CLASSICAL�SERIES ’S BIRTHDAY BASH

THURSDAY, FEBRUARY 20, AT 7 PM FRIDAY & SATURDAY, FEBRUARY 21 & 22, AT 8 PM SUNDAY, FEBRUARY 23, AT 2 PM

NASHVILLE SYMPHONY THANK YOU TO OUR GIANCARLO GUERRERO, conductor CONCERT PARTNER BARRY DOUGLAS,

LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72A - 14 minutes

LUDWIG VAN BEETHOVEN Concerto No. 1 in C major for Piano and Orchestra, Op. 15 - 36 minutes Allegro con brio CLASSICAL SERIES RADIO PARTNER Largo Rondo: Allegro Barry Douglas, piano

– INTERMISSION – CLASSICAL SERIES MEDIA PARTNER LUDWIG VAN BEETHOVEN Symphony No. 3 in E-Flat major, Op. 55, “Eroica” - 47 minutes Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace This concert will last 2 hours and 10 minutes, Finale: Allegro molto including a 20-minute intermission.

This concert is being recorded for future broadcast. To ensure the highest-quality recording, please keep noise to a minimum.

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PROGRAM SUMMARY Part of what enabled Beethoven to become “Beethoven” — the larger-than-life figure we know today — was the fact that he lived through an era of dynamic transformation. According to John Clubbe in his brand-new biography of the composer, the decades from 1790 to 1810 “appeared to mark the beginning of a new stage” in human history…. Poets and musicians differentiated and refined the inner life.” It was precisely during these decades that Beethoven set out from his native Bonn to settle in Vienna and composed many of the works for which he is still best known. The three pieces we hear on this program all date from these years. The First Piano Concerto (in fact, the second to be completed) reminds us of Beethoven’s roots in the Classical style forged by the geniuses he was up against — Mozart and Haydn — while also revealing the uniqueness of his approach. The name he gave to his Third Symphony, Eroica, is typically used to describe the “heroic” style that Beethoven went on to forge — not from scratch, to be sure, but through a profoundly personal and at times revolutionary rethinking of what he had learned from his predecessors. This style is inherently theatrical, conveying a sense of individual struggle and triumph — as Beethoven’s only opera, , explicitly stages.

LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72a

Born on December 16, 1770, in Bonn, Germany First performance: March 29, 1806, at the Theater an der Wien in Vienna Died on March 26, 1827, in Vienna

First Nashville Symphony performance: Estimated Composed: April 29, 1947, with music length: 1804-06 director William Strickland 14 minutes

eethoven’s only opera dramatizes a regime the heroic plan of a noblewoman, Leonore, Bbased on cruelty and injustice being to search for her husband, Florestan, who has toppled through the power of courageous been “disappeared” as a political prisoner. His love. It has lost none of its urgency as societies actual crime is never specifi ed, but it clearly careen from crisis to crisis. Merely performing has to do with his opposition to the unjust Fidelio can signal an implicit political or social policies of the prison governor, Don Pizarro, critique, for the walled grimness of its prison who has placed him in solitary confi nement in setting has remained distressingly relevant. the lowest dungeon out of revenge. Using the With the slightest of allegorical touches, Fidelio assumed identity “Fidelio,” Leonore disguises can seem convincingly “about” the Th ird Reich, herself as a man to gain access to the prison. In the Soviet gulag or the most contemporary the end, Pizarro’s atrocities are uncovered and permutations of the fascist impulse. Florestan and his fellow prisoners are freed. Th e story of Fidelio is straightforward. Set Beethoven referred to Fidelio as his “child of in a prison outside Seville, it centers around sorrow” because it cost him so much struggle

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to write — for the story meant so much to him. long been a concert favorite as a symphonic But it was also troublesome because Beethoven, counterpart to the idealism expressed in the not a man easily given to compromise, had to opera. accommodate the practical necessities of the The slow introduction descends — literally, theater. The first version of the opera, given in a stepwise motion at the beginning — into on November 20, 1805 (the year the Eroica the despairing depths of the dungeon where was introduced to the public) was a failure. Florestan languishes but has a vision of hope Beethoven quickly withdrew it but introduced that his wife will save him. The musical material a tighter, revised version the following spring. is essentially taken from the point of view of The overture we hear was intended for that Florestan, who can be seen as an alter ego for production. Beethoven wrote still another Beethoven (who was imprisoned, in his own overture a couple years later for a production way, by deafness). Both muscular and nimble, in Prague that never materialized. Finally, in the main theme of the Allegro is Beethoven 1814 he created the version of the opera that at his most dramatic. became most widely known, changing its name The hope anticipated earlier in the music from Leonore to Fidelio, and writing a much returns, but so do the shadows, eventually more compact, brisk overture. leading to an extraordinary climactic moment in which the atmosphere suddenly changes. WHAT TO LISTEN FOR As he does in the opera itself, Beethoven uses a trumpet fanfare to symbolize the eonore No. 3 turned out to be, abrupt end of Pizarro’s corrupt power and Lparadoxically, too dramatic for the opera the prisoners’ coming liberation. In the final house. Adopting the “heroic” manner of the pages, Beethoven achieves a remarkable effect recent Eroica, it encapsulates the very soul of by overlaying a series of patterns that scurry the drama in purely instrumental terms and through the strings. These build tension to thus, Beethoven came to realize, overwhelms an unbearable level before the dam bursts the ensuing opera instead of preparing for and the full ensemble joins in unstoppable, it. Gustav Mahler conducted a celebrated joyous excitement. production that ingeniously made a place for the Leonore No. 3 during the scene change The Leonore Overture No. 3 is scored for pairs before the triumphant finale in which the of flutes, oboes, clarinets and bassoons; 4 horns; 2 trumpets; 3 trombones; timpani and strings. prisoners are liberated. In any case, it has

Concerto No. 1 in C major for Piano and Orchestra, Op. 15

Composed: c. 1795, with later revisions before publication in 1801 Estimated length: 36 minutes

First performance: First Nashville Symphony performance: Possibly during Beethoven’s first public January 31-February 2, 1980, with guest conductor concert in Vienna, on March 29, 1795 Jorge Mester and soloist Lydia Artymiw

s far back as his teenage years in Bonn, “No. 1” (only a piano score survives), and the Awe can find evidence of Beethoven’s work that officially became known as the Piano preoccupation with the concerto genre. He Concerto No. 2 (Op. 17) has its origins in the tried his hand at composing a piano concerto Bonn years as well. At this very time, Mozart that, technically speaking, is the chronological was producing his famous series of piano

34 FEBRUARY 2020 CLASSICAL concertos in Vienna. For Mozart, keyboard the second to be composed. Though he had concertos provided much-needed income completed his Concerto No. 2 in B-flat prior to support his new freelance career and kept to this one, Beethoven made a savvy choice his name before the public. When Beethoven to hold off on publishing it so that the more resettled in 1792 in the “land of the clavier,” overtly brilliant Concerto in C major would be as his predecessor once described Vienna, he his first publication in the genre — and make would repeat that pattern, relying on his talents it clear that he was the real heir to Mozart, a as a keyboard performer to build a reputation. dazzling new talent to whom attention must Contemporary diarists recorded the be paid. spellbinding effect of Beethoven’s performances in intimate recital-improvisations, which often WHAT TO LISTEN FOR resulted in snapped strings and splintered hammers, given the more delicate instruments n the lengthy opening movement, Beethoven available at the time — Beethoven was Imakes sure to evoke the poised grandeur of continually in search of a more expressive, Mozart’s C major concertos, but he cleverly more robust keyboard. teases us with a deceptively quiet initial Carl Czerny, a freakishly young prodigy statement of the first theme. The militaristic when Beethoven took him on as a pupil, later pomp and march-like character of the first and recalled the charismatic impact made by his third themes, emphasized by assertive trumpets famous improvisations: “There was something and drums, make them close cousins. A lyrical wonderful in his expression in addition to second theme intervenes, but Beethoven has the beauty and originality of his ideas and another trick in store: he makes us wait until his spirited style of playing them.” Czerny the solo piano partners with the orchestra added that Beethoven “would burst into loud before allowing us to hear this melody unfold laughter and banter his hearers” after seeing to completion. In other words, nothing will how his playing had brought many of them be rote or predictable here. At the same time, to tears. His fans became eager bystanders it’s a good way of indicating how Beethoven is during the keyboard duels to which Beethoven thinking big in this first movement, creating challenged his rivals. architecture on the grand scale. As had been the case with Mozart, the The soloist’s entrance is strangely oblique. concerto format proved useful to Beethoven In his fascinating study of all the Beethoven because it showcased his art not just as a concertos, the musicologist Leon Plantinga composer, but also as a performer — at least points out that, throughout this entire before his deafness reached the point when he movement, the piano comments and elaborates could no longer function as a concert pianist. on the first theme but never actually quite plays He was the soloist for four of his five piano the theme itself. Characterizing the rapport concertos. The first three of these, in particular, Beethoven sets up between the soloist and incorporate many of the tricks of the trade orchestra, he writes: “It is as if the mass of the Beethoven had learned from Mozart — along orchestra is easily roused to overt, forceful with several strategies learned from his teacher action, while its leader favors a more nuanced, Haydn (a teacher with whom the student had artful approach.” a rapport that notoriously lacked harmony). Beethoven takes the section in which these It’s tempting to accuse Beethoven (and, some themes are developed as an occasion for decades later, Chopin) of deliberately setting a genuinely unusual harmonic odyssey, a out to confuse posterity, since in each case their fantasy of hushed suspense that continually “First Piano Concerto” was chronologically reveals new angles on what had seemed such

INCONCERT 35 CLASSICAL obvious and straightforward material. This BARRY culminates in a notoriously tricky right-hand DOUGLAS octave sweep down the keyboard to launch the piano reprise. Here, and in an enormous alternative cadenza Beethoven later penned, we can arry Douglas has probably obtain a good impression of what Bestablished a major one of his wildly ranging improvisations must international career since winning the Gold have sounded like. Medal at the 1986 Tchaikovsky International The Largo showcases Beethoven’s undeniable Piano Competition. As artistic director of the gift for serene melody — its delivery and chamber orchestra Camerata Ireland and the ornamentation are also important components Clandeboye Festival, he continues to celebrate of the virtuoso’s toolkit — and settles in a his Irish heritage while also maintaining a reposeful A-flat major far afield from the busy busy international touring schedule that has C major of the outer movements. Though included appearances with major orchestras he lightens the orchestral texture (no flutes around the world. or oboes, let alone trumpets and drums), Career highlights include recital tours Beethoven actually generates a new sound in the United Kingdom and U.S. and new world, thanks in part to the solo clarinet’s role collaborations with both the Endellion as a soulful partner for the piano’s rhapsodic String Quartet and the Borodin Quartet, as meditations. This movement demands the well performances of Tchaikovsky with the utmost in what Czerny described as Beethoven’s RTE Orchestra (Dublin), Ulster Orchestra “cantabile expression” and “refined tone and (), Symphony Orchestra and St. elegant delivery.” Petersburg Philharmonic, all marking the 30th If Beethoven puts his own stamp on Mozart’s anniversary of his Tchaikovsky International archetypal concerto in the first two movements, Competition win. the finale represents an extreme take on An exclusive Chandos recording artist, Haydn’s vigorously earthy humor. Listen for the Douglas has released critically acclaimed contrasting central episode, a very scenic detour recordings of all of Brahms’ solo piano works, in A minor full of interesting new flavors. As for as well as the solo piano works of both Schubert the main rondo tune itself, a catchy ear worm, and Tchaikovsky. He has also released two Beethoven restates its three reappearances with albums that feature his own arrangements of delightfully engaging theatricality — above Irish folk music. all, before his final orchestral statement of this Douglas founded Camerata Ireland in 1999 tune, when the soloist strays into nearby but to celebrate and nurture the very best of dangerously dissonant B major, as if trying young musicians from both Northern and the to get everybody in trouble before the flute Republic of Ireland. In addition to striving for gingerly leads everyone back to the sure path of musical excellence, one of the orchestra’s aims C major. In the coda, Beethoven unexpectedly is to further the peace process in Ireland by introduces a brief spell of wistful nostalgia — promoting dialogue and collaboration through only to pull the carpet out from underneath its musical education programs. He regularly such indulgence with a final orchestral flourish. tours with the ensemble throughout the world and visited the U.S. in the spring of 2018. In addition to solo piano, the Concerto is scored Douglas received the Order of the British for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, Empire (OBE) in the 2002 New Year’s Honours 2 trumpets, timpani and strings. List for services to music.

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Symphony No. 3 in E-flat major, Op. 55 “Eroica”

Composed: 1802-04 Estimated length: 47 minutes

First performance: First Nashville Symphony In the summer of 1804, in a private performance at the estate of performance: Beethoven's patron Prince Franz Joseph von Lobkowitz, to whom November 29, 1949, he dedicated the work. The first official public performance with music director followed in Vienna on April 7, 1805. William Strickland

he Eroica is rightly described as a giant existence.” This renewed sense of purpose Tadvance in the history of Western music. went hand in hand with a desire to forge what But along with its central historical significance Beethoven was calling “a new path” in music. in claiming a lofty new position for symphonic This new attitude bore fruit in the Third music, the Eroica is closely connected to Symphony, which soon absorbed Beethoven. the personal breakthrough it represents in Almost everything about this symphony Beethoven’s own life. The music is part of his indicates that the stakes have been raised to creative response to the profound crisis of his a higher level. Its only “traditional” aspect early 30s, shortly after the turn of the 19th is the instrumentation, which calls on the century. What Beethoven probably hoped standard forces used by Mozart and Haydn in was a passing phase of troubled hearing, their mature symphonies, with the exception which had been tormenting him for several of three horns instead of two. What are some years, in fact marked the onset of permanent examples of this sea change? They extend from deafness, an appalling nightmare for an active the large-scale architecture of the work, which musician. In the summer of 1802, doctor’s dramatically expands the dimensions of the orders were to take it easy and spend some symphony, to shocking shifts in harmonic time in Heiligenstadt, then a distant suburb, thought and an intensification of familiar peacefully removed from the hectic pace of devices, such as changes in volume. Vienna. The promised cure, however, didn’t A quick word on the famous French happen, and Beethoven’s despair led him to connection: the story goes that Beethoven’s contemplate suicide. admiration for Napoleon Bonaparte as a The so-called Heiligenstadt Testament is the heroic force for revolutionary change soured moving confessional letter that the composer when the French leader had himself crowned penned in the form of a will that autumn. emperor in December 1804. Yet while the Beethoven recounts in it the reasons for his idealistic Beethoven abhorred tyranny and depression, how he had felt the need to keep did in fact violently scratch out his original his growing deafness hidden from the world dedication from the title page of the score, and was misunderstood as “misanthropic” by he hadn’t categorically ruled out the practical nature. He then explains his determination to advantages of such a dedication (at the time he continue living, prompted by an overpowering was considering resettling in ). In the end, conviction of artistic mission: “It seemed he published the work as a “Heroic Symphony” impossible to leave the world until I had (Sinfonia Eroica), which was “composed to produced all that I felt called upon me to celebrate the memory of a great man.” produce, and so I endured this wretched

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WHAT TO LISTEN FOR now unfolding in a fugue of overpowering majesty. The final pages of the march are ll manner of imagery has been invoked almost cinematic, as Beethoven suggests an Ato get to the heart of this urgent music. individual mourner breaking down, unable to The first movement has been said to suggest go on, while the crowd eventually proceeds. scenarios ranging from a metaphoric battlefield In place of a classical minuet, the Scherzo (with the assertive opening chords as “cannon brings a return to the surging life force of the shots,” etc.) to the tireless energy of early first movement, yet on a more elementary level. industrialism. What is unmistakable is the Beethoven focuses on the inherent tension — where you driving, epic force that resonates. The famous and playfulness — of pairs of chords jostling “surprise” note of C-sharp (outside the home against a backdrop of triple meter. The reason key of E-flat major), which appears when the behind his choice of three horns becomes belong cellos come to rest as they state the first theme, apparent when that section gets its spotlight is an emblem for this musical eagerness to in the echoing calls of the trio. encounter experience head on, no matter Capping the Eroica is a marvelously where it leads. innovative final movement made up of And this certainly includes pain along with variations: not only on a theme (the tune joy, although the music as a whole seems to introduced a few minutes in by the oboe), be reaching for an optimistic outlook. Unlike but on the simpler bass line underpinning The premier provider of the Fifth Symphony, which achieves drama via it as well, which we hear as a sort of teasing senior lifestyle solutions intense compression, the Eroica uses expansion prelude. Beethoven had used the theme in to convey this sense of experience: through several earlier compositions, including a located in the heart of distant keys, a plenitude of thematic material ballet titled The Creatures of Prometheus, and and a swelling of the form traditionally used that mythological reference adds yet another Green Hills offers the for the opening movement of a Classical dimension to the Eroica. Some see the defiant most complete range of symphony. The thrilling coda, for example, is god Prometheus, who endured terrible suffering no longer a quick wrap-up, but an enormous to bring humanity enlightenment, as the true options for independence, counterweight to the development of ideas hero of the work. Beethoven reconsiders this support, and quality care preceding it. previously used musical material in the light Beethoven writes a monumental funeral of the “new path” we have heard throughout for older adults. march rather than a lyrical slow movement, the Eroica. This unassuming tune is revealed a meditation on death to follow the epic life to contain enormous potential, from the journey of the opening movement. Mahler chattering virtuosity of the flute to the nobly would later turn to this as a template for some triumphant climax for the entire orchestra, of the marches in his own symphonies. Here, which wells into a frightening reminiscence From Independent Living Beethoven balances public mourning against of the tragic depths of the Funeral March. In to Life Plan At Home— private grief. Notice the “personal” sound of his ingenious transformations, Beethoven the oboe, highlighted as a leading character uncovers the creative self as the true hero of Find Your Place with in each of the four movements, set against the the music. Blakeford. more formal public rhetoric of the strings. Where Beethoven introduced pain into The Eroica is scored for pairs of flutes, oboes, the surging course of the first movement, he clarinets, and bassoons; 3 horns; 2 trumpets; 615-665-9505 timpani and strings. reverses the pattern here: a bright streak of Blakeford.com hope intrudes (again, introduced by the oboe) — Thomas May is the Nashville Symphony’s before the march returns to its tragic C minor, program annotator.

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