include Furt - stoke, where it has been orchestra in Partner - wängler, , toscanini, can telli, ship since 2001. karajan, and Giulini. was the a busy international touring schedule takes first of many outstanding principal conductors, the orchestra all over the world. Projects in and other great names have included lorin 2016 –17 include the current major West coast maazel (associate principal conductor), sir us tour and a tour to Japan and taiwan (spring (principal guest conductor),

 PLAYBILL ABOUT THE ARTISTS e d e o r B

x i l e F (principal conductor and music enjoyed a major partnership with classic Fm, director), (conductor emeri - as the classic Fm orchestra on tour, as well tus), and (music director). as continuing to broadcast extensively on bbc as well as esa-Pekka salonen, principal radio 3. conductor since 2008, current titled conductors the Philharmonia’s education work sits at are christoph von dohnányi (formerly princi - the center of the life and wider work of the pal conductor, now honorary conductor for life) orchestra. the department’s work falls into four and (conductor laureate). distinct strands—schools and young People, also a central figure in today’s Philharmonia communities and Family, insights, and the is composer and artistic director of the long- emerging artists program, reaching tens of running Music of Today series in london, thousands of people every year. recent activi - . a second strand of free, early- ties include instrumental projects with music evening programming was added to the lon - hub partners; key stage 2 concerts Orchestra don season in 2015 with a Un wrapped ; the intergenerational creative recital series, programmed and performed by music-making community project Hear and members of the orchestra, many of whom per - Now in bedford; a large-scale community form widely as solo and chamber musicians. commission to celebrate the discovery of king millions of people since 1945 have enjoyed richard iii’s remains in leicester called The their first experience of through Last Planta genet ; a pioneering urban-classical a Philharmonia recording, and today audiences project called Symphonize in Leicester ; and engage with the orchestra through video games, , an award-winning collaborative film scores, and its award-winning portfolio of schools project working across hounslow and videos and documentary films. an app, the richmond boroughs. orchestra for iPad, released in december 2012, the Philharmonia’s emerging artists pro - has sold tens of thousands of copies. gram includes the composers academy, linked recording and broadcasting both continue to music of today, and the martin musical to play a significant part in the orchestra’s ac - scholarship Fund, which has for many years tivities, notably through its partnership with supported talented musicians at the start signum records, releasing new live recordings of their careers. in 2016 –17, the orchestra of Philharmonia performances with its key relaunches the effort as the Philharmonia conductors. since 2003 the Philharmonia has mmsF instrumental Fellowship Programme—

 ABOUT THE ARTISTS

an enhanced offer for young musicians, sup - nen’s own direction, before going to the new porting instrumentalists seeking an orchestral york Philharmonic at home and on their euro - career and connecting them to the wider life of pean tour. the will the Philharmonia and the expertise within its also give the new york premiere of his Wing on membership. Wing , which was written for the the Philharmonia’s principal international Philharmonic’s inaugural season at the Frank partner is Wuliangye. For more information, Gehry-designed Walt disney concert hall please visit www.philharmonia.co.uk. and includes recordings of southern california’s plainfin midshipman fish and distorted samples Esa-Pekka Salonen’s re stless innovation drives of Gehry’s voice. him constantly to reposition classical music salonen takes Philharmonia to the aix-en- in the 21st century. he is currently the principal Provence Festival, where they perform debus sy’s conductor and artistic advisor for london’s Pelléas et Mélisande , directed by katie mitchell, Philharmonia orchestra and the conductor and stravinsky’s Rex in a new staging laureate for the , by Peter sellars; the bbc Proms; and on tour where he was music director from 1992 until in , spain, and the united states. he 2009. this season is his second of three as the continues to lead the Stravinsky: Myths and marie-Josée kravis composer-in-residence Rituals festival, a return with the Philharmonia at the new york Philharmonic, and his first of to works that salonen has conducted to great five years as artist in association at the Finnish acclaim for much of his career, as well as an national and . additionally, salo - exploration of rarely performed pieces. salonen nen is artistic director and cofounder of the and the Philhar monia also continue their annual baltic sea Festival, now in its four teenth groundbreaking experimentation with how to year, which invites celebrated artists to promote present music with a digital takeover of the unity and ecological awareness among the southbank centre, featuring the first major countries around the baltic sea. virtual reality pro duction from a uk orchestra, salonen’s works move freely between con - as well as the Philharmonia’s award-winning temporary idioms, combining intricacy and RE-RITE and Universe of Sound installations, technical virtuosity with playful rhythmic and which have allowed people all over the world to melodic innovations. three major retro spec- conduct, play, and step inside the orchestra tives of his original work have been critical and through audio and video projections. salonen public successes: at Festival Présences Paris also drove the development of a much-hailed (2011); at the stockholm international com - app for iPad, The Orchestra , which allows the poser Festival (2004); and at musica nova in user unprecedented access to the internal helsinki (2003). his pieces for symphony orch - workings of eight symphonic works. in 2015 he estra include Giro (1982), LA (1996), addressed the apple distinguished educator Foreign Bodies (2001), (2002), and conference on the uses of technology in music (2011), as well as for pianist education. yefim bronfman and for violinist leila Josefo - in 2016 –17, salonen conducts the premieres wicz. the latter won the prestigious Grawe meyer of a by icelandic composer award, is performed on three continents this haukur tómasson with the ndr symphony year, and was featured in a 2014 international orchestra at the new elbphilharmonie and a apple ad campaign for iPad. salonen’s most concerto for four horns by english composer recent composition, , for orchestra tansy davies with the Philharmonia. he also and chorus, premiered during his time as the conducts the horn concerto at the new york first-ever creative chair at the tonhalle orch - Philharmonic, with whom he performs a cele - estra Zurich, while his upcoming concerto bration of his friend and long-time colleague for yo-yo ma will premiere with the chicago kaija saariaho’s music earlier in the season. at symphony orch estra this spring under salo - carnegie hall salonen conducts three concerts

 PLAYBILL ABOUT THE ARTISTS with the metro politan opera orchestra, which recent recordings with Philharmonia on sig - he led in strauss’s Elektra , one of the most num include berlioz’s Symphonie fantastique critically praised productions of the met’s and mahler’s sixth and . salo- 2015 –16 season. this season he brings Elektra nen’s 2008 recording of schoenberg’s to his own baltic sea Festival and to the Finnish concerto and sibelius’ with national opera, where he will conduct his first hilary hahn and the swedish radio symphony full Ring cycle in future seasons. orchestra won a Grammy award. other re - as the music director of the los angeles cordings include a dvd of saariaho’s opera Philharmonic for 17 years, salonen is widely L’Amour de loin , with the Finnish national credited with revitalizing the organization. opera, as well as two cds with hélène Gri - he was instrumental in helping open the maud featuring works by Pärt and schu mann. Frank Gehry-designed Walt disney con cert the first cd recorded at Walt disney concert hall, presided over countless premieres of hall, salonen’s recording of stravin sky’s The con tempo rary work, began the esa-Pekka salo- Rite of Spring with the los angeles Philhar - nen commissions Fund, and transformed the monic, was nominated for a Grammy in 2007. orch estra into one of the best attended and salonen is the recipient of many major funded in the country. this season salonen awards, including the unesco rostrum returns to the la Phil to curate and conduct a Prize in 1992 and the siena Prize, given by festival of icelandic music. the accademia chigiana, in 1993; he is the salonen has an extensive and varied re - first conductor to receive this award. he also cording career. an album of henri dutilleux’s received the royal Philharmonic society’s Correspondances , recorded with the orchestre opera award (1995) as well as its conductor Philharmonique de radio France in the award (1997). salonen was given the litteris et presence of the composer, was released in 2013 artibus medal, one of sweden’s highest honors, by on the composer’s by the king of sweden in 1996. in 1998 the 97th birthday. also that year, sony completed a French govern ment awarded him the rank of project that began with salonen and the los officier of the ordre des arts et des lettres. angeles Philharmonic nearly 30 years ago: a salonen was also honored with the Pro Fin - two-disc set of the orchestral works of luto - landia medal of the order of the lion of sławski, released in what would have been the Finland and the helsinki medal. most recently composer’s 100th year. in 2012 he recorded he received the 2014 nemmers composition saariaho’s La Passion de Simone with the Prize, which includes a residency at north - Finnish radio symphony orchestra and dawn western university and performances by the upshaw. deutsche Grammophon has also chicago symphony orch e stra. to date, salonen released a cd of salonen’s orchestral works has received seven honorary doctorates in four performed by the Finnish radio symphony different countries. Musical America named orchestra and conducted by the composer, as him its musician of the year in 2006, and he was well as a cd with salonen’s and elected an honorary member of the american his works and . the latter, with academy of arts and sciences in 2010. the los angeles Philharmonic and yefim bronf - man, was nominated for a Grammy in 2009. a esapekkasalonen.com cd of five of his orchestral works is available @esapekkasalonen on sony. the year 2012 saw the release of https://www.facebook.com/esapekkasalonen his recording of shostakovich’s previously undis covered opera prologue Orango with management by arts: fidelioarts.com the los angeles Philhar monic. in 2009 a new Public relations by First chair Promotion: collabor ation with Philharmonia’s partner label, firstchairpromo.com sig num, was launched with the release of a live Publishing by chester music ltd: recording of schoenberg’s Gurrelieder ; other musicsalesclassical.com

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Friday, october 7, 2016, 8pm Zellerbach hall Philharmonia Orchestra Esa-Pekka Salonen, conductor

PROGRAM

(1770–1827) symphony no. 3 in e-flat major, op. 55, Eroica allegro con brio marcia funebre. adagio assai . allegro vivace – trio Finale. allegro molto

INTERMISSION

Jean sibelius (1865–1957) symphony no. 5 in e-flat major, op. 82 tempo molto moderato andante mosso, quasi allegretto allegro molto

The Philharmonia Orchestra is Orchestra-in-Residence at the Royal Festival Hall, London.

Major support provided by The Bernard Osher Foundation. Additional support provided by Patron Sponsors Annette Campbell-White and Ruediger Naumann-Etienne.

Opposite: Portrait of Beethoven (1804-05) by Joseph Willibrord Mähler (1778-1860). Jean Sibelius after his starvation diet in the spring of 1918. There was food shortage in southern Finland during the socialist revolution. Wikimedia Commons, public domain.  PROGRAM NOTES

Ludwig van Beethoven vately, during the winter of 1804–05, at one of a Symphony No. 3 in E-flat Major, Op. 55, series of sunday morning concerts organized Eroica by a firm of bankers, and directed by the vio - in the summer of 1803, a year after the personal linist Franz clement (the dedicatee of beet - crisis of the “heiligenstadt testament” in which hoven’s violin concerto). no one knew quite he had contemplated suicide over the progres - what to make of this “tremendously expanded, sive loss of his hearing, beethoven left vienna daring, and wild fantasia,” and when the sym - for the peace of the countryside. While staying phony received its first public performance on at the village of oberdöbling, close to heili- april 7, 1805 at the theater an der Wien, it was gen stadt, he worked on a new symphony, his greeted with hostility and puzzlement. accord - third. he intended it to be a celebration of the ing to a critic: “the public and herr van beet - achieve ments of napoleon bonaparte, then hoven, who conducted, were not satisfied with First consul of the French republic and the each other on this evening: the public thought apparent savior of France from the horrors of the symphony too heavy, too long, and himself the revolution. but in may 1804 beethoven’s too discourteous, because he did not nod his illusions were shattered. according to his pupil, head in recognition of the applause that came Ferdinand ries: from a portion of the audience. on the con - trary, beethoven found that the applause was beethoven esteemed [bona parte] greatly not strong enough.” at this time, and likened him to the great - and according to carl czerny, another pupil est roman consuls. i, as well as several of his more intimate friends, saw a copy of of beethoven’s, one member of the audience the score lying on the table, with the word was heard to call out: “i’ll pay another kreutzer “bonaparte” at the extreme top of the title if only the wretched thing would stop.” it was page, and at the extreme bottom “luigi not only the length of the new symphony that van beet hoven,” but not another word… worried contemporary listeners: many saw in it i was the first to bring him the news “much that is anarchic and bizarre,” and others that bonaparte had proclaimed himself noted “an untamed striving for singularity that emperor, whereupon he flew into a rage had failed, however, to achieve in any of its parts and cried out, “is he then, too, nothing beauty or true sublimity and power.” even the more than an ordinary human being? perceptive Ferdinand ries failed to compre - now he too will trample on all the rights hend some of the symphony’s innovations: dur - of man and indulge only his ambition. ing a rehearsal, “which went appallingly,” at the he will exalt himself above others, be - moment in the first movement when the horns come a tyrant!” beethoven went to the unexpectedly anticipate the recapitulation, ries table, took hold of the title-page by the turned to beethoven and said, “that damned top, tore it in two and threw it on the horn player! can’t he count properly? it sounds floor. the first page was rewritten and horribly wrong!” beethoven nearly boxed his only then did the symphony receive the title Eroica . pupil’s ears with vexation. the Eroica symphony opened the door on From then onwards, beethoven conceived a the 19th century. it is no longer a classical sym - violent hatred for napoleon, which only abated phony of the haydn and mozart type: almost after the statesman’s tragic death in exile. the everything about it has been rethought or newly symphony was completed in 1804 and pub - discovered. every movement gave beethoven a lished two years later, with an official dedica - great deal of trouble, as his sketchbooks testify. tion to one of beethoven’s patrons, Prince Franz the skeleton of the huge first movement was Joseph von lobkowitz. but the score retained jotted down many times before being fleshed an enigmatic inscription in italian: “to cele - out, and the theme of the massive Funeral brate the memory of a great man.” like many march, itself a symphonic innovation, though of beethoven’s works, it was first performed pri - beethoven had already used the idea a couple

 PLAYBILL PROGRAM NOTES of years earlier in his op. 26 piano , went certain fundamental aspects of our human psy - through many transformations. chology, especially our will to live and our de - the first movement starts harmlessly termination to overcome all obstacles.” enough, with a penny-plain tune that mozart himself used in a juvenile work. but early lis - Jean Sibelius teners must have known they were in for some - Symphony No. 5 in E-flat Major, Op. 82 thing out of the ordinary when beethoven by the outbreak of the First World War, sibelius abandoned the customary transition to the was something of a Finnish national hero— second subject to return to the opening theme, certainly he could claim to be the best-known jubilant on and horns. this lengthy living Finn. his 50th-birthday celebrations, in extension of the opening subject sets the scale december 1915, were the occasion of national upon which the whole movement is built. apart rejoicing but, although sibelius seemed to have from its sheer size, the first movement contains overcome a battle with suspected throat cancer nothing that haydn (in one of his more inno - (and in fact was to live for another 40-odd vative moods) could not have written. the dif - years), he was increasingly plagued by financial ference is that, where haydn might have problems and acute depression. “nature is per - included one or two original features—some - vaded by a sense of farewell. my heart sings thing to tickle the fancy of the connoisseurs— full of melancholy—the shadows lengthen,” beethoven piles them one on top of another. it he wrote in his diary. must have shocked his early audiences to hear though Finland was far from the killing passing transitional modulations dwelled upon, fields of europe, war brought its own privations chewed over, or even hammered home, as if for sibelius. his income from his German beethoven were pointing out that having ar - publisher, breitkopf & härtel, was in danger of rived at some far-flung tonal destination, we drying up, while his concert tours and travels may as well make the most of it. abroad were severely curtailed. by august 1914 the so-called “development” section in the he was already heavily in debt and he was forced first movement, a formal feature that could to contemplate composing from economic ne - flash by in a few bars in a mozart symphony, is cessity, rather than from creative inspiration. actually longer than the exposition. the slow between 1915 and 1922 he wrote little other movement, a generously proportioned a –b–a than piano miniatures, the Six Humoresques for form with a major-key middle section, is ex - violin and orchestra, and one major orchestral tended by a substantial development section in work—the Fifth symphony. the second “a” section. the trio of the scherzo sibelius had started work on the new sym - features the three horns in martial splendor. in phony as early as 1912, but the main body of the finale, beethoven develops an extraordi - composition took place in 1915, and the work narily ebullient symphonic movement out of was premiered in helsinki on his 50th birthday the simplest, most unprepossessing material. on december 8 that year. the concert, which towards the end the music slows down and the also included the two serenades for violin and mood is a little reminiscent of the slow funeral orchestra and the recently completed tone- march. but this leads to a triumphant restate - poem The Oceanides , written to a commission ment of the brass theme, introducing a whirling from carl stoeckel for an american concert coda propelled by heroic horns. tour in 1914, was an enormous success and was despite its original dedication, there is no repeated three times, with the symphony re - specific “program” to the work. as deryck ceiving particular acclaim. but sibelius was dis - cooke wrote, “rather than trying to find a story satisfied with the work, originally cast in four in the Eroica , we should regard it as the musical movements. the following autumn he took it equivalent of an essay on heroism, except, of apart and began a thorough-going revision, course, that a musical essay is concerned with with a view to “still greater concentration in feelings, not ideas. the symphony expresses form and content.” in its new, three-movement

 PROGRAM NOTES

form, the symphony was completed in time for final, published version (which has two sec - sibelius’ 51st birthday, when it was performed tions, one marked Tempo molto moderato and in Åbo, followed by a further performance the other Allegro moderato ) as a single entity under the composer’s baton in helsinki, to - based on the same material, rather than as two gether with the third symphony and the suite clearly defined movements (although the sec - from Pelléas et Mélisande . but he was still not ond section certainly fulfils the function of a entirely content: throughout the terrible year of scherzo). the new second movement, marked 1918, when, in the wake of the russian revo - Andante mosso , is and is a set of lution, Finland was riven by civil war between variations on a rhythmic theme. the finale is the forces of left (supported by the new soviet built out of two ideas: restless moto perpetuo government) and right (supported by the Ger - and a solemn, bell-like theme chimed out on mans)—a war which cost some 10,000 Finnish the brass, a theme that donald tovey evoca - lives and brought hunger and disease to the tively likened to the swing of thor’s hammer. population—sibelius continued to agonize over in fact, an entry in sibelius’ diary shows that he the final shape of the Fifth symphony. in may associated this theme with the flight of swans. 1918 he wrote to a friend: “the vth symphony during the movement these two ideas are fused is a new form—practically composed anew—i and the work ends with a series of emphatic work at it daily. movement i entirely new, chords, winding up the rhythmic argument of movement ii reminiscent of the old, movement the finale. iii reminiscent of the end of movement i of the in February 1921 sibelius made his first old. movement iv the old motifs, but stronger post-war foray abroad to conduct the Fifth in revision. the whole, if i may say so, a vital symphony in london with the Queen’s hall climax to the end. triumphal.” orchestra. it was received with enthusiasm, and it is clear from this letter that sibelius still indeed its heroic, openly optimistic mood has conceived the work as having four movements, ever since assured its success and popularity but he came to regard the first movement of the among sibelius’ later works. —© Wendy Thompson Berkeley RADICAL INCLUSION, INNOVATION, AND IMMERSION ese performances by Philharmonia orchestra, london, and esa-Pekka salonen are the first berkeley radical Immersion events during the 2016/17 season, a selection of concerts and related activities that dive deeply into a single genre or follow the trajectory of an artist’s work, allowing fresh, new perspectives to emerge. cal Performances’ next Immersion programs feature the Takács Quartet (oct 15-16, hertz hall) as it begins a six-concert traversal of the complete beethoven cycle (the series continues next march and april). also this fall on the Immersion strand, three esteemed international choirs—Georgia’s Ensemble Basiani (oct 21), the Vienna Boys (nov 26), and the Choir of Trinity Wall Street (dec 10)—launch an ongoing choral festival, and a performance with mezzo-soprano Joyce DiDonato (dec 4, with Il Pomo d’Oro ) begins the season’s cele bration of . For complete details of all performances and related activities, please visit calperformances.org.

 PLAYBILL THE ORCHESTRA Philharmonia orchestra esa-Pekka salonen, principal conductor and artistic advisor

FIRST D TRUMPETS Zsolt-Tihamér Visontay Timothy Walden Mark van de Wiel Jason Evans concertmaster karen stephenson laurent ben slimane Alistair Mackie sarah oates eric villeminey Jennifer mclaren róisín Walters ella rundle Jonathan Parkin PICCOLO imogen east richard birchall katy ayling Alistair Mackie eleanor Wilkinson maria Zachariadou karin tilch anne baker E-FLAT FANFARE TRUMPETS minhee lee deirdre cooper Jennifer McLaren Jason evans adrián varela Judith Fleet mark calder victoria irish rebecca herman CLARINETS alistair mackie lulu Fuller Laurent Ben Slimane eugene lee DOUBLE BASSES katy ayling soong choo Tim Gibbs Byron Fulcher charlotte reid christian Geldsetzer dávur Juul magnussen diana Galvydyte michael Fuller Robin O’Neill Philip White amelia conway-Jones Gareth sheppard shelly organ erzsebet racz adam Wynter luke Whitehead BASS Jeremy Watt dominic tyler David Stewart SECOND VIOLINS samuel rice Fraser Gordon Tamás Sándor simon oliver BASS TRUMPET emily davis CONTRA BASSOONS Byron Fulcher Fiona cornall Luke Whitehead samantha reagan Samuel Coles Fraser Gordon Jan regulski June scott Peter Smith susan hedger lindsey ellis HORNS richard evans helena buckie keith bragg Katy Woolley Julian milone sophie Johnson kira doherty Paula clifton-everest Jonathan maloney Antoine Siguré Gideon robinson PICCOLOS Philip matthew Woods alex Wadner teresa Pople Keith Bragg carsten Williams helen cochrane sophie Johnson nigel black PERCUSSION marina Gillam James Pillai Tom Edwards Franziska mattishent ALTO dick Gustavsson Peter Fry Samuel Coles daniel curzon david corkhill chripstopher terian Yukiko Ogura WAGNER TUBAS richard Waters Christopher Cowie Katy Woolley HARP samuel burstin timothy rundle kira doherty Heidi Krutzen michael turner rachel ingleton cheremie hamilton-miller ruth contractor TRUMPETS PIANO Gwendolyn Fisher Jason Evans Elizabeth Burley Gijs kramers mark calder alison Procter Joseph Fisher Jill Crowther alistair mackie rebecca carrington ruth contractor christian barraclough linda kidwell robin totterdell Ken Heggie lucia ortiz sauco Pamela Ferriman

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Telling Tales The Myths of Stravinsky Jonathan Cross

n november 2, 2015, the helikon opera on moscow’s bolshaya nikitskaya street reopened its doors following a prolonged period of restoration. the dilapidated ocourtyard of this historical building had now been transformed into an elegant 500-seat concert hall and opera house. the audience at the opening gala event was sum - moned into the new space by a freshly minted chime, played over the foyer loudspeakers, based on a fragment from ’s opera- . and the auditorium itself was now consecrated “stravinsky hall.” there is nothing unusual in this, you might think. after all, london has its Purcell room on the south bank, Germany has its mendelssohn and Weber music schools, and just about every available space in the Paris conservatoire is named after greater- or lesser-known French figures from to maurice Fleuret. every country honors its composer heroes. Why should not the russian capital also have a hall dedicated to one of its most famous musical sons? the fact is that, for most of his professional life, igor stravinsky had publicly ignored or renounced his native country. between 1914, when he made a final trip to his summer home in ustilug in present-day ukraine, and 1962, when he undertook a triumphal three-week tour of the soviet union, stravinsky never once set foot in . though born a russian, he sought exile in switzerland, took French nationality, and later still became an american citizen. he lived in the one house in hollywood longer than anywhere else. musically, too, he appeared progressively to turn his back on russia after (1911–13), his “scenes from pagan russia,” by adopting the language and manners of Western european music. he described his

Opposite: George Grantham Bain collection, Library of Congress. Wikimedia Commons, public domain.  TELLING TALES: THE MYTHS OF STRAVINSKY

(1919–20), based on 18th-century italian music, as the “epiphany through which the whole of my late work became possible,” a renewal that included his own take on bach (sonata for Piano), beethoven (), mozart ( The Rake’s Progress ), and even jazz ( Ebony Concerto ). For their part, the russians, too, did their best to ignore stravinsky. While (1910–11) was acclaimed in Paris, in russia a young thought its musical materials were simply trukha (rotten rubbish) bound together with “modernist padding.” after the consolidation of stalin’s power in the 1930s, performances of stravinsky’s music in the soviet union diminished rapidly. his works were publicly decried as decadent, and . n i a m o d

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e t i h W Stravinsky, received at the White House with his second wife Vera by President John F. Kennedy and First Lady Jacqueline Kennedy for a dinner in honor of Stravinsky’s 80th birthday, 1962.

in 1948 the central committee of the all-union communist Party of the bolsheviks banned his music entirely. stravinsky was even removed from soviet music history books. the situation began to improve only in the late 1950s. by then it was clear that this famous russian-american had become a valuable piece of cold War capital. already in the early 1950s his music was being performed in Paris at concerts organized by his russian émigré friend nicolas nabokov, secretary General of the congress for cultural Freedom, an anti-communist group covertly funded by the cia. in early 1962, his 80th birthday year, stravinsky and his wife vera were invited to dine at the White house by Jacqueline  PLAYBILL TELLING TALES: THE MYTHS OF STRAVINSKY kennedy. neither she nor her husband really had much interest in stravinsky’s music, but they were well aware of his propaganda value as a long-standing opponent of the soviet regime. and then, in a gloriously ironic piece of symmetry, at the end of that same year he went to the kremlin to meet nikita krushchev, de facto premier of the ussr. it would seem that stravinsky’s 1962 soviet tour was a powerful homecoming for him. he conducted concerts in moscow and leningrad; he appeared on soviet television; he attended a stravinsky exhibition that had been specially organized; he met composers, musicians, and relatives; he visited kryukov canal, the street in the city formerly known (and now again) as , where he lived as a child and young adult. at a moscow dinner organized by the minister of culture yekaterina Furtseva, stravinsky gave an emotional speech: “a man has one birthplace, one fatherland, one country—he can have only one country—and the place of his birth is the most important factor in his life.” this was an extraordinary confession for one who had spent so long denying the signifi - cance of his native culture. there is no reason (at least, on this occasion) to suspect that his reaction was anything other than sincere. the recently departed , his american advisor on all things musical, who was with him on the tour, observed that stravinsky regretted his exile more than anything else in his life.

Just five years ago [1957], in baden-baden, he [stravinsky] flew into a rage on hear - ing the news of sputnik, forbidding us even to mention the russian achievement. Was the power of this jealous hatred, the result of the mother country’s deprived love, re - sponsible for his at times too conspicuous “Western sophistication,” in the sense that the latter became a weapon to prove his superiority, and that of other cultures, to the russia which failed to recognize his genius? i am certain of only one thing: that to be recognized and acclaimed as a russian in russia, and to be performed here, has meant more to him than anything else in the years i have known him. (craft, Stravinsky: Chronicle of a Friendship ) stravinsky’s return to russia after almost 50 years confronted him directly with the reality of the state of exile in which he had lived most of his life, and which it could be argued had shaped and colored virtually his entire creative output. so who was the real igor stravinsky? he was undoubtedly the master of his own mythol - ogy. he wore many masks throughout his life, musical and otherwise. he could change his identity seemingly at will. his music could be russian, French, or american; it could look east or west; he could be a nationalist and folklorist, a primitivist, a neoclassicist or a serialist. Just listen in quick succession to The Faun and the Shepherdess (1906), (1914–23), The Fairy’s Kiss (1928), and movements for Piano and orchestra (1958–59), and you will hardly believe that they were written by the same person. he was certainly an opportunist, always on the lookout for the next performance or commission, changing his personality to suit each new context, just as he changed his clothes to follow the latest fashion.  TELLING TALES: THE MYTHS OF STRAVINSKY

and he told stories about himself. he said, for instance, that there was only one folk melody in The Rite of Spring , a lithuanian tune played by the high at the very beginning of the work, but the sketches later revealed the music to be littered with folk material, just like the original scenario and costume designs by nicolas roerich. he then reinvented this ballet as a concert work, asserting he was “the vessel through which the Rite passed,” as if roerich, diaghilev, nijinsky, and many others had played no part at all in bringing this famous work into being. he published an autobiography that was ghost- written. and in his late Conversations with (and essentially written by) craft he put yet further new spins on virtually his whole creative life. but these were all just smokescreens. or, as the great czech novelist and essayist milan kundera once wrote, they were the “wounds” of his emigration, when “his only home” became music, “all of music by all musicians, the very history of music” ( Testaments Betrayed , 1995).

deep down, however, as stravinsky’s comments in moscow in 1962 revealed, he remained a russian. even in california, russian was the domestic language, the language of his thoughts. When setting French, english, or latin texts, he treated them all as if they were russian. so often his music seems to speak of a loss at his separation from the motherland. the bell-sounds that ring out at the end of perhaps his most russian work, Les noces , while inspired by hearing a peal from st Paul’s cathedral in london, nonetheless echo back deep into his russian past. the Autobiography recalls the “cannonade of bells from the nikolsky cathedral,” which was just a few hundred meters away from the saint Petersburg apartment in which he grew up. the bells of Les noces are celebratory yet melancholic, redolent with nostalgia for a russia lost to him. bells ring out at the very end of his last major work, the Canticles , his own funeral bells maybe, as the composer confronted the end of his life, but they instantly whisk him (and us) from america back to russia. his seemingly most abstract work, the Symphonies of Wind Instruments (1920), ends with russian bells in memoriam debussy, and his most european-american symphony in c (1938–39), written as he admitted during the most difficult period of his life, when he was grieving the deaths of his first wife, mother, and daughter, again ends with russian bells. these bells lament the loss of people and place. russia never left stravinsky, even though it was the russia of the imagination, not of reality.

 PLAYBILL TELLING TALES: THE MYTHS OF STRAVINSKY

little wonder, then, that he turned so often to myths, tales, and legends. the russian stories on which stravinsky regularly drew were an expression of nostalgia for a russia that was vanishing even while he still lived there. they also articulate a more general modernist sense of alienation. What better symbol of this than the figure of Petruhska, half-man, half-puppet, alienated from himself as much as from those around him? that character’s famous motif (two distant chords, dissonantly juxtaposed, unresolved) is a direct and painful expression of this idea. The Rite of Spring , too, while rooted in prehistoric russian folk practices, is ultimately a modern fabrication. stravinsky turns the violent rhythms of the people into the dehumanizing sounds of machines. the final human sacrifice is an invention for which there is no evidence in russian rituals. Premiered in 1913, the Rite seems somehow to sense a world on the brink of catastrophe, in which war and revolution would destroy for ever the continuity with an innocent folkloric past. and the myths to which stravinsky later turned served a similar purpose. they helped him come to terms with a world ripped apart, personally and collectively; they helped him come to terms with the loss of family and homeland. the whom we encounter at the start of the 1947 ballet that carries his name is clearly not just weeping for the loss of his . the music and ideas of igor stravinsky, then, are at once deeply personal as well as an expression of the wider concerns of his world. the terrible events and rapid changes of the 20th century shaped his work, and he in turn left an indelible mark on that century. this is why his music is still able to speak so powerfully to us today. his work can be dark and contemplative, its musical repetitions questioning and unresolved, such as in the closing “apotheosis” of , or the lamenting In memoriam Dylan Thomas . but equally his music can be playful. there is an infectious joy in , written during the uncertain and difficult days of his swiss exile during World War i. baba the turk (the bearded lady), at the end of stravinsky’s only full-length opera The Rake’s Progress , written in the wake of World War ii, makes out that we’re all mad and that life is really only one big stage. such distancing is typical of stravinsky. emotions are often held at arm’s length. but there is in this seemingly dismissive attitude once again a metaphorical expression of exile, an exile that stravinsky experienced personally, but which has equally been the experience of many millions of people in our own times. in the 1950s, the French composer and conductor wrote an influential essay on The Rite of Spring , a work he conducted many times and which was an important source for his own compositions. its title, “stravinsky remains,” was true then, and it is still true today. stravinsky remains, stravinsky lives on, through his extraordinary musical legacy that changed for good the way we see the world. so when last november the helikon opera named their new hall after igor stravinsky, they too were, very belatedly, recognizing that, beyond the vagaries of politics and ideologies, beyond the many myths that surround the composer, stravinsky remains. the music of igor stravinsky continues to speak as powerfully for the 21st century as it did for the 20th. 

saturday, october 8, 2016, 8pm Zellerbach hall Philharmonia Orchestra Esa-Pekka Salonen, conductor

PROGRAM igor stravinsky (1882–1971) Fanfare for three trumpets Jason evans, trumpet mark calder, trumpet alistair mackie, trumpet Symphonies of Wind Instruments Pas de quatre – Double pas de quatre – Triple pas de quatre (coda) Prelude First pas de trois : saraband-step – Gailliarde – coda interlude Second pas de trois : bransle simple – bransle gay – bransle double interlude Pas de deux (plus coda) – Four duos – Four trios INTERMISSION The Rite of Spring Part i: the adoration of the earth introduction – the augurs of spring: dance of the young Girls – ritual of abduction – spring rounds – ritual of the rival tribes – Procession of the sage – the sage – dance of the earth Part ii: the sacrifice introduction – mystic circles of the young Girls – Glorification of the chosen one – evocation of the ancestors – ritual action of the ancestors – sacrificial dance (the chosen one) The Philharmonia Orchestra is Orchestra-in-Residence at the Royal Festival Hall, London.

Major support provided by The Bernard Osher Foundation. Additional support provided by Patron Sponsors Annette Campbell-White and Ruediger Naumann-Etienne.

Opposite: Wikimedia Commons, public domain.  PROGRAM NOTES

IGOR STRAVINSKY commissioned for a special issue of the journal La Revue musicale in honor of the great French Fanfare for Three Trumpets early modernist , who had died this little fanfare for three trumpets survives in 1918. the two composers knew each other from the early sketches for Agon , for which it well, and their mutual respect went as far as in - was originally intended to have been the open - fluence on each other’s compositional activity. ing. it shares some of the ideas of the pas de they had met initially at the premiere of The quatre that now begins the work and has the Firebird at the Paris opéra in 1910, during stra - ceremonial character of the renaissance music vinsky’s first visit to the city. later, debussy in which stravinsky was beginning to take an shared the piano stool with stravinsky for a interest at the time. it was written in december run-through on June 9, 1912 of (part of) the 1953 but not performed publicly for the first four-hand version of The Rite of Spring at the time until 1981. home of the critic Pierre laloy. echoes of the Rite can be heard in debussy’s own 1915 work for piano duet En blanc et noir , the last movement of which is dedicated to stravinsky, while the subtle influence of debussy sounds across many of stra vinsky’s works. stravinsky’s memorial tribute took the form of an instrumental chorale, that is, an appropriately slow, simple, and solemn sequence of chords. it was written in a single day and pub - lished in La Revue musicale in a version for piano. now living in France after the long wartime years in switzerland, stravinsky decided to turn this tribute into a longer instrumental piece, for which the chorale would provide the ending, as if concluding a liturgical work. this became the Sympho nies of Wind Instruments . . n i a

m the abstract title uses the word o d c i l

b “symphony” simply to signify a u p

, s

n “sounding together”; the actual o m m structure of the work is in fact o C a i d decidedly anti-symphonic in the e m i k i beethovenian sense of the word. W the composer later claimed he Claude Debussy and Igor Stravinsky at Debussy’s Paris home, 1910. wanted it to be “devoid of all the Symphonies of Wind Instruments elements which infallibly appeal to the ordinary (1920, revised 1947) listener… not meant ‘to please’ an audience.” stravinsky’s later years were dominated by the While the Symphonies is certainly a somber creation of works in memory of departed work, an austere ritual, this description might friends. but they were by no means the first. also be read as a typically stravinskian piece of still perhaps his most powerful tribute was that justification following the less than satisfactory

 PLAYBILL PROGRAM NOTES premiere performance in london in 1921, mains striking; indeed, early commentators under the direction of , picked up on the russianness of its melodic which prompted laughter and hissing from materials. stravinsky’s own account in the Auto - the audience. biography speaks of an “austere ceremony”— the most striking aspect of the Symphonies “short litanies,” “ cantilena ,” “liturgical dialogue,” is its innovative, mosaic-like structure. it has “soft chanting [ psalmodiant ]”—which hints at precedents in Petrushka and the Rite , and also a religious underpinning. richard taruskin in debussy’s Jeux , but here stravinsky pushes to has in fact shown how the structure of the work extremes the juxtaposition and non-sequential can be mapped convincingly onto the organi - repetition of strongly zation of the panikhida contrasting blocks of e music of Igor Stravinsky has been an or russian orthodox music. it appears as office of the dead, re - an entirely “abstract” essential part of my life for well over 30 years. plete with opening calls piece of music, a “sys - A true genius, Stravinsky is an icon of 20th- of “alleluia,” ritual reci- tem of sounds,” in tations, and strophic critic boris de schloe - century art. His extraordinarily international hymns, reinforcing the zer’s words, and it re - sense of its being an life—in Russia, Paris, and the United States— mains one of the most abstract ritual. its frac - radical and influential and the sheer breadth of music he created tured musical surface structures of the first is certainly modernist, half of the 20th cen - over many decades, make Stravinsky a totally turning its back on the tury. each musical unique, and truly modern, figure. At these blended sounds and block has its own dis - continuous structures tinct identity, like a concerts, we will explore the many dimen - of the romantic 19th colored tile in a mo - century. yet, in its ritu - sions of a man who shaped—and was shaped saic. each is generally alistic repetitions and short and is not devel - by—the kaleidoscope of the 20th century. its melancholic charac - oped in a conventional ter, it seems also to ref - —Esa-Pekka Salonen sense; rather, the form erence a much deeper is built by interweav - past, an old russia that ing and layering these tiles. thus, the bright, was now lost to stravinsky, and for which he opening bell-like idea is immediately inter - here laments. rupted by contrasting slow, chordal music —Jonathan Cross (derived, in fact, from the chorale); then the opening idea returns, slightly varied, followed Agon (1953–57) by the second idea again, also slightly varied; a Agon joined Apollon musagète and Orpheus third, longer idea then enters in which a flute as the final work in a trilogy of Greek keeps moving round a melody of five notes; and stra vinsky made in close collaboration with the then the first bell- like idea comes back; and so dancer and choreographer . on. these blocks of music also play with the (stravinsky himself resisted the idea that it juxtaposition of tempos, three different but re - should be considered part of a trilogy, which lated speeds. and so stravinsky constructs the was the desire of balanchine and his co- most extraordinary musical “ritual” from these commissioner for the , repeating building blocks, which move, step by , to whom the work is dedi - step, towards the final chorale. cated.) but its place in this program after the For many composers in the near 100 years “abstract ritual” of the Symphonies of Wind since its composition, the Symphonies of Wind Instruments encourages us to hear it in a differ - Instruments stands as the paradigm of a struc - ent way. the Symphonies was the first piece by turalist composition. yet its ritual character re - stravinsky to which the word “neoclassical” had

 . n i a m o d c i l b u p

, s n o m m o C a i d e m i k i W Portrait of Igor Stravinsky (1915) by Jacques-Émile Blanche (1861 –1942)

 PLAYBILL PROGRAM NOTES been applied, by the russian émigré critic boris ing on the note c, but soon into more de schloezer. by this word he did not at all chromatic territory, before returning to a clos - mean a music that made obvious references to ing diatonic chord. the movements that follow the music of the past, as Pulcinella had done in are more or less consistently chromatic. the 1920, because it does not, but rather a music Prelude and interludes, each a variant of the that espoused the anti-romantic simplicity and other, are essentially diatonic. in other move - objectivity that was now in vogue in Paris. “this ments a 12-note row is deployed in stravinsky’s genial work is only a system of sounds, which own, inimitable way. take, for example, the follow one another and group themselves ac - coda, the last of the first set of pas de trois . here cording to purely musical affinities,” schloezer the harp and solo cello play fragmented inter - wrote. stravinsky’s musical language had un - vals, in a texture and sound world reminiscent dergone a paring down during his exile in both of Webern (including his trademark man - switzerland during World War i, something dolin) and the contemporary avant-garde of he then took further in the abstraction, the boulez or stockhausen, outlining 12-note ma - “classical purity” of Apollo and the simplicity of terial; but they are soon joined by a solo violin Orpheus . Agon takes a step still further in be - playing a jaunty (non-serial) jazzy line that coming an entirely abstract ballet. there is no seems to mock it. in other movements still, plot, no scenario. in balanchine’s original pro - direct allusion is made to 17th-century French duction there was not even a set as such, and dances. the Gailliarde, for instance (stra - there were no special costumes as the dancers vinsky’s own misspelling of “galliarde,” playfully performed in their rehearsal clothes. stravinsky retained in the published score) has an eccentric later likened the choreography to an abstract inverted texture in which the low strings sound painting by the dutch artist mondrian. its high, distorting the courtly dance, almost as if it highly stylized structure and formal language had been frozen in an art deco frieze. and the thus make it another abstract musical ritual, a bransle Gay makes a play of rhythm, where the meditation on the idea of dance, and on the idea castanets repeat a simple figure in 3/8 time of Greek myth as contest, game, or struggle (the throughout and are therefore nearly always out meaning of the Greek title). of step with the other instruments (which are taking as one of its starting points a pair of notated in bars of either 5/16 or 7/16). now in 17th-century French manuals on dance and his 70s, there still seemed to be no limit to music by, respectively, François de lauze and stravinsky’s imagination. martin mersenne, Agon is actually a dance it is common to find music history books whose subject matter is dance itself. its formal - making an absolute distinction between stra - ity also manifests itself in its play with the num - vinsky’s so-called neoclassical music up to The ber 12: there are 12 dancers (eight female, four Rake’s Progress , and his so-called late serial male, none of whom are assigned characters); music. but this is a false dichotomy. despite there are essentially 12 dances (excluding starting to adopt a different method of com - the instrumental Prelude and interludes, which posing after 1950, stravinsky’s attitude to his punctuate the structure); and it also contains as - musical materials really did not change. Agon is pects of stravinsky’s own interpretation of the equally “neoclassical’ in the way in which it 12-note compositional method made famous plays with all manner of ideas, in the way in by , which he had started to which it alludes to the past, in the way in which espouse in the early 1950s. all this suggests new it strips back its materials to their basics, in the levels of abstraction, of order, of discipline, of way in which its repeated and fragmented ma - compositional objectification. terials take on a ritual aspect. Agon , in fact, still the result is a music of exuberant playful - appears to point towards stravinsky’s deracified ness. the opening pas de quatre begins as es - sense of self that he had been articulating since sentially diatonic (that is, based on the “white as long ago as Petrushka . in the Symphonies of notes” of the piano) with a fanfare figure start - Wind Instruments stravinsky had lamented the

 PROGRAM NOTES

loss of russia; in Agon his response is more of Le Sacre du printemps haunts me like a good playful. but that sense of the importance of rit - nightmare. … i await the performance like a ual never left him. gluttonous child to whom sweets have been —Jonathan Cross promised.” Following further private perform - ances of the piano versions for diaghilev and The Rite of Spring (1911–13, revised 1947) the conductor , the orchestral The Rite of Spring is an icon of that score was completed by march 1913. has dominated the 20th century. more than a subtitled “scenes from Pagan russia,” the hundred years after its first performance, the work is in two parts— “the adoration of the power of this revolutionary work remains earth” and “the sacrifice”—with each main unabated. the third of a trio of ballets, along element of the scenario identified by titled sub- with The Firebird and Petrushka , that stravinsky sections according to the requirements of the composed for diaghilev’s be - ballet. the Rite was thus conceived as a sec - tween 1910 and 1913, the Rite defined the be - tional, non-developmental structure where ginning of a new age: with europe on the brink contrasting blocks of material are stated and of war, the work’s explosion of musical conven - juxtaposed, slicing into one another like a sort tion presaged the political cataclysm that was to of musical cubism. although scored for large destroy the old world order. the notorious riot orchestra—including four trumpets, bass trum - that arose in response to the savage primitivism pet, eight horns, and two tubas, as well as vastly of stravinsky’s music and nijinsky’s choreogra - expanded woodwind and percussion sec - phy at its premiere on may 29, 1913 at the tions—the Rite combines the granitic and mas - théâtre des champs-elysées, is legendary—a sive with the brooding and intimate, individual significant birth for a work that was to have far- instruments and sections being assigned dis - reaching consequences for literature and art, as tinct roles within the texture. well as music. opening with the nasal theme of the famous in the earliest of stravinsky’s accounts of the bassoon solo at the top of the instrument’s reg - Rite , he affirmed his first vision for a work de - ister, the woodwind responses suggest a pri - picting a pagan ritual in which a sacrificial vir - mordial world at the dawn of time. the bru tality gin dances herself to death to propitiate the of creation is evoked in “the augurs of spring,” god of spring came to him while composing its pounding of repeated quavers being The Firebird . seeking to develop his ideas for a introduced by strings in dramatic successive radical new primitivism, stravinsky contacted down-bows. Following the terrifying hunt russia’s leading anthropologist nikolay for the sacrificial victim that is the “ritual of roerich, a specialist on folk art and ancient rit - abduction,” where strident brass and woodwind ual, to work out a scenario. although roerich’s fanfares are juxtaposed against raging tremolan - and diaghilev’s accounts of the work’s inception dos, “spring rounds” introduces sections of differ, plans for a new ballet then titled The relative but ominous calm with incantatory Great Sacrifice were underway by 1911. roerich melodies on woodwind, while plodding crotch - designed the sets and costumes, in addition to ets on strings build into a screaming climax. writing the scenario, while un - Fury takes center stage once more in “ritual of dertook the choreography. by 1912, stravinsky the rival tribes,” its strident bitonality, storm - had completed Part one of the score in a ing horns, and timpani triggering the thudding version for two , which he performed percussive incantation of the “Procession of the privately in June that year with debussy. louis sage.” in dramatic contrast, the appearance of laloy described the occasion: “We were dumb - the sage is marked by near silence and a glassy founded, overwhelmed by this hurricane which sustained atonal chord on string harmonics. had come down from the depths of the ages, Part one concludes with the raucous “dance of and which had taken life by its roots.” later the the earth” characterized by screeching glissandi, same year, debussy wrote: “the performance piercing accented chords, and boiling ostinati.

 PLAYBILL PROGRAM NOTES

A 1913 drawing depicting Stravinsky playing e rite of spring with Nijinsky’s dancers

like Part one, Part two also begins mysteri - although, for more than a century now, the ously, gradually introducing the haunting, Rite has been celebrated as one of the great multi-metered melody of the “mystic circles statements of musical modernism that broke of the young Girls,” which is fully stated on completely with the past, its power also comes divided violas. this section is interrupted by the from the fact that it subtly reworks the russian most dramatic moment of the entire score: an traditions stravinsky inherited from the so- 11/4 bar of fortissimo chords played on strings called Five (the kuchka, the “mighty hand ful”), with a quartet of timpani and —the most notably rimsky-korsakov. it is also rooted victim is to be sacrificed. this introduces the in lithuanian folk melodies. stravinsky later “Glorification of the chosen one,” a savage and tried to deny this, and in truth the folk material ferocious dance that parallels “the ritual of is made to appear startlingly new: angular abduction.” blazing c-major fanfares on wind dissonances and bitonality provide radical and brass, underpinned by a d-sharp in double new harmonic contexts, and the incantatory basses, announce the “evocation of the ances - qualities of the melodies are enhanced through tors,” while the menacing “ritual action of the added ornamentation (as in the woodwind ancestors” marks the beginning of the end with material of the “introduction”) and through ex - its brooding woodwind solos, incessant osti - ploiting their rhythmic characteristics. stra vin - natos, and horns blaring pavillons en l’air . the sky’s treatment of rhythm and meter in the Rite apocalyptical climax arrives with the viciously is among the most far-reaching of his innova - stabbing syncopated chords of the “sacrificial tions. the result is a music that seems to strad - dance,” where meter is in an almost perpetual dle the ancient and the modern, a music that state of flux. ending with tutti sforzando fortis - appears simultaneously to be of its time and simo chords, it is the final flourish on flutes that ours, and yet which reaches back deep into a is most memorable—an echo of incantation. primitive, mythical russian past. —Caroline Rae

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sunday, october 9, 2016, 3pm Zellerbach hall Philharmonia Orchestra Esa-Pekka Salonen, conductor michelle deyoung, mezzo-soprano nicholas Phan, hadleigh adams, baritone thomas Glenn, tenor Peter coyote, narrator

conservatory of music chorus eric choate, director lund male chorus andreas lönnqvist, director young Women’s chorus of san Francisco susan mcmane, director

PROGRAM igor stravinsky (1882–1971) Symphony of exaudi orationem meam, domine expectans expectavi dominum alleluia, laudate dominum INTERMISSION Oedipus Rex speaker – Peter coyote oedipus – nicholas Phan – hadleigh adams – hadleigh adams – michelle deyoung messenger – hadleigh adams shepherd – thomas Glenn

The Philharmonia Orchestra is Orchestra-in-Residence at the Royal Festival Hall, London.

Major support provided by The Bernard Osher Foundation. Additional support provided by Patron Sponsors Annette Campbell-White and Ruediger Naumann-Etienne.

Opposite: Photo by Pierre Choumoff (c. 1920). Wikimedia Commons, public domain.  PROGRAM NOTES

IGOR STRAVINSKY recover something of the russia that, since the revolution, had been lost to him. (1930, revised 1948) yet, despite this, despite even the rare use in commissioned by the conductor serge kous - the score of the word espressivo (expressive), the sevitsky to write an “abstract” symphony for the work gives the primary impression of being boston symphony orchestra’s 50th anniversary, impersonal, distanced, and monumental. as in it was nonetheless clear that stravinsky had Oedipus Rex before it, the “petrified” latin lan - had a sacred piece in mind from the moment guage immediately depersonalizes, imbuing the he started composing. the outer movements of work with a ritual quality. it is a collective, not an the Symphony of Psalms are in fact dedicated to individual plea from the chorus. the text of the specific church festivals and, as a whole, it be - first movement is set straight through, but there came for him an act of spiritual renewal, a per - is a high degree of musical repetition, simple re - sonal testimony. it was in 1926 that stravinsky peating melodic figures, (musical mo - had returned to the russian orthodox faith biles) using a motoric semiquaver rhythm, after a long period of absence. the parapher - pedal points, which have the effect of making nalia of the church—crosses, icons, observa - the music seem static. the famous opening tion of saints’ days—had always been part of his e-minor chords, with their distinctive spacing, life, and now, living amid a large émigré com - punctuate the texture of the first movement, or munity and close to the russian church in nice, perhaps even define the ritual space, like the pil - he found the appropriate context for recom - lars supporting some great medieval cathedral. mitment. the influence of Jean cocteau, who the figures, first in the woodwind, had himself returned to the catholic church in then in the piano, sound as if they could have 1925, was also crucial. Formal and ritualistic, been lifted from a pianist’s finger exercise man - the Symphony of Psalms is dedicated on its title ual—the presence here of this “non-expressive” page “to the glory of God.” material reinforces the distancing effect. stravinsky chose to set three texts from the (stravinsky always composed at the piano.) book of Psalms. the last of these three is the ex - and the text, too, is treated as a kind of found ultant , a song of praise full of the object, playing with words, syllables, sounds, noises of trumpets, pipes, and , which and accents, distancing us from their meaning. obviously appealed to a musician. the first two the scoring is especially noteworthy. there psalm excerpts, however, sound much more are no upper strings, representatives of the like personal acts of supplication: “hear my sound of romanticism, of the German 19th prayer, o lord, and give ear unto my cry” century. stravinsky was by this time vehemently () and “i waited patiently for the lord: anti-Wagnerian. this music is essentially for and he inclined to me and heard my cry” woodwind and brass—like some giant, living, (Psalm 40). in particular, in the first move - breathing pipe organ—while the piano and ment—composed, stravinsky later recalled, “in harp are used like percussion instruments or a state of religious and musical ebullience”—he bells. comparison with the Symphonies of Wind chose to set the line “quoniam advena ego sum Instruments (1920) is instructive: hieratic, ritu - apud te,” “for i am a stranger with thee.” he had alistic, an abstract for the dead. indeed, become a stranger to God, certainly, drifting like the Symphonies , there is something strik - from the church for so long, but this is also the ingly russian about the Psalms . stravinsky voice of the foreigner, something stravinsky al - claimed that he began work by setting the ways felt keenly throughout his life as an émigré texts not in latin but in ancient slavonic: the in switzerland, France, and later the united “laudate dominum” of Psalm 150 was initially states. his sense of exile colored just about “Gospodi pomiluy.” everything he wrote. one might even under - order is writ large in the second movement, stand stravinsky’s return to the orthodox faith a spectacular double —one in the instru - as the nostalgic act of an émigré attempting to ments, the other in the choir. again, the clue lies

 PLAYBILL Original poster for one of the first concerts to celebrate the opening of Zellerbach Hall in 1968. Stravinsky was in attendance, but did not conduct, due to illness. in the text as to why stravinsky adopted this subject strong echoes of one of bach’s most technique here: “direxit gressus meos,” “or - famous fugue subjects of all, also in c minor, dered my goings.” the learnèd fugue, most no - from the Musical Offering . the subject, though, tably in the hands of J.s. bach, is the musical is not extended or directed in a bachian man - demonstration of order par excellence ; and, in ner but is weaved into a much more ritualistic fact, stravinsky’s fugue has in its four-note texture of motivic .

 PROGRAM NOTES

the final and longest movement begins qui - new factor emerged; he suddenly, after some 30 etly, meditatively, radiantly, not in celebration, years of more or less sleeping adherence, be - as you might expect of a setting of the word came a devout communicant of the russian “alleluia” in the manner of Messiah . it is a re - orthodox church. the reason for this abrupt curring progression that punctuates the course reconversion is still not fully understood. of the movement, including a final, glorious religious revival was certainly in the air (coc - cadence in c major, an image of transcendence. teau himself had recently returned to roman but there is more earthly music here, too: high- catholic communion under the influence of energy rhythms, pulsed, cross-accented, osti - Jacques maritain and a handsome, sun-tanned natos, walking bass lines, allusions to jazz and associate of his called Father charles henrion). other kinds of popular music—the other side of but stravinsky had personal motives of his own. “laudate dominum,” one might say, the other his family life was complex and distressing. his (playful, russian) side of stravinsky. it is a pow - wife was slowly dying of tuberculosis in nice erful articulation of stravinsky’s spiritual vision, while he maintained an open liaison with the where the everyday meets the divine. beautiful vera sudeykina, his future second —Jonathan Cross wife, in Paris. then there was the question of his exile from his native russia, now evidently Oedipus Rex permanent. he himself records a religious Opera-oratorio in two acts source for Oedipus Rex , in the shape of Johan - (1926–27, revised 1948) nes Joergensen’s life of st Francis of assisi, a the idea for “an opera in latin on the subject copy of which he picked up and read while of a tragedy of the ancient world, with which passing through Genoa on his way home from everyone would be familiar” was essentially venice in september 1925. he was, he tells us, stravinsky’s own, as is proved by a letter to Jean struck by the italophone st Francis’ habit of cocteau of october 1925, setting out in typi - using his mother’s native Provençal as “the lan - cally business-like fashion the terms of their guage of his most solemn times” (for instance, collaboration. but where did he get such a curi - he always begged for alms in Provençal). “to ous notion? there was certainly nothing new this reading,” stravinsky says, “i owe the for - in the idea of updating Greek tragedy. cocteau mulation of an idea that had occurred to me himself had presented an abridged modern often, though vaguely, since i had become translation of sophocles’ in 1922 (with déraciné [uprooted]. the idea was that a text for music by honegger and designs by Picasso music might be endowed with a certain monu - and chanel), and had recently completed a mental character by translation backwards, so drawing-room tragi-comedy on the subject of to speak, from a secular to a sacred language.” orpheus—stravinsky had probably attended a one might add to this that, for a russian, the reading of this Orphée in september 1925. but natural “sacred” language is old slavonic, to these plays were in French. For stravinsky, the this day the language of the russian orthodox idea of a latin text was fundamental. Why? church; and in fact stravinsky did begin setting hitherto all his sung theater works except his next latin-text work, the Symphony of Pulcinella— where the italian text was part of Psalms , in slavonic. but to update a Greek the received material—had been in russian (in - tragedy into slavonic for a French audience cluding the ballet Les noces and his last theater would plainly have been to pile the obscure on work, the mini-operetta ), which may to the esoteric. seem natural enough until we remember that the eventual form of Oedipus Rex suggests stravinsky always knew perfectly well, and in that stravinsky initially took baroque oratorio the case of Mavra specifically intended, that the as a model, with its alternation of recitative, aria, audience for these works would be French. a and chorus, though there is much less han - certain ethnographic mystique pervades his delian style in the music than is often supposed, music of the period. but in the mid-1920s a and after all italian opera (which certainly is

 PLAYBILL PROGRAM NOTES suggested) also uses this kind of formula. the models are much more eclectic than before: male chorus he imagined seated in a row, shades of verdi (in the opening chorus), bellini cowled like monks and reading from scrolls, (in Jocasta’s aria), perhaps berlioz (in the bu - while the soloists would be masked and immo - colic music of the shepherd and the messen- bile, not entering or exiting, but revealed and ger), and even Puccini’s Turandot (in the final concealed by curtains or spotlights. at this scene). stravinsky himself called the work a point, however, the conception begins to take Merzbild— the dada term for a picture made on some of the boulevardier elements of out of junk—and was defensive about some of cocteau’s Orphée . For instance, the seer tiresias its stylistic excesses. but in fact Oedipus Rex , as was meant to slide on and off stage through a the composer also pointed out, makes its own grotto (symbolizing his role as “fountain of coherence, achieved by solid compositional truth”), very much like death in Orphée , who means, careful pacing and balance, and a bril - enters and exits through a mirror. stravinsky liant control of dramatic climax. constructivist probably resisted cocteau’s more capricious method is involved. For instance, every scene is ideas for staging, though the drawing for the coordinated by a meticulous use of propor - mise en scène in the published score (suppos - tional meter (though conductors don’t usually edly by stravinsky’s son théodore) is remark - observe it). notice also the powerful effect of ably like cocteau’s sketch for the setting of dramatic irony set up by the speaker in describ - Orphée . but the most boulevardier idea of all, ing the outcome of each scene, which then au - the dinner-jacketed speaker who introduces tomatically rubs shoulders with the start of the and “explains” each scene in the language of same scene set to music; the violent contrasts the audience, stravinsky did not resist, though are of course no accident and cast doubt, in the he later vehemently disowned it as “that dis - end, on stravinsky’s subsequent rejection of the turbing series of interruptions… but alas the whole device, as against his perhaps natural music was composed with the speeches, and is desire to play down cocteau’s contribution to a paced by them.” masterpiece he regarded as essentially his own. stravinsky’s whole attitude to the classical one of the composer’s supposed objections material and its modern treatment has to be un - to the speaker’s links was their obscurity and derstood in the light of his own recent music. implied snobbishness, which seem to assume a since Mavra (1922) he had composed only in - knowledge of sophocles’ play, Oedipus Tyran - strumental music, entirely for piano or wind. nus , while apparently deliberately confusing nearly every work was accompanied by some anyone whose knowledge is, perhaps, a little kind of manifesto (not always penned by time-worn. here, anyway, is the necessary back- stravinsky himself but mostly reflecting his ground information: ideas), urging the virtues of form as an expres - sive category, denouncing such conventional the oracle warned king of thebes romantic concepts as interpretation and a that, as a punishment for stealing Pelops’ son phrased espressivo . on the contrary, cold, chrysippus, he would be killed by his own son; rational forms were seen as a virtue of classical so, when a son was born, laius and his wife, thought. Oedipus Rex , with its statue-like, Jocasta, exposed him on a mountainside, pierc - masked dramatis personae and nearly two- ing his feet with leather thongs. there he was dimensional setting, was simply this kind of found and brought up by a shepherd of the put on to the stage. musically, all corinthian king Polybus. Polybus, being the same, it represents something of a relaxation childless, adopted the boy and named him from the very severe posture of the early 1920s. oedipus (“swell foot”); later, oedipus was a full symphony orchestra returns, and though taunted about his parentage, and, when he con - the violins are reduced in importance, they do sulted the oracle, was told that he would kill his still often assume their traditional expressive father and marry his mother. to avoid these and diapason function. stravinsky’s musical crimes, and naturally taking them to refer to

 PROGRAM NOTES

Polybus and his wife, he left corinth for thebes, transfer to remote mountain pastures, but has and on the way killed an old man he met at a now returned at oedipus’ own summons as crossroads, not recognizing him, of course, as part of the inquest into laius’ death. king laius. at thebes he solved the riddle of the , stravinsky composed the score between who was laying waste the city, winning thereby January 1926 and may 1927, and it was first the throne and the hand of the now-widowed performed at the théâtre sarah-bernhardt in Queen Jocasta. it is crucial that, even when he Paris on may 30, 1927, as part of diaghilev’s begins to suspect that he is the murderer of ballets russes season. stravinsky himself con - king laius and thus the cause of the plague in ducted. he and cocteau had always intended thebes, oedipus still does not realize he is the work as a present to diaghilev for his 20th- laius’ son. he simply believes his crime to anniversary season, and it was only for lack of be usurping the marital bed of a man he has money and, in the end, time that the perform - killed. one other obscurity is his accusation of ance took place in oratorio form. the idea tiresias’ complicity with creon, which is ex - that this so-called opera-oratorio was not plained by the fact that in sophocles it is creon intended to be staged is quite unfounded— who first suggests consulting tiresias. Finally, which is not to say, of course, that it is any less the listener needs to know that when, after the than extremely powerful when played in scene with Jocasta, the speaker announces that concert. the first staging was in vienna on “the witness to the murder emerges from the February 23, 1928, followed two nights later by shadow,” he is referring not to the messenger the famous kroll opera production in , but to the shepherd, who (again in sophocles) conducted by klemperer. had been the one member of laius’ retinue who —Stephen Walsh escaped from the scene of the murder. on re - turning to thebes and finding oedipus already Performances of the music on today’s program by arrangement with installed as king, he had discreetly requested boosey & hawkes, inc., publisher and copyright owner.

 PLAYBILL Oedipus Rex Synopsis

Act I “non n’e rubeskite, reges”: Jocasta rebukes “kædit nos pestis”*: the thebans implore the princes for quarrelling. the oracle, she their king, oedipus, who vanquished the says, is a liar. it prophesied that laius would sphinx, to rescue them now from the be killed by her son, but in fact he was plague. “liberi, vos liberabo”: oedipus killed at a crossroads by thieves. “Pavesco boastfully promises to do so. he reports subito”: suddenly afraid, oedipus tells that creon, his brother-in-law, has Jocasta that once he killed an old man at a been sent to consult the delphic oracle. crossroads. he determines to find out the “respondit deus”: creon arrives and truth. “adest omniskius pastor”: the chorus announces that the murderer of king laius greets the arrival of the “all-knowing” is hiding in thebes and must be hunted out shepherd, and also of the messenger from before the plague will subside. “non repe - corinth. the messenger announces the rias vetus skelus”: oedipus undertakes to death of king Polybus. oedipus, he reports, find the murderer. “delie, exspectamus”: was not Polybus’ son but a foundling, the people implore the blind seer, tiresias, discovered on a mountainside and brought to tell what he knows. “dikere non pos - up by a shepherd. Jocasta understands and sum”: tiresias refuses, but when oedipus tries to draw oedipus away. “nonne mon - accuses him directly of the murder, he strum reskituri”: oedipus accuses her of retorts that laius’ murderer is a king, shame at the discovery that he is not now hiding in thebes. oedipus angrily the son of a king, but the shepherd and accuses tiresias and creon of plotting to messenger spell out the truth: that oedipus seize the throne. “Gloria”: at this moment was the son of laius and Jocasta, aban - the people hail the arrival of oedipus’ wife, doned to die. “natus sum quo nefastum Queen Jocasta. est”: oedipus acknowledges the truth: that he has killed his father and married his Act II mother. “divum Jocastæ caput mortuum”: the final “Gloria” chorus of act i is re - the messenger, helped by the chorus, relates peated at the start of act ii. the score indi - Jocasta’s suicide and oedipus’ self-blinding cates this before the speaker’s introduction, with her golden brooch. oedipus reap - but stravinsky stated later that he preferred pears, a figure of revulsion. he is firmly but the reprise to follow the introduction and gently expelled from thebes by the people. lead straight into Jocasta’s aria, which is the —Stephen Walsh option chosen by esa-Pekka salonen in this * throughout the libretto for Oedipus Rex , stravinsky frequently uses the letter k, where a c would commonly be used, to ensure performance. a “hard” pronunciation.

 ABOUT THE ARTISTS

Michelle DeYoung also received the 2001 Grammy awards for best (mezzo-soprano ) ap - classical album and best opera recording for pears frequently with Les Troyens with sir and the lon - many of the world’s don symphony orchestra (lso live). leading , in - deyoung’s many engagements this season cluding the new york include appearances with the cleveland orch - Philharmonic, boston estra, , los angeles Phil - symphony orchestra, harmonic, st. louis symphony, Paris ensemble chicago sym phony intercontemporain, nhk symphony in tokyo, orchestra, cleveland orchestra, san Francisco and the hong kong Philhar monic. symphony, , royal Phil- harmonic orchestra, orchestre de Paris, bay- Nicholas Phan (tenor ) erische staatsoper orchestra, and the berliner returns this season to staatskapelle. she has also appeared in the the cleveland orchestra, prestigious festivals of ravinia, tanglewood, san Francisco symphony, aspen, saito kinen, , , saint- Phila delphia orchestra, denis, and . st. louis symphony, and the conductors with whom she has worked the national art centre include , Pierre boulez, in ottawa, among others. James conlon, sir colin davis, christoph he also makes his role von dohnányi, , christoph debut as the title role in Oedipus Rex with the esch en bach, , , esa-Pekka salonen and the Philhar monia , Zubin mehta, kent nagano, orchestra of london here at cal Per formances , andre Previn, david robertson, and his recital debut at the in , esa-Pekka salonen, michael london. Phan has appeared with many of the tilson thomas, and Franz Welser-möst. leading orchestras in the north america and deyoung has appeared with many of the europe; toured extensively throughout the finest opera companies in the world, including major concert halls of europe with il com- the metropolitan opera, lyric opera of chi - plesso barocco; and appeared with the oregon cago, houston Grand opera, seattle opera, bach, ravinia, marl boro, edinburgh, rheingau, Glimmerglass opera, la scala, bayreuth Fest - saint-denis, and tanglewood festivals, as well i val, berliner staatsoper, opéra national as the bbc Proms. among the conductors he de Paris, théâtre du châtelet, and the tokyo has worked with are Pierre boulez, James opera. her many roles include the title roles in conlon, alan curtis, nicholas mcGegan, Zu- Samson et Dalila and The Rape of Lucretia ; bin mehta, , and Franz Fricka, sieglinde, and Waltraute in Wagner’s Welser-möst. Ring cycle; kundry in Parsifal ; venus in an avid proponent of vocal chamber music, Tannhäuser ; brangäne in Tristan und Isolde ; he has been presented in venues including herodias in Salome; eboli in Don Carlos ; carnegie hall, the metropolitan museum of amneris in ; santuzza in Cavelleria Rusti - art, and the chamber music society of lincoln cana ; and marguerite in Le Damnation de Faust . center. his many opera credits include appear - in recital, deyoung has been presented in ances with the los angeles opera and houston distinguished venues worldwide, including here Grand opera, among others, and his growing at cal Performances. her recording of Kinder - repertoire includes the title roles in Acis and totenlieder and mahler’s symphony no. 3 with Galatea and Candide, almaviva in Il barbiere di michael tilson thomas and the san Francisco Siviglia , nemorino in L’elisir d’amore, Fenton in symphony (sFs media) was awarded the 2003 , tamino in Die Zauberflöte, and don Grammy award for best classical album. she ottavio in .

 PLAYBILL ABOUT THE ARTISTS

Phan’s most recent solo album, A Painted Thomas Glenn (tenor ) Tale, was released on avie records in February enjoys a growing repu - of 2015. his previous solo album, Still Falls the tation as a creative inter - Rain (avie), was named one of the best classical preter of bel canto and recordings of 2012 by the New York Times. classical period litera - his growing discography also includes the ture as well as modern Grammy-nominated recording of stravinsky’s works. a Grammy Pulcinella with Pierre boulez and the chicago award winner, his most symphony orchestra (cso resound); his frequent operatic roles debut solo album, Winter Words (avie); the include count almaviva in rossini’s Il barbiere opera L’Olimpiade with the venice baroque di Siviglia , lindoro in L’italiana in Algeri, orchestra (naïve); and the world premiere Ferrando in mozart’s Così fan tutte , and the recording of elliott carter’s orchestral song evangelist in bach’s St Matthew Passion . in cycle, A Sunbeam’s Architecture (nmc). contemporary works, he created the role of a graduate of the university of michigan, robert Wilson in ’ Doctor Atomic, Phan also studied at the manhattan school of and he continues to premiere new works by music and the aspen music Festival and composers like Jack Perla and tarik o’regan. school, and is an alumnus of the houston recent and upcoming engagements include Grand opera studio. he was the recipient of a tamino in The Magic Flute for opera idaho; 2006 sullivan Foundation award and 2004 Goro in , don basilio in Le richard F. Gold career Grant from the sho - Nozze di Figaro, and dr. blind in Die Fleder - shana Foundation. maus for calgary opera; the evangelist in bach’s St Matthew Passion for Gulfshore opera; Hadleigh Adams (bari - lindoro in L’italiana in Algeri for the opera tone ) is from new company of middlebury; and Gherardo in Zea land and studied at Gianni Schicchi , beppe in Pagliacci , and dr. the Guildhall school blind in for cincinnati opera. of music and drama Glenn has performed at major opera com - in london, gaining his panies including san Francisco opera, the master’s degree with dis - met-ropolitan opera, lyric opera of chi cago, tinction, and at the mer - nether lands opera, and english national ola opera Program. he opera. he has also appeared with major or - is a former adler Fellow with the san Francisco chestras including the cleveland orchestra, san opera and has performed in over 75 mainstage Francisco symphony, seattle symphony, and performances with the company. berkeley symphony. Glenn is a graduate of the adams has appeared with the los angeles prestigious adler Fellowship at san Francisco Philharmonic, the san Francisco symphony opera, and holds degrees from brigham young chorus, the san Francisco opera, london's university, the university of michigan, and royal national theatre, cincinnati opera, Florida state university. Pittsburgh opera, and the sydney Philhar - monic. he made his new york debut last year to critical acclaim from the New York Times. upcoming engagements include mahler with the oakland symphony, Jesus in bach's St Matthew Passion with the colorado sym- phony, Paul in Glass' , and steward in Jonathan dove's Flight with opera Parallele. For more information, please visit www.had leigh adams.com.

 ABOUT THE ARTISTS

Peter Coyote has per - bohlin, who is now leading the chorus together formed as an actor for with conductor and composer eric choate. the some of the world’s most group consists of students at the san Francisco distinguished film ma kers , conservatory of music. including barry levin son, Pedro almo dóvar, ste ven The Lund Male Chorus is one of the best, and spielberg, ro man Polan - oldest, male choirs in scandinavia. Founded in ski, martin ritt, ste ven 1831, the swedish choir is known for its annual soderberg, sidney Pol lack, nationally broadcast spring concert in lund and Jean Paul rappeneau. in 2000 he was under the artistic leadership of andreas the co-host of the academy awards with billy lönnqvist. crystal. in 2010 the choir won two gold medals at the coyote is an emmy award-winning narra - sixth World choir Games and was subse - tor of over 120 documentary films, including quently invited to appear at various festivals and ken burns’ National Parks, Prohibition, The concerts. in addition to being a celebrated a West, The Dust Bowl, and The Roosevelts, for cappella ensemble, the 50-voice male choir has which he received his second emmy nomina - increasingly become a preferred performance tion. he has written a critically praised memoir partner in major orchestral works such as of the 1960s counterculture called Sleeping sibelius’ Kullervo ; shostakovich’s symphony Where I Fall, which appeared on three best- no. 13, Babi Yar ; brahms’ Rinaldo ; and stra - seller lists, sold five printings in hardback, and vinsky’s Oedipus Rex . in november 2015 the was re-issued with a new cover and afterword in group performed brahms’ with may 2009. a chapter from that book, “carla’s anna larsson and the swedish radio sym - story,” won the 1993 –94 Pushcart Prize for phony orchestra. excellence in nonfiction. coyote’s The Rain - the choir has released numerous a cappella man’s Third Cure: An Irregular Education, about and orchestral cds, including music by Wag- mentors and the search for wisdom, was re - ner, debussy, Grieg, and richard strauss. in leased last year by Press. 2013, critic anthony tommasini praised an all- From 1975 to 1983, coyote was a member Grieg cd and awarded it a spot on the New and then chairman of the california state arts York Times’ year’s-best list. council. during his chairmanship and under over the next two years, the choir will par - his tenure, expenditures on the arts rose from ticipate in several kullervo performances with, one to 16 million dollars annually. he is an or - among others, the bbc scottish symphony dained Zen buddhist priest who has been prac - orchestra. ticing for 40 years and is currently in the process of receiving transmission from his teacher, the young Women’s choral Projects of san granting him autonomy and the right to Francisco, founded by artistic and executive ordain priests and establish his own lineage. he director susan mcmane in 2012, is quickly has been engaged in political and social causes becoming recognized as a world-class choral since his early teens. coyote considers his 1952 organization for young women. the Young dodge Power Wagon to be his least harmful Women’s Chorus of San Francisco is yWcP’s addiction. premier chorus, and has been praised for its beauty of sound, stellar musicianship, and dy - The San Francisco Conservatory of Music namic programming. the young women, ages Chorus was founded and led for several years 11 –18, are provided exceptional musical expe - by composer and conductor david conte. riences such as singing on the san Francisco leadership of the group was passed on to san opera stage with Jake heggie and Frederica von Francisco symphony chorus director ragnar stade; at cal Performances with the kronos

 PLAYBILL ABOUT THE ARTISTS

Quartet as well as Philharmonia orchestra and cluding the steps of the capitol in Washington, esa-Pekka salonen; and touring nationally dc, for the first inauguration of President or internationally every year. in 2014, yWc obama in 2009, and has won many awards for won two competitive national awards, the her work, including three Grammys with the ameri can Prize in choral Performance (high san Francisco symphony, the 2007 sym phony school and youth division) and the dale of excellence arts award from the Pacific musi - Warland singers commission award from cal society, two ascaP awards, and recognition chorus amer ica and american composers as music educator of the year by the st. louis Forum. With repertoire spanning from early chapter of the american Guild of organists in music to contemporary selections, yWc will 1998. in 2014 her work earned her recognition perform six concerts this season in the bay as an outstanding community youth choir di - area, as well as embarking on a concert tour of rector from the american Prize. mcmane is eastern europe. responsible for commissioning over 22 new For more than 30 years, susan mcmane’s works from prominent composers including work has centered on showing the world the chen yi, tania leon, augusta read thomas, power and beauty of young women’s voices. she Frank la rocca, Gabriela Frank, david conte, has taken her choirs to important venues in - karen P. thomas, and alberto Grau.

MEET OUR CONTRIBUTORS Jonathan Cross is a professor of musicology at the university of oxford. his publications include three books on stravinsky: e Stravinsky Legacy (1998), e Cambridge Companion to Stravinsky (2003), and a new biography, Igor Stravinsky (2015). he was the series consultant to the Philharmonia orchestra for their 2016 Stravinsky: Myths & Rituals festival. he also writes more widely on issues in modernism and contemporary music. Caroline Rae is a reader in music at cardiff university, pianist, writer, and broadcaster. she has published widely on French music of the 20th century with particular reference to debussy, messiaen, dutilleux, Jolivet, and ohana, and is currently completing the first study of the music of Jolivet in english. Wendy ompson is a producer of radio programs and a writer on classical music. her books include biographies of mozart, handel, and Grieg, and a series of books on major classical com - posers aimed at younger readers. her most recent book, Carl Davis: Maestro, will be published this month to coincide with the 80th birthday of the american-born conductor and composer of television and film music. Stephen Walsh is an emeritus professor of cardiff university, where he held a personal chair in music from 2001 to 2013. he was for many years deputy music critic of e Observer; a frequent reviewer for the London Times, Daily Telegraph, and Financial Times; and a well-known broad - caster for the bbc. he now reviews for the arts website theartsdesk.com. his most recent books include a two-volume biography of igor stravinsky and a study of the russian kuchka (the “mighty handful”) , Musorgsky and his Circle: A Russian Musical Adventure.

 San Francisco Conservatory of Music Chorus eric choate, director harry Fernando Gonzalez nicole Juliann Paravicini steven harmon matthew michael Plaza Jennifer ashworth nicolas harrington Federico strand ramirez sedra lynn bistodeau seulki hong taylor Joshua rankin sarah bleile nathania Putri isnandar kindra scharich cheryl cain valentyna ivrii michael robert smith michelle chang silvie Jensen christina swindlehurst chan yu chen bogum kang stephen talarman mindy chu crystal kim david Grahame taylor daniel Giorgio de togni sydney alyssa kucine sydd urgola nicholas reed denton emily ann lazernik John vidovic Peter matthew engelbert minkyoung lee congcong Wang dimitrios Zuris Floor John Joseph masko emma yee Jonah Gallagher noah mckee Xinyi Zhao natalie elizabeth Georgievova kate offer

Lund Male Chorus andreas lönnqvist, director hampus linse Frans Wåhlin olof esbjörnsson ludvig olsson First elias lidén erik annertz Filip thor Second Basses oscar necking ted hansson Johannes nebel theodor uggla victor henriksson thomas teikari tomas hagström herman hallberg Jakob rask First Basses torvald larsson david magnusson Pierre modari oscar van der have lucas nilsson villoresi david afzelius carl stagne Julius Persson Peter meyerson arvid rensfeldt Joar sörensson Per nelsson olof lundgren Jonathan sjögren sebastian michaeli Second Tenors niklas hallberg staffan lindström david Pettersson Johan blomé Felix bagge nils annertz Jonatan laestander stefan hålam otto hillerström Jakob losell emil olsson Johan kullenbok martin olsson John rausér Porsback magne tordengren

Young Women’s Chorus of San Francisco susan mcmane, director eliza heath maxine rosenfeld isabella hord mila sall sonia banker anna illes tamlyn schafer dewi beer arlena Jackson Zoe sirchuk sedi-anne blachford emma kearn sadie ray smith madelynn brown Phoebe klebahn sarah snyder sydney caba klara la Guardia ella tang sophie carpenter samantha lincroft miquelle taubman Geetha chandroth isabelle magid-kutlin elena townsend-lerdo michelle cheung sarah mosley christina Warren sarah cheung ava Pourfallah sydney Weaver hannah chu Gwinna Putz lillian Wilsted katrina duong aria raffa dancy Zhang claire Flaherty olivia rosenberg-chavez

 PLAYBILL TEXTS AND TRANSLATIONS

Symphony of Psalms [Latin texts selected from the Vulgate] (Psalm 38:13-14) exaudi orationem meam, domine, et depre - hear my prayer, o lord, and with ine cationem meam. auribus percipe lacrimas ears consider my calling: hold not meas. ne sileas. y peace at my tears. Quoniam advena ego sum apud te et For i am a stranger with ee: and a so - peregrinus, sicut omnes patres mei. journer, as all my fathers were. remitte mihi, ut refrigerer prius quam abeam o spare me a little that i may recover my et amplius non ero. strength: before i go hence and be no more.

(Psalm 39: 2-4) expectans expectavi dominum, et intendit i waited patiently for the lord: and he mihi. inclined unto me, and heard my calling. et exaudivit preces meas; et eduxit me de lacu he brought me also out of the horrible pit, miseriae, et de luto fæcis. out of the mire and clay. et statuit super petram pedes meos: et direxit and set my feet upon the rock, and ordered gressus meos. my goings. et immisit in os meum canticum novum, and he hath put a new song in my mouth: carmen deo nostro. even a thanksgiving unto our God. videbunt multi, videbunt et timebunt: et many shall see it and fear: and shall put their sperabunt in domino. trust in the lord.

(Psalm 150) alleluia. alleluja. laudate dominum in sanctis ejus. Praise God in his sanctuary: laudate eum in firmamento virtutis ejus. Praise him in the firmament of his power. laudate dominum. laudate eum in virtutibus ejus. laudate Praise him for his mighty acts: dominum in virtutibus ejus. laudate eum secundum multitudinem Praise him according to his excellent magnitudinis ejus. laudate dominum in greatness. sanctis ejus.. laudate eum in sono tubae. Praise him with the sound of the trumpet: laudate eum. alleluia. laudate dominum. laudate eum. laudate eum in timpano et choro, Praise him with the timbrel and dance. laudate eum in cordis et organo; laudate Praise him with stringed instruments and dominum. organs. laudate eum in cymbalis benesonantibus, Praise him upon the high sounding cymbals, laudate eum in cymbalis jubilationibus. Praise him upon the loud cymbals. laudate dominum. laudate eum, omnis spiritus laudet let every thing that hath breath praise the dominum, omnis spiritus laudet eum. lord. alleluia. laudate, laudate, laudate dominum. alleluja.

 TEXTS AND TRANSLATIONS

Oedipus Rex [Libretto by Jean Cocteau; translated [English translation from the Latin by into Latin by Abbé Jean Daniélou] e. e. cummings]

ACT I

chorus chorus kaedit nos pestis, e plague falls on us, theba peste moritur. ebes is dying of plague e peste serva nos From the plague preserve us qua theba moritur. for ebes is dying. Œdipus, adest pestis; oedipus, the plague has come e peste libera urbem, free our city from plague urbem serva morientem. preserve our dying city.

ŒdiPus oediPus liberi, vos liberabo a peste. citizens, i shall free you from the plague. ego clarissimus Œdipus vos diligo, i, illustrious oedipus, love you. eg’Œdipus vos servabo. i, oedipus, shall save you.

chorus chorus serva nos adhuc. you can still save us, serva urbem, Œdipus; preserve our city, oedipus; serva nos, clarissime Œdipus! save us, famous oedipus! Quid fakiendum, Œdipus, What must be done, oedipus, ut liberemur? that we may be delivered?

ŒdiPus oediPus uxoris frater mittitur e brother of my wife was sent oraculum consulit, to consult the oracle, deo mittitur creo; creon was sent to the god; oraculum consulit, he is asking of the oracle, quid fakiendum consulit. he is asking what must be done. creone commoretur. may creon make haste.

chorus chorus vale, creo! audimus. hail, creon! We hearken. vale, creo! kito, kito. hail, creon! speak, speak! audituri te salutant. We greet you and hearken.

* * * ***

 PLAYBILL TEXTS AND TRANSLATIONS creo creon respondit deus: - e god has answered: laium ulkiski, avenge laius, skelus ulkiski; avenge the guilt reperire peremptorem. discover the murderer. thebis peremptor latet. e murderer hides in ebes, latet peremptor regis, e murderer of the king hides reperire opus istum; and must be discovered; luere thebas, purge ebes, thebas a labe luere, purge ebes of its stain, kaedem regis ulkiski, avenge the death of the king, regis laii perempti, of the slain king laius, thebis peremptor latet. the murderer hides in ebes. opus istum reperire, he must be discovered, quern depelli deus jubet. for the god demands he be driven from us. Peste infikit thebas. - he infects ebes with plague. apollo dixit deus. apollo has spoken, the god.

ŒdiPus oediPus non reperias vetus skelus, since the ancient crime is hidden, thebas eruam. i shall scour ebes. thebas incolit skelestus. e criminal dwells in ebes. chorus chorus deus dixit, tibi dixit. e god has spoken to you.

ŒdiPus oediPus tibi dixit. he has spoken to you. miki debet se dedere. you must have faith in me. opus vos istum deferre. i promise to carry out this task. thebas eruam, i shall scour ebes, thebis pellere istum, i shall drive him out of ebes. vetus skelus non reperias. e ancient crime will be avenged. chorus chorus thebis skelestus incolit. e criminal dwells in ebes.

ŒdiPus oediPus deus dixit . . . e god has spoken. sphynga solvi, carmen solvi, i solved the riddle of the sphinx, ego divinabo, i shall divine, iterum divinabo, again i shall divine, clarissimus Œdipus, i, illustrious oedipus, thebas iterum servabo. again shall preserve ebes. eg'Œdipus carmen divinabo. i, oedipus, shall divine the riddle.

 TEXTS AND TRANSLATIONS

chorus chorus solve! solve, Œdipus, solve! solve it! solve it, oedipus, oedipus, solve it!

ŒdiPus oediPus Pollikeor divinabo. i promise, i shall divine it, clarissimus Œdipus, illustrious oedipus speaks; pollikeor divinabo. i promise, i shall divine it.

*** ***

chorus chorus delie, exspectamus. God of delos, we are waiting. minerva, filia iovis, minerva, daughter of Jove, diana in trono insidens, diana enthroned, et tu, Phaebe and you, Phoebus, insignis iaculator, splendid archer, succurrite nobis. come to our aid. ut praekeps ales ruit malum For swily rushes the winged evil, et premitur funere funus death follows hard upon death et corporibus corpora inhumata. and corpses lie unburied in heaps. expelle, everte in mare drive forth, cast into the sea atrokem istum martem the dreadful mars qui nos urit inermis who decimates us helpless, dementer ululans. howling madly. et tu, bakke, cum taeda and you bacchus, come swily with advola nobis urens infamem torch to burn out the most infamous inter deos deum. of all the gods.

salve, tiresia, hail, tiresias, homo clare, vates! famous man, prophet! die nobis quod monet deus, tell us what the god demands, die kito, sacrorum docte, die! speak quickly, learned priest, speak!

tiresias tiresias dikere non possum, i cannot speak, dikere non liket, i am not allowed to speak, dikere nefastum; to speak would be a sin; Œdipus, non possum. oedipus, i cannot. dikere ne cogas, Force me not to speak. cave ne dicam. i am forbidden to speak. clarissime Œdipus, illustrious oedipus, takere fas. allow me to be silent.

ŒdiPus oediPus takiturnitas t'acusat: your silence accuses you; tu peremptor. you are the murderer.

 PLAYBILL TEXTS AND TRANSLATIONS tiresias tiresias miserande, dico, Pitiable man, i speak, quod me acusas, dico. since you accuse me, i speak. dicam quod dixit deus; i shall speak what the god has said; nullum dictum kelabo; no word will i conceal; inter vos peremptor est, the murderer is in your midst, apud vos peremptor est, the murderer is near you, cum vobis, vobiscum est. he is one of you. regis est rex peremptor, e king is the king's murderer. rex kekidit laium, e king slew laius, rex kekidit regem, the king slew the king, deus regem acusat; the god accuses your king! peremptor rex! e murderer is a king! opus thebis pelli regem. e king must be driven from ebes. rex skelestus urbem foedat, a guilty king pollutes your city rex peremptor regis est. the king is the king's murderer.

ŒdiPus oediPus invidia fortunam odit, envy hates the fortunate. creavistis me regem. you made me king. servavi vos carminibus i saved you by answering the riddles et creavistis me regem. and you made me king. solvendum carmen, e riddle had to be solved, cui erat solvendum? who was to solve it? tibi, homo clare, vates; you, famous man, prophet? a me solutum est it was solved by me, et creavistis me regem. and you made me king. invidia fortunam odit. envy hates the fortunate. nunc, vult quidam munus meum, now there is one who wants my place, creo vult munus regis. creon wants the king's place. stipendarius est, tiresia! you have been bribed, tiresias! hoc fakinus ego solvo! i shall lay bare this plot! creo vult rex fieri, creon would be king. Quis liberavit vos carminibus? Who freed you from the riddles? amiki! eg' Œdipus clarus, ego. Friends, it was i, famed oedipus, i. invidia fortunam odit. envy hates the fortunate. volunt regem perire, ey want to destroy the king, vestrum regem perire, to destroy your king, clarum oedipodem, vestrum regem. famed oedipus, your king. chorus chorus Gloria! Glory! laudibus regina Jocasta all praise to queen Jocasta in pestilentibus thebis. in plague-ridden ebes. laudibus regina nostra. all praise to our queen. laudibus oedipodis uxor. all praise to oedipus' wife Gloria! Glory!

 TEXTS AND TRANSLATIONS

ACT II

chorus chorus Gloria! Glory! laudibus regina Jocasta all praise to queen Jocasta in pestilentibus thebis. in plague-ridden ebes. laudibus regina nostra. all praise to our queen. laudibus oedipodis uxor. all praise to oedipus' wife Gloria! Glory!

Jocasta Jocasta nonn'erubeskite, reges, are you not ashamed, princes, clamare, ululare in aegra urbe to bicker and howl in a stricken city, domestikis altercationibus? raising up your personal broils? nonn'erubeskite in aegra urbe are you not ashamed in a stricken city clamare vestros domestikos clamores? to complain your personal complaints? coram omnibus clamare, to clamor before everyone, coram omnibus domestikos clamores, before everyone to raise up clamare in aegra urbe, reges, your personal broils in a stricken city, nonn'erubeskite? are you not ashamed, princes? ne probentur oracula oracles are not to be trusted, quae semper mentiantur. they always lie. oracula - mentita sunt oracula. oracles - they are all liars. cui rex interfikiendus est? by whom was the king to be slain? nato meo. by my son. age rex peremptus est. Well, the king was slain. laius in trivio mortuus. laius died at the crossroads. ne probentur oracula oracles are not to be trusted, quae semper mentiantur. they always lie. cave oracula. beware of oracles.

chorus chorus trivium, trivium . . . e crossroads, the crossroads . . .

ŒdiPus oediPus Pavesco subito, Jocasta, i am afraid suddenly, Jocasta, pavesco maxime. Jocasta audi: i have great fear, Jocasta, listen: locuta es de trivio? did you speak of the crossroads? ego senem kekidi, i killed an old man cum corintho exkederem, when i was coming from corinth, kekidi in trivio, killed him at the crossroads, kekidi, Jocasta, senem. i killed, Jocasta, an old man.

 PLAYBILL TEXTS AND TRANSLATIONS

Jocasta Jocasta oracula mentiuntur, oracles are liars, semper oracula mentiuntur, oracles are always liars, Œdipus, cave oracula; oedipus, beware of oracles; quae mentiantur. they tell lies. domum kito redeamus. let us return home quickly, non est consulendum. there is no truth here.

ŒdiPus oediPus Pavesco, maxime pavesco, i am afraid, greatly afraid, pavesco subito, Jocasta; i am afraid suddenly, Jocasta; pavor magnus, Jocasta, a great fear, Jocasta, in me inest. has come upon me. subito pavesco, uxor Jocasta. suddenly i fear, Jocasta, my wife. nam in trivio kekidi senem. For i killed an old man at the crossroads. volo consulere, i want to find out the truth, consulendum est, Jocasta, there is truth, Jocasta, volo videre pastorem. i want to see the shepherd. skeleris superest spectator he still lives, he who witnessed the crime. Jocasta, consulendum, Jocasta, the truth, volo consulere. skiam! i must find out the truth. i must know!

*** *** chorus chorus adest omniskius pastor e shepherd who knows all is here, et nuntius horribilis. and the messenger of dread tidings. nuntio messenGer mortuus est Polybus. Polybus is dead. senex mortuus Polybus old Polybus is dead; non genitor oedipodis; he was not oedipus' father; a me keperat Polybus, Polybus got him from me; eg' attuleram regi. i took him to the king. chorus chorus verus non fuerat pater oedipodis. he was not oedipus' real father. nuntio messenGer Falsus pater per me! his feigned father, by my doing! chorus chorus Falsus pater per te! his feigned father, by your doing!

 TEXTS AND TRANSLATIONS

nuntio messenGer reppereram in monte i found on the mountain puerum oedipoda, the child oedipus, derelictum in monte abandoned on the mountain, parvulum oedipoda the infant oedipus, foratum pedes, his feet pierced, vulneratum pedes, his feet wounded, parvulum oedipoda. the infant oedipus. reppereram in monte, i found on the mountain attuleram pastori and took to the shepherd puerum oedipoda. the child oedipus.

chorus chorus reskiturus sum monstrum, i am about to hear a marvel. monstrum reskiskam. i shall hear a marvel. deo claro Œdipus natus est, oedipus was born of a great god, deo et nymph a montium of a god and a nymph of the mountain in quibus repertus est. on which he was found.

Pastor shePherd oportebat takere, nunquam loqui. silence were better, not speech. sane repperit parvulum oedipoda. indeed he found the infant oedipus, a patre, a matre by father, by mother in monte derelictum abandoned on the mountain, pedes laqueis foratum. his feet pierced with thongs. utinam ne dikeres; you should not have spoken: hoc semper kelandum this should always have been hidden, inventum esse in monte that the abandoned infant derelictum parvulum, was found on the mountain, parvum oedipoda, the infant oedipus, in monte derelictum. abandoned on the mountain. oportebat takere, nunquam loqui. silence were better, not speech.

ŒdiPus oediPus nonne monstrum reskituri if the marvel be not revealed, quis Œdipus, genus oedipodis skiam. i shall find out oedipus' lineage. Pudet Jocastam, fugit. Jocasta is ashamed, she flees. Pudet oedipi exulis, she is ashamed of oedipus the exile, pudet oedipodis generis. she is ashamed of oedipus' parents. skiam oedipodis genus; i shall find out oedipus' lineage; genus meum skiam. i shall find out my origin. nonne monstrum reskituri if the marvel be not revealed, genus oedipodis skiam, i shall find out oedipus' lineage, genus exulis mei. the origin of my exile. ego exul exsulto. i, an exile, exult.

 PLAYBILL TEXTS AND TRANSLATIONS

Pastor et nuntio shePherd and messenGer in monte reppertus est, on the mountain he was found, a matre derelictus; abandoned by his mother; a matre derelictum by his mother abandoned, in montibus repperimus. we found him on the mountain. laio Jocastaque natus! he is the son of laius and Jocasta, Peremptor laii parentis! the slayer of laius, his parent, coniux Jocastae parentis! the husband of Jocasta, his parent! utinam ne dikeres, you should not have spoken, opportebat takere, silence would have been best, nunquam dikere istud: never to speak this thing: a Jocasta derelictus abandoned by Jocasta, in monte reppertus est. he was found on the mountain.

ŒdiPus oediPus natus sum quo nefastum est, i was born of whom divine law forbade, concubui cui nefastum est, i have lain with whom divine law forbade, kekidi quern nefastum est. i have slain whom divine law forbade. lux facta est! all now is made clear!

*** *** nuntio messenGer divum Jocastae caput mortuum! e divine Jocasta is dead! chorus chorus mulier in vestibulo e woman in the courtyard comas lakerare. tore at her hair. claustris occludere fores, she made fast the doors, occludere, exclamare. shut in and crying aloud. et Œdipus irrumpere, and oedipus burst in, irrumpere et pulsare, burst in and pounded on the doors, et Œdipus pulsare, ululare. and oedipus pounded, howling wildly. nuntio messenGer divum Jocastae caput mortuum! e divine Jocasta is dead! chorus chorus et ubi evellit claustra, and when they broke open the lock, suspensam mulierem everyone beheld omnes conspexerunt. the woman hanging. et Œdipus praekeps ruens and oedipus, rushing headlong, illam exsolvebat, illam collocabat; loosened her and laid her down; illam exsolvere, illam collocare. loosened her, laid her down, et aurea fibula et avulsa fibula and with a golden brooch plucked from her oculos effodire; he gouged out his eyes; ater sanguis rigare. the black blood flowed.

 TEXTS AND TRANSLATIONS

nuntio messenGer divum Jocastae caput mortuum! e divine Jocasta is dead!

chorus chorus sanguis ater rigabat; e black blood flowed, ater sanguis prosiliebat; the black blood gushed forth; et Œdipus exclamare and oedipus cried aloud et sese detestare. and cursed himself. omnibus se ostendere. he shows himself to all. aspikite fores pandere, behold through the open doors, spectaculum aspikite, behold the sad spectacle, spectaculum omnium atrokissimum. the most horrible of all sights.

nuntio messenGer divum Jocastas caput mortuum! e divine Jocasta is dead!

chorus chorus ekke! regem oedipoda, behold! oedipus the king, foedissimum monstrum monstrat appears a most foul monster, foedissimam beluam. a most foul beast. ellum, regem oedipoda! lo, oedipus the king! ellum, regem okkekatum! lo, the blind king! rex parrikida, miser Œdipus, e parricide king, poor oedipus, miser rex Œdipus carminum coniector poor king oedipus, solver of riddles. adest! ellum! regem oedipoda! he is here! lo! oedipus the king! vale, Œdipus, Farewell, oedipus, te amabam, te miseror. i loved you, i pity you. miser Œdipus, oculos tuos deploro. Wretched oedipus, i lament the loss of your eyes. vale, Œdipus, Farewell, oedipus, miser Œdipus noster, our poor oedipus, te amabam, Œdipus. i loved you, oedipus, tibi valedico, Œdipus, i bid you farewell, oedipus tibi valedico. i bid you farewell.

 PLAYBILL STRAVINSKY’S WORLD 1892 1899 • Stravinsky attends 50th • Scott Joplin’s Maple Leaf Rag anniversary performance of published Glinka’s Ruslan and Lyudmila at Mariinsky Theatre 1900 • Tchaikovsky’s Pathétique • Exposition universelle et Symphony and Nutcracker internationale de Paris takes ballet both premiered in place, attended by Diaghilev Saint Petersburg • Paris metro opens • Freud’s The Interpretation 1893 of Dreams published • Tchaikovsky dies Stravinsky’s Parents 1901 1894 • First transatlantic radio • Tsar Alexander III dies transmission 1882 • Stravinsky enters Saint • Igor Fyodorovich Stravinsky 1897 Petersburg University born (5 June OS) to Fyodor • Diaghilev opens his first art to begin law studies Ignat’yevich Stravinsky and exhibition in Saint Petersburg • Queen Victoria dies Anna Kirilliovna Stravinskaya in Oranienbaum (now 1902 Lomonosov), west of • Stravinsky’s father Fyodor, Saint Petersburg principal bass at the Imperial • Wagner’s Parsifal premiered Opera, Saint Petersburg, dies in Bayreuth • Debussy’s Pelléas et Mélisande premiered in Paris 1883 • Wagner dies in Venice 1903 • Webern born • Stravinsky begins composition of his first major 1885 work, Piano Sonata in F-sharp • Berg born minor (privately premiered by Nicolas Richter to Rimsky- 1888 Brahms Korsakov circle in 1905) • , Stravinsky’s • Wright brothers achieve first future mistress and second manned flight wife, born in Saint Petersburg • Brahms dies • Marie Curie, Pierre Curie • Roman, Stravinsky’s oldest and Henri Becquerel receive 1889 brother, dies the Nobel Prize for their work • Nijinsky born on radiation • Exposition universelle, 1898 Paris, and inauguration • Publication of inaugural issue 1904 of Eiffel Tower of (The World • premiered for of Art) [dated January 1899], Rimsky-Korsakov’s 1890 founded by Diaghilev in 60th birthday • Stravinsky meets his cousin Saint Petersburg • Russo-Japanese War begins Katerina (Katya, Catherine) • Composes earliest surviving Nossenko, his future wife piece, for piano 1905 • Tchaikovsky’s opera The • Stravinsky begins lessons with Queen of Spades premiered Rimsky-Korsakov at Mariinsky Theatre

 STRAVINSKY’S WORLD

• Workers massacred at Saint • Elliott Carter and Messiaen 1911 Petersburg Winter Palace on born • Petrushka premiered by Ballets Bloody Sunday, leading to • Ford Model T motor car first Russes at Théâtre du Châtelet Russian Revolution of 1905 produced with Vaslav Nijinsky in lead • Mutiny on battleship Potemkin role, designs by Benois • Strauss’ Salome premiered in 1909 • Mahler dies Dresden • Siloti conducts premiere • First exhibition of Cubist art at of ; Salon des indépendants, Paris 1906 Diaghilev is in audience • Stravinsky meets Satie • Igor and Catherine Stravinsky • Fireworks premiered in both • Titanic sinks married piano and orchestral versions • Strauss’ in Saint Petersburg; again, premiered in Dresden Diaghilev is present • Diaghilev mounts the inaugural 1912 Saison Russe of Russian • Stravinsky meets Schoenberg and ballets at the in Berlin and attends a perform - Théâtre du Châtelet, Paris, ance of his lunaire including Les Sylphides • Stravinsky attends a perform - (first seen as Chopiniana in ance of Wagner’s Parsifal in Saint Petersburg, 1907), with Bayreuth with Diaghilev a Chopin nocturne and waltz • John Cage born newly orchestrated by Stravinsky 1913 • Britten and Lutosławski born 1910 • Inauguration of new Théâtre Diaghilev • Diaghilev’s company renamed des Champs-Élysées, Paris Ballets Russes • Noisy premiere of The Rite • Stravinsky arrives in Paris of Spring at Théâtre des • Diaghilev mounts his first for first time for premiere of Champs-Élysées, choreo - exhibition of Russian art at the The Firebird by Ballets Russes graphed by Nijinsky, designs Paris Salon d’Automne at Paris Opéra by Nicolas Roerich • First duma (Russian legislative assembly) opens • Shostakovich born The Rite of Spring

1907 • Stravinsky’s first child Fyodor (Fedik, Theodore) born • Diaghilev mounts first series of concerts of Russian music at Paris Opéra • Picasso completes Les Demoiselles d’Avignon • WH Auden born

1908 • First public performances of The Faun and the Shepherdess and Symphony in E-flat Major in Saint Petersburg • Chant funèbre premiered in memory of Rimsky-Korsakov, assumed lost until parts rediscovered in Saint Petersburg in 2015 • Stravinsky moves his family 1914 • Stravinsky’s first from Russia, first to Clarens, • First concert performance of daughter Lyudmila Switzerland, then to Beaulieu, The Rite of Spring in Paris (Mika, Mikushka) born France • Begins composition of • Rimsky-Korsakov dies • Stravinsky’s son Sviatoslav Les noces • Diaghilev mounts (Soulima) born • Assassination of Archduke Mussorgsky’s Boris Godunov • Mahler’s Eighth Symphony Franz Ferdinand in Sarajevo at Paris Opéra, with premiered in Munich and outbreak of WWI Chaliapin in title role

 PLAYBILL STRAVINSKY’S WORLD

• Stravinsky and family move to • Representation of the People • Stravinsky signs contract with Switzerland; daughter Milena Act gives British women over Pleyel company to make piano (Milène) born 30 the vote rolls of his music; he is given • Stravinsky makes his • Nelson Mandela born Paris studio by Pleyel conducting debut in Montreux • Premiere of 1919 at Paris Opéra • Treaty of Versailles signed at • Three Pieces for String Quartet Paris Peace Conference premiered in Chicago by • premiered in Paris Flonzaley Quartet • Three Pieces for clarinet • Panama Canal opens premiered in Lausanne • First volume of Proust’s À la recherche du temps perdu 1920 published ( Swann’s Way ) • Stravinsky and his family relocate from Switzerland to Brittany • Pulcinella premiered at Paris Opéra • premiered in London • Stravinsky meets Gabrielle “Coco” Chanel; he and his family move into her house in Garches, west of Paris • Concertino for string quartet • Chanel No. 5 perfume premiered in New York by launched Flonzaley Quartet • League of Nations founded 1922 • The Rite of Spring revived in • Renard and Mavra premiered Einstein Paris with new choreography in Paris by Massine • Stravinsky, Diaghilev, Picasso, Joyce, and Proust • Einstein’s General Theory of 1921 dine together at Hôtel Relativity published • Composes Majestic, Paris • Stravinsky makes last ever at Garches • Proust dies visit to family summer home • Stravinsky and his family • Xenakis born in Ustilug move to Biarritz • Mussolini rises to power • Full score of The Rite of Spring • Joyce’s Ulysses and Eliot’s 1916 published by Edition Russe de The Waste Land published • Milton Babbitt born Musique • BBC founded and begins • Easter Rising in Dublin music broadcasts • Irish Free State established 1917 • Stravinsky attends Cocteau’s • Stravinsky meets Picasso version of Sophocles’ Antigone in Rome at Théâtre de l’Atelier, Paris, • Russian Revolutions; Bolshevik music by Honneger, sets by government established Picasso, costumes by Chanel • Tsar Nicholas II executed • Gury, Stravinsky’s youngest 1923 brother, dies of typhus while • Les noces premiered by serving with Red Cross in Ballets Russes in Paris, Romania designed by Goncharova, • Stravinsky completes first choreographed by Nijinska version of Les noces • premiered in Paris Vera de Bosset Sudeykina • Formation of Union of Soviet 1918 Socialist Republics • Debussy dies • Stravinsky conducts an entire • The Soldier’s Tale premiered • Stravinsky meets and begins program of his own music for in Lausanne affair with Vera de Bosset first time • Cocteau’s Le Coq et l’arlequin Sudeykina • Ligeti born published • Symphonies of Wind • Schoenberg completes his first • Signing of Armistice to mark Instruments premiered in entirely 12-note composition, end of WWI London the Suite for Piano, Op. 25

 STRAVINSKY’S WORLD

1924 • Cocteau’s Le rappel à l’ordre • for piano and • Concerto for piano and wind (“Call to Order”) published orchestra premiered in Paris instruments premiered in • Stravinsky reconverts to with Stravinsky as soloist Paris with Stravinsky as soloist Orthodox faith • Wall Street Crash and start of • Stravinsky’s first concert tours • Stravinsky conducts Great Depression around Europe The Rite of Spring for first time • Stravinsky and his family move • British General Strike 1930 to Nice • Puccini’s Turandot premiered • Symphony of Psalms • Puccini dies posthumously at La Scala, premiered in Brussels • Lenin dies Milan • Stravinsky meets violinist • Ramsay MacDonald becomes Samuel Dushkin the first Labor Prime Minister 1927 • Construction begins of Empire • Oedipus Rex premiered State Building, New York 1925 (as oratorio) in Paris • George Balanchine 1931 choreographs revival of • Stravinsky and family move The Song of the Nightingale to Voreppe with Ballets Russes to original • Stravinsky conducts designs by Matisse Violin Concerto with Dushkin • Berio and Boulez born in Berlin • Stravinsky meets Gershwin • Sonata for piano premiered 1932 • Satie dies • First concert tour with Dushkin • Exposition internationale des • for violin and arts décoratifs et industriels piano premiered in Berlin modernes (“art deco”), Paris 1933 • Hitler becomes Chancellor of Germany Lindberg 1934 • Charles Lindberg makes first • Perséphone premiered in Paris solo non-stop flights from • Stravinsky takes French New York to Paris citizenship • Salle Pleyel opens in Paris • Stravinsky meets Berg in • First feature-length “talkie” Venice film The Jazz Singer released • Stravinsky and family move to an apartment in Paris on 1928 rue du Faubourg Saint-Honoré • Apollon musagète (Apollo) • Birtwistle and Maxwell Davies premiered in Washington, DC, born; Elgar and Holst die followed by European premiere given by Ballets Russes in Paris, choreographed by Balanchine • F Scott Fitzgerald’s The Great • Oedipus Rex stage premiere in Gatsby and Virginia Woolf’s Vienna and Berlin (conducted Mrs Dalloway published by Klemperer) • Eisenstein’s film Battleship • The Fairy’s Kiss premiered Potemkin released in Paris • Stravinsky makes first concert • Stravinsky records Petrushka tour of USA and The Firebird for Columbia • Stravinsky signs first recording Records With Boulanger contract • Stockhausen born • John Logie Baird gives the • Fleming discovers penicillin first public demonstration of • The Ondes Martenot, an 1935 television electronic musical instrument, • Stravinsky and Nadia • Berg’s Wozzeck premiered invented Boulanger appointed in Berlin professors of composition 1929 at the École Normale de 1926 • Diaghilev dies Musique, Paris • Chanel launches her “little • Stravinsky records The Rite black dress” of Spring for first time for Columbia; Monteux records  rival version for HMV PLAYBILL STRAVINSKY’S WORLD

• Stravinsky’s autobiography • Stravinsky leaves for 1942 published in French USA from Bordeaux aboard • Stravinsky listens to radio (Chroniques de ma vie ), SS Manhattan broadcast of Shostakovich’s ghost-written by Walter Nouvel • Stravinsky begins delivery of Leningrad Symphony • Concerto for two pianos Charles Eliot Norton lectures • premiered by Stravinsky with at premiered in Los Angeles son Soulima (subsequently published in • Stravinsky makes his second French, and later in English 1943 US tour (with Dushkin) as Poetics of Music ) • premiered in Boston • Stravinsky meets Mussolini • Britain and France declare in Rome war on Germany 1944 • Gershwin’s Porgy and Bess • Freud dies • “ for a young premiered in New York elephant” premiered in • Berg dies Cambridge, MA • Moscow metro opens • Four Norwegian Moods premiered in Cambridge, MA 1936 • Scènes de Ballet first stage • Spanish Civil War begins performance in Philadelphia • Abdication of Edward VIII • Sonata for two pianos • Stravinsky tours South premiered in Madison, WI America • born 1945 • Bartók and Webern die • Philharmonia Orchestra founded • Igor and Vera Stravinsky granted US citizenship • Festival of Stravinsky’s music mounted in Paris (Boulez and • Gone With the Wind film fellow students of Messiaen released disrupt performance of Four Norwegian Moods ) 1940 • USA drops atomic bombs • Vera joins Stravinsky in USA; on Hiroshima and Nagasaki they marry in Bedford, MA, n e t h c and settle eventually in e V

n Los Angeles at 1260 North a V l r a Gershwin Wetherly Drive, Beverly Hills C • Symphony in C premiered in Chicago 1937 • Occupation of Paris by Nazis • Gershwin and Ravel die and surrender of Marshal • Stravinsky makes his third Pétain; General Charles de US tour Gaulle establishes Free French • Jeu de cartes premiered in Government in London New York, choreographed by • Churchill becomes Prime Balanchine Minister • Disney’s Fantasia released, 1938 including a scene using • Stravinsky’s daughter reworked music from • End of WWII Lyudmila dies The Rite of Spring • United Nations founded • Dumbarton Oaks concerto • Britten’s Peter Grimes premiered in Washington DC, 1941 premiered at Sadler’s Wells conducted by Nadia Boulanger • Japanese attack on Theatre, London • Kristallnacht Pearl Harbor and US entry • Nazi annexation of Austria into WWII 1946 (the “Anschluss”) • Siege of Leningrad begins • Symphony in Three (finally lifted 872 days later) Movements and Ebony 1939 • Stravinsky’s brother Yury Concerto premiered in • Catherine (wife) and Anna dies in Leningrad New York (mother) die • James Joyce and Virginia • Scherzo à la Russe premiered • Zvezdoliki (composed 1911/12) Woolf die in San Francisco premiered in Brussels

 STRAVINSKY’S WORLD

• Darmstadt International • Korean War begins; • Charles Ives dies Summer Course for New China invades Tibet • premiered in Music initiated. Future • Group Areas Act passed in Washington, DC attendees include a roll-call South Africa, the principal • “Rock around the Clock” of key post-war composers instrument of Apartheid released by Bill Haley and such as Babbitt, Berio, Boulez, the Comets Cage, Ligeti, Messiaen, Nono, 1951 Stockhausen, Varèse, and • Stravinsky returns to Europe 1955 Xenakis for first time since 1939 • Saint Petersburg metro opens • The Rake’s Progress premiered • Boulez’s Le Marteau sans 1947 in Venice maître premiered • Concerto in D premiered • Schoenberg dies in Basle • Gide dies • Festival of Britain

1952 • Stravinsky attends performance in Paris of Boulez’s Structures for two pianos, performed by Boulez and Messiaen • Cantata premiered in Los Angeles • John Cage’s 4’33” premiered • Nicolas Nabokov mounts L’Oeuvre du XXe siècle festival Parks in Paris, covertly funded by the CIA; programs include Stravinsky’s Symphony in C • Rosa Parks refuses to give Gandhi • Accession of Elizabeth II up her seat on a segregated bus in Alabama, a symbolic • Independence of India and 1953 gesture leading ultimately to formation of Pakistan • Stravinsky meets Dylan the dismantling of US race Thomas; they plan an opera discrimination laws 1948 together, but Thomas dies later • Orpheus premiered in New that year 1956 York by the • Stravinsky conducts Canticum (precursor to New York City Sacrum in St Mark’s Venice Ballet), choreographed by • Stravinsky suffers a stroke Balanchine, designed by in Berlin while conducting Symphony in C • Mass premiered in Milan • John Osborne’s Look Back in • Robert Craft meets Stravinsky Anger premiered in London for first time in Washington, • Stockhausen completes DC, on the occasion of Gesang der Jünglinge for handing-over of libretto of The electronic tape Rake’s Progress by WH Auden • Suez Crisis • National Health Service • Hungarian Revolution and founded Soviet invasion • Formation of State of Israel Beckett • Assassination of Gandhi 1957 • Agon premiered by New York • Beckett’s Waiting for Godot 1949 City Ballet, choreographed premiered in French in Paris by Balanchine • Messiaen’s Turangalîla- • Stalin dies Symphonie premiered • Stravinsky visits Dartington • Malenkova becomes, briefly, Summer School in Devon in Boston, MA leader of the Soviet communist • Formation of German • Soviet Union launches Sputnik party, followed swiftly by • Stravinsky begins his Democratic Republic Krushchev • Richard Strauss dies Conversations with Craft, to be published in multiple 1954 volumes 1950 • In Memoriam Dylan Thomas • Nijinsky dies premiered in Los Angeles • Cocteau’s film Orphée released

 PLAYBILL STRAVINSKY’S WORLD

1958 1962 1967 • premiered in Venice • The Stravinskys dine with the • Stravinsky makes his final • World’s Fair in Brussels at Kennedys at the White House recording (Los Angeles) and which Varèse’s Poème • Cuban Missile Crisis concert appearance (Toronto) électronique is installed in the • Mandela imprisoned as a conductor Philips Pavilion (designed by (for 27 years) • The Beatles’ Sgt Pepper’s Le Corbusier, assisted by Xenakis) • Stravinsky tours to South Lonely Hearts Club Band Africa, Europe, and Israel released 1959 • Algeria achieves independence • Vietnam War begins from France 1968 • Double Canon for string quartet • Stravinsky returns to Russia • Stravinsky arranges Hugo Raoul Dufy in memoriam (now Soviet Union) for first Wolf’s Two Sacred Songs premiered in New York time in nearly 50 years; a • Student uprisings in Paris dinner is held in his honor by and elsewhere 1960 Soviet Ministry of Culture • Assassination of Martin • Movements for piano and • A Sermon, a Narrative, and a Luther King orchestra premiered in Prayer premiered in Basle • Prague Spring New York • first broadcast • Berio’s Sinfonia premiered on CBS television • Kenneth MacMillan 1969 choreographs The Rite of • Igor and Vera Stravinsky move Spring for the Royal Ballet, to New York with Monica Mason in the role • Stravinsky arranges a number of the Chosen One of Bach Preludes and

1963 • Cocteau dies • Kennedy assassinated

1964 • Abraham and Isaac premiered in Jerusalem • The Beatles formed in • Elegy for JFK premiered in Liverpool Los Angeles • Fanfare for a New Theatre 1961 premiered in New York • Yury Gagarin is first man in • Civil Rights Act passed in the space USA, banning discrimination on • Stravinsky makes his most the basis of race, color, religion, • First manned moon landing extensive world tour, including sex, or national origin Europe, east Asia, Australia, 1970 and New Zealand 1965 • Expo ‘70 takes place in , • TS Eliot dies Japan; Stockhausen’s music • Variations (Aldous Huxley featured in spherical concert in memoriam) and Introitus hall of West German pavilion (TS Eliot in memoriam) premiered in Chicago 1971 • Stravinsky dies (April 6) in 1966 his apartment in New York. • , Preliminary funeral rites take Stravinsky’s last major work, place in New York. The funeral premiered at Princeton is in Venice at church of Santi University Giovanni e Paulo. He is buried • Stravinsky completes his final on the cemetery island of original work, The Owl and the San Michele, in the Orthodox Pussycat, for voice and piano section, close to Diaghilev • Erection of Berlin Wall • Indira Gandhi elected prime minister of India Text: Jonathan Cross All images from Wikimedia Commons except as noted.

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