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Thursday, April 19, 2018, at 7:30 pm

Art of the Song

Mark Padmore, Tenor Paul Lewis, Piano

SCHUMANN

Liederkreis (1840)

Morgens steh’ ich auf und frage Es treibt mich hin Ich wandelte unter den Bäumen Lieb Liebchen Schöne Wiege meiner Leiden Warte, warte, wilder Schiffmann Berg’ und Burgen schaun herunter Anfangs wollt’ ich fast verzagen Mit Myrten und Rosen

BRAHMS

Es liebt sich so lieblich im Lenze Sommerabend Mondenschein (1878) Es schauen die Blumen Meerfahrt Der Tod, das ist die kühle Nacht

Intermission

Please make certain all your electronic devices are switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano

Alice Tully Hall, Starr Theater Adrienne Arsht Stage
Great Performers

  • Support is provided by Rita E. and
  • Gustave M. Hauser, Audrey Love C
  • haritable Foundation,

  • Great Performers Circle, Chairman
  • ’s Council, and Friends of Lincoln C
  • enter.

Public support is provided by the N Governor Andrew M. Cuomo and t ew York State Council on the Arts he New York State Legislature. with the support of
Endowment support for Symphoni Endowment support is also provide Nespresso is the Official Coffee of NewYork-Presbyterian is the Offici c Masters is provided by the Leon
Levy Fund. d by UBS. Lincoln Center al Hospital of Lincoln Center

UPCOMING GREAT PERFORMERS EVENTS:

Friday, April 27 at 8:00 pm in David Geffen Hall

Los Angeles Philharmonic Gustavo Dudamel, conductor

ESA-PEKKA SALONEN: Pollux (New York premiere) VARÈSE: Amériques SHOSTAKOVICH: Symphony No. 5

  • nstein Atrium
  • Pre-concert lecture by Harlow Robinson at 6:45 pm in the David Rube

Wednesday, May 2 at 7:30 pm in Alice Tully Hall

Gerald Finley, bass-baritone Julius Drake, piano

inem gemalten Band; Aus be; An Schwager Kronos;
BEETHOVEN: Neue Liebe, neues Leben; Wonne der Wehmut; Mit e Goethes Faust SCHUBERT: Prometheus; Geistes-Gruss; An den Mond; Rastlose Lie Schäfers Klagelied; Wandrers Nachtlied; Erlkönig TCHAIKOVSKY: Don Juan’s Serenade; At the ball; None, but the lonely RACHMANINOFF: O stay, my love; In the Silence of the Secret Nigh Linnet; Christ is Risen; Spring Waters heart; Over burning ashes t; Fate; On the Death of a

Selection of favorite folk songs

Sunday, May 6 at 3:00 pm in David Geffen Hall

London Symphony Orchestra Simon Rattle, conductor Stuart Skelton, tenor Christian Gerhaher, baritone

MAHLER: Das Lied von der Erde

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Great Performers I The Program

SCHUMANN

Dichterliebe (1840)

Im wunderschönen Monat Mai Aus meinen Tränen sprießen Die Rose, die Lilie, die Taube Wenn ich in deine Augen seh’ Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wüßten’s die Blumen Das ist ein Flöten und Geigen Hör’ ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab’ im Traum geweinet Allnächtlich im Traume Aus alten Märchen Die alten, bösen Lieder

Great Performers I Snapshot

By Susan Youens

Timeframe

ARTS

One of the most important poets in the history of song, and of German literature, was Heinrich Heine, born the year of Schubert’s birth (1797) and died the year of Schumann’s death (1756). Somehow the eerie coincidence seems only appropriate, as both composers spun profound music from his words.

1840

Schumann’s Liederkreis &

Dichterliebe

Victor Hugo’s poem collec-

tion Les Rayons et les Ombres

1878

Brahms’s “Mondenschein”

Gilbert & Sullivan’s H.M.S. Pinafore opens in London.

Schumann met Heine in 1828, and the poet, somewhat unusually, exerted himself to be kind to the teenage musician; 12 years later, Schumann could embark on a succession of brilliant settings of this man’s words and did so with his first Heine cycle: Liederkreis, Op. 24. These nine songs are a virtuosic “shot across the bow,” an announcement of something far more than parlor songs for the amateur bourgeoisie.

SCIENCE
1840

Publication of Louis Agassiz’s

landmark Studies on Glaciers

1878

Thomas Edison patents the phonograph.

Schumann’s protégé, Brahms, set a great deal of Heine to music when he was young, but destroyed the settings. It wasn’t until later in life that he went back to Heine to create six masterful songs on texts by the poet of his youth. Two of them (“Sommerabend” and “Mondenschein”) are paired, and the second is a variation of the first. In the final song of this evening’s group, Brahms turns the immortal coupling of Eros and Death into consummately beautiful music.

IN NEW YORK
1840

Coal is the city’s primary fuel.

1878

The Brooklyn, Flatbush and Coney Island Railroad (“Brighton Line”) opens.

We then return to Schumann for one of the greatest song cycles in the entire repertoire: Dichterliebe, or Poet’s Love. In 1840, the composer selected 20 songs but omitted four for publication. The 16 songs of the final version are masterpieces of musical ingenuity in the service of contradictory inner experience—heartbreak and anger conjoined, irony and emotional truth yoked together. At the end, Schumann provides his own wordless ending in the piano, one different from the poet’s.

—Copyright © 2018 by Lincoln Center for the Performing Arts, Inc.

Great Performers I Notes on the Program

By Susan Youens When a poetic anthology entitled simply Buch der Lieder (“Book of Songs”) by Heinrich Heine first appeared in 1827, neither he nor his publisher, Julius Campe, could have known what a phenomenon it would become. A bestseller, it was also one of the foremost sources for song composers, and no wonder: In these terse poems, a uniquely mordant voice entered German literature. Here, unrequited love and misogynistic contempt, ironic negation of noble sentiments, and recurring battles between the dream world and reality are at contradictory and simultaneous work. Most of all, Romanticpoetic love is subjected to a drubbing. In the Buch der Lieder, the poet first consecrates his beloved as something sacred, then lashes her with whips made of words when she fails to meet the ideal in his mind.

Liederkreis, Op. 24 (1840)

ROBERT SCHUMANN

Born June 8, 1810, in Zwickau, Germany Died July 29, 1856, in Endenich, Germany

Approximate length: 23 minutes

These nine songs, completed by the end of February 1840, trace a vague narrative of love’s ardor, despair, and finally, the metamorphosis of love and grief into art. Schumann unifies his cycles musically; this one begins and ends in the same key (a true “Kreis” or “circle/cycle”). “Morgens steh’ ich auf und frage” is a Lied im Volkston, or folksong-like art song of the sort popular throughout the 19th century. If the back-and-forth alternation of the left- and right-hand parts sounds like a clock ticking or a young man pacing, that is only appropriate to this persona, who anxiously awaits his beloved. In Heine’s world, we expect her to be unfaithful or at least carelessly tardy, but Schumann, whose thoughts of his fiancée Clara Wieck were far from this bitter, ends the postlude with a wistful cadence and tender thoughts.

“Es treibt mich hin” is also a song about Time that separates lovers, but in impatient mode; the feverish young lover condemns the lazy hours, which dawdle rather than bringing him swiftly to his sweetheart. In “Ich wandelte unter den Bäumen,” Heine’s paranoid singer cannot even trust the little birds telling him of the beloved’s “golden word.” The birds speak to pale, unhappy lovers in a magical song-within-a-song. In “Lieb Liebchen,” Heine takes on the Romantic compound of Eros and death, with Schumann’s stark vocal line dogged by the piano softly hammering an unwelcome message: Each heartbeat is a nail in the singer’s coffin. To Heine, the “beautiful cradle of my sorrows” (“Schöne Wiege meiner Leiden”) was Hamburg, a city he hated, given his tense relationship with his rich uncle Salomon and his unsuccessful courtship of Salomon’s two daughters. We can be sure that Heine would have said “schöne” (“lovely”)

Great Performers I Notes on the Program

with his lip curled. Not so Schumann, who begins with one of his most gorgeous melodies and then rides a roller coaster of misery, near madness, and

exhaustion. “Warte, warte, wilder Schiffsmann” is almost hysterical in its

rage, fueled by misogyny both Biblical (Eve as the origin of sin) and classical (Eris, the goddess of discord). In Schumann’s piano postlude, all this hyperfury evaporates by degrees, with even a hint of a chuckle at the very end. Does the composer perhaps find all this inflated emotion a trifle ridiculous?

By contrast, “Berg’ und Burgen schaun herunter” is one of the loveliest

specimens of water music in German song, with its lapping waves that gently enfold and buoy the vocal line. Another tiny masterpiece, “Anfangs wollt’ ich fast verzagen,” begins by quoting the Lutheran chorale “Wer nur den lieben Gott läßt walten.” The vocal line lies higher than congregational melodies, the piano part lower, and the conjunction tells both of triumph over adversity and continuing tension. “How did I survive it?” he asks (we don’t know what “it” is, and the omission makes the poem more powerful), and then answers the question in the final song, “Mit Myrthen und Rosen,” by turning it into art. The “Book of Songs” is a richly adorned coffin in which love and song are buried. Resurrection by readers and listeners is assured.

Es liebt sich so lieblich im Lenze, Op. 71, No. 1 Sommerabend, Op. 85, No. 1 Mondenschein, Op. 85, No. 2 (1878) Es schauen die Blumen, Op. 96, No. 3 Meerfahrt, Op. 96, No. 4 Der Tod, das ist die kühle Nacht, Op. 96, No. 1

JOHANNES BRAHMS

Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna

Approximate length: 20 minutes

“Did you know that I too once set almost all of Heine to music?” wrote Brahms to a friend, in teasing reference to the songs he had written as a youth and destroyed in his typical self-critical way. It is fortunate for us that Brahms was lured back to Heine in his maturity.

In “Es liebt sich so lieblich im Lenze,” Heine (that master of irony) takes on

18th-century anacreontic conventions (poetry in imitation of the ancient Greek poet Anacreon of Teos) about springtime and shepherd-shepherdess love idylls in order to tell of unrequited love. Brahms perfectly captures the mixture of mockery and misery. Heine loved German folklore, and its supernatural creatures come to new life in poems such as “Sommerabend,” where a brook is the enchanted nocturnal setting for beautiful elves bathing in the waters. For such allure, Brahms assembles signature elements of his style: a bass line closely related to the singer’s melody (in contrary motion), richly upholstered harmonies in the middle section, and increasing rhythmic complexity

Great Performers I Notes on the Program

throughout the song. In a fashion unusual for Brahms, he pairs “Sommerabend” with “Mondenschein” as a variation on the same elements. Beginning with Brahms’s “death motif” of stark descending thirds in the piano and a darkened palette, we return to the idyllic elfin music when moonlight bathes the landscape.

Brahms’s close friend Elisabeth von Herzogenberg described “Es schauen die Blumen” as “a gem indeed, a marvel of compactness!” and Clara Schumann wrote in May 1886: “Oh, how the third song moves one with its cry of despair at the end!” Notice in particular one obsession of late Brahms: the mixing of bright and dark, major and minor, in a fashion that evokes life’s ambivalence.

In “Meerfahrt,lovers in a little boat on the sea—antique symbols for individual existence as a frail skiff in a cosmic ocean of Time—cannot land on the unattainable moonlit isle of spirits, where beautiful music resounds; they can only drift by in inconsolable bleakness. Von Herzogenberg called the anguished dissonances in the piano that mark the statements of the principal melody “those strangely affecting hornblasts,” adding, “The A-minor song, with its final ‘trostlos’ [inconsolable], still haunts me perpetually.”

Despite his habit of mocking Romanticism, Heine admitted that he was “a

Romantic in spite of myself.” “Der Tod, das ist die kühle Nacht” is a varia-

tion on the über-Romantic dichotomy between Day (oppressive life) and Night (cooling, love-drenched death), its advent heralded by a young nightingale who sings only of love. This is Keats’s “easeful death” transposed to Germany. Hear how darkness creeps outward in the piano as the dying persona declares “Es dunkelt schon” (“It already grows dark”), and how the passionate outburst against “der Tag” (“day”) in minor mode cedes immediately to major so that we might hear the nightingale’s song—rapture en route to death.

Dichterliebe, Op. 48 (1840)

ROBERT SCHUMANN

Approximate length: 35 minutes

Schumann originally set to music 20 poems from the section of the Buch der Lieder entitled Lyrisches Intermezzo (“Lyrical Intermezzo”) between May 24 and June 1 of 1840, the famous “miracle year” during which he wrote 130 songs. By the time the song cycle finally appeared in print in August 1844, Schumann had deleted four songs, made numerous emendations, and renamed the cycle Dichterliebe.

In the first song, “Im wunderschönen Monat Mai,” the singer says that in

the cliché Maytime season of new life and love, he confessed his longing; Schumann’s music is so infused with ambivalence that we suspect an unhappy ending from the start. The pitch C-sharp grating against D at the outset—almost unbearably poignant—is instantly identifiable as Dichterliebe.

Great Performers I Notes on the Program

Schumann questioned both beginnings and endings in music, and he famously “ends” the first song hanging in mid-air. Thereafter, the persona sings of his tears and sighs transforming themselves into floral offerings and love’s nightingales in “Aus meinen Tränen sprießen”; sings in alliterative excess of “die Kleine, die Feine, die Reine, die Eine” (“the dainty one, the refined one, the pure one, the only one”—invented, one notes, by Heine) in “Die Rose, die Lilie, die Taube”; and finds that he cannot trust the beloved’s words of love in “Wenn

ich in deine Augen seh’.”

In “Ich will meine Seele tauchen,” he sings of submerging his soul in the lily’s chalice—exquisitely sexualized imagery. We even seem to hear post-coital sobbing in the piano at the end. The persona compares the beloved to the image of the Virgin in the great cathedral at Cologne in the sixth song, “Im Rhein, im heiligen Strome”; excoriates her as someone with night and serpents in her

heart in the seventh song, “Ich grolle nicht”; and declares in No. 8, “Und

wüßten’s die Blumen,” that if only the flowers, nightingales, and stars knew his distress, they would try to comfort him.

In the ninth song, “Das ist ein Flöten und Geigen,” the poet imagines the

beloved’s wedding music through the scrim of his own psychological distress; at the end, he collapses in abject misery. “The little song that the beloved once sang” chimes on the offbeat throughout the melancholy lied, “Hör’ ich das Liedchen klingen,” while in its wake, the persona tries to universalize/trivialize

his grief in No. 11, “Ein Jüngling liebt ein Mädchen,” which Schumann sets

as a village dance gone awry. In the twelfth song, “Am leuchtenden Sommermorgen,” the flowers entreat him to forgive “our sister,” and the persona continues to mourn the loss of her love in the funereal “Ich hab’ im Traum geweinet,” shot through with silences. He sees her in his dreams in “Allnächtlich im Traume” and wishes he could go to some fairy-tale land, to relinquish his sorrow and be happy once again, in “Aus alten Märchen.” In the last song, “Die alten, bösen Lieder,” he resolves to bury “the old, evil songs” of hopeless Romantic love; to do so, he will need an immense coffin, carried by giants and sunk in the ocean. But Schumann does not allow his cycle to end with Heine’s bitterness. Instead, he concludes with a long piano postlude, a varied reminiscence of the twelfth song, “Am leuchtenden Sommermorgen,” where Nature itself pleads for the bereaved lover to forgive. Heine’s singer cannot, but Schumann’s can, and there are few things in the entire song repertory more moving than this affirmation of reconciliation in the heart’s depths.

Susan Youens, newly retired as the J. W. Van Gorkom Professor of Music at the University of Notre Dame, is the author of eight books on German song,

including Schubert, Müller, and Die schöne Müllerin; Hugo Wolf and his Mörike songs; Schubert’s Late Lieder; and Heinrich Heine and the Lied (all from

Cambridge University Press), as well as over 60 scholarly articles and chapters.

—Copyright © 2018 by Lincoln Center for the Performing Arts, Inc.

Great Performers I Texts and Translations

Liederkreis

Text: Heinrich Heine

Song Cycle

Trans.: Richard Stokes Copyright © 2003 by Richard Stokes

Morgens steh’ ich auf und frage

Morgens steh’ ich auf und frage: Kommt feins Liebchen heut? Abends sink’ ich hin und klage: Ausblieb sie auch heut.

Every morning I awake and ask

Every morning I awake and ask: Will my sweetheart come today? Every evening I lie down, complaining that she did not appear.

In der Nacht mit meinem Kummer Lieg’ ich schlaflos, lieg’ ich wach; Träumend, wie im halben Schlummer, Wandle ich bei Tag.
All night long with my grief I lie sleepless, lie awake; dreaming, as if half asleep, I wander through the day.

  • Es treibt mich hin
  • I’ve driven this way

Es treibt mich hin, es treibt mich her! Noch wenige Stunden, dann soll ich sie schauen,
I’m driven this way, driven that! A few more hours, and I shall see her,
Sie selber, die schönste der schönen Jungfrauen;— Du armes Herz, was pochst du so schwer! she, the fairest of the fair— faithful heart, why pound so hard?

Die Stunden sind aber ein faules Volk! Schleppen sich behaglich träge, Schleichen gähnend ihre Wege;— Tummle dich, du faules Volk!
But the hours are a lazy breed! They dawdle along and take their time, crawl yawningly on their way— get a move on, you lazy breed!

Tobende Eile mich treibend erfaßt! Aber wohl niemals liebten die Horen;—
Raging haste drives me onward! But the Horae can never have loved—
Heimlich im grausamen Bunde verschworen, cruelly and secretly in league,
Spotten sie tückisch der Liebenden Hast. they spitefully mock a lover’s haste.

Ich wandelte unter den Bäumen

Ich wandelte unter den Bäumen Mit meinem Gram allein;

I wandered among the trees

I wandered among the trees, alone with my own grief, but then old dreams returned once more
Da kam das alte Träumen,

  • Und schlich mir ins Herz hinein.
  • and stole into my heart.

(Please turn the page quietly.)

Great Performers I Texts and Translations

Wer hat euch dies Wörtlein gelehret, Ihr Vöglein in luftiger Höh’? Schweigt still! wenn mein Herz es höret,
Who taught you this little word, you birds up there in the breeze? Be silent! If my heart hears it,

  • Dann tut es noch einmal so weh.
  • my pain will return once more.

“Es kam ein Jungfräulein gegangen, “A young woman once passed by, Die sang es immerfort, Da haben wir Vöglein gefangen Das hübsche, goldne Wort.” who sang it again and again, and so we birds snatched it up, that lovely golden word.”

Das sollt ihr mir nicht erzählen, Ihr Vöglein wunderschlau;
You should not tell me such things, you little cunning birds,
Ihr wollt meinen Kummer mir stehlen, Ich aber niemanden trau’. you thought to steal my grief from me, but I trust no one now.

  • Lieb Liebchen
  • My love

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    70 Festival de Granada Biografías Christian Gerhaher Barítono Durante sus estudios con Paul Kuen y Raimund Grumbach, el barítono alemán Christian Gerhaher asistió a la Escuela de Ópera de la Academia de Música de Múnich y, junto con Gerold Huber, estudió interpretación de lied con Friedemann Berger. Mientras completaba sus estudios médicos, Christian Gerhaher perfeccionó su formación vocal en clases magistrales impartidas por Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf e Inge Borkh. En la actualidad, el propio Christian Gerhaher enseña ocasionalmente en la Academia de Música y Teatro de Múnich, así como en la Real Academia de Música de Londres. Junto con su acompañante habitual de piano Gerold Huber, Christian Gerhaher se ha dedicado a la interpretación de lied desde hace 30 años, en conciertos y grabaciones, siendo galardonados con varios premios importantes. Este dúo de lied se puede escuchar en los escenarios de las principales salas internacionales de concierto, por ejemplo, en las salas de Nueva York, Concertgebouw y Muziekgebouw Amsterdam, Filarmónica de Colonia y Berlín, Cité de la Musique de París, Konzerthaus y Musikverein de Viena y Teatro de la Zarzuela de Madrid. Son invitados especialmente frecuentes en el Wigmore Hall de Londres. Christian Gerhaher y Gerold Huber actúan también regularmente en los principales festivales. Christian Gerhaher ha trabajado junto con directores como Sir Simon Rattle, Daniel Harding, Herbert Blomstedt, Bernard Haitink, Christian Thielemann, Kirill Petrenko, Nikolaus Harnoncourt, Pierre Boulez, Daniel Barenboim, Andris Nelsons, Kent Nagano y Mariss Jansons, dando conciertos en las principales salas de conciertos del mundo. Las orquestas que regularmente invitan a Christian Gerhaher a actuar incluyen la Orquesta Sinfónica de Londres, la Orquesta del Concertgebouw de Ámsterdam y, en particular, la Filarmónica de Berlín, donde fue el primer cantante en ser artista en residencia, así como la Orquesta Sinfónica de la Radio Sueca y la Orquesta Sinfónica de la Radio Bávara.
  • T H E P Ro G

    T H E P Ro G

    Sunday, April 29, 2018 at 3:00 pm m a Symphonic Masters r g o Los Angeles Philharmonic r Gustavo Dudamel, Conductor P John Holiday , Countertenor Julianna Di Giacomo , Soprano e Jennifer Johnson Cano , Mezzo-Soprano h Michael König , Tenor T Davóne Tines , Bass-Baritone Concert Chorale of New York James Bagwell , Choral Director BERNSTEIN Chichester Psalms (1965) Part I: Psalm 108:2—Psalm 100 Part II: Psalm 23—Psalm 2:1-4 Part III: Psalm 131—Psalm 133:1 Intermission BEETHOVEN Symphony No. 9 in D minor (1822–24) Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace Adagio molto e cantabile— Presto—Allegro ma non troppo—Allegro assai (Choral finale) Please make certain all your electronic devices are switched off. This afternoon’s performance is dedicated to the memory of Paul Milstein, philanthropist and builder. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Wednesday, May 2 at 7:30 pm in Alice Tully Hall Gerald Finley, bass-baritone Julius Drake, piano Songs by BEETHOVEN, SCHUBERT, TCHAIKOVSKY, and RACHMANINOFF Selection of favorite folk songs Friday, May 4 at 8:00 pm in David Geffen Hall London Symphony Orchestra Simon Rattle, conductor MAHLER: Symphony No.
  • Institute of Sacred Music 2011–2012

    Institute of Sacred Music 2011–2012

    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut Institute of Sacred Music 2011–2012 Institute of Music Institute Sacred 2011–2012 BULLETIN OF YALE UNIVERSITY Series 107 Number 14 September 1, 2011 BULLETIN OF YALE UNIVERSITY Series 107 Number 14 September 1, 2011 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, or PO Box 208227, New Haven CT 06520-8227 national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Linda Koch Lorimer University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and covered veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to the O∞ce for Equal Opportu- nity Programs, 221 Whitney Avenue, 203.432.0849 (voice), 203.432.9388 (TTY).
  • Digital Concert Hall Where We Play Just for You

    Digital Concert Hall Where We Play Just for You

    www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca.
  • Digital Concert Hall

    Digital Concert Hall

    Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
  • In a World Gone Mad, Can Great Music Help Us See the Light? Orchestra Of

    In a World Gone Mad, Can Great Music Help Us See the Light? Orchestra Of

    Kings Place 90 York Way London N1 9AG Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington In a world gone mad, can great music help us see the light? Orchestra of the Age of Enlightenment’s 2020-21 Southbank Centre Season: The Edge of Reason Press Release: 20 February 2020 The Edge of Reason is part four of the Orchestra of the Age of Enlightenment’s (OAE’s) Six Chapters of Enlightenment – concert seasons at Southbank Centre, where the OAE is Resident Orchestra. The series is inspired by the golden age of science and philosophy that gave the Orchestra its name. Crispin Woodhead, OAE Chief Executive, says: “We’re excited to be exploring the great arguments of the 18th century Enlightenment that still grip us today. Where do we find reason? What happens when we get to the edge of it – beyond it, even? What can the big debates and artworks of the past teach us as we stand, apparently, on the threshold of irrationality. The OAE is democratic, run by musicians who like to ask questions. This season, we look at where the boundaries of reason really lie with great works by Handel, Strauss, Schubert and others.’’ For many of their performances, whether in a concert hall or a pub (at its groundbreaking The Night Shift gigs), the Orchestra of the Age of Enlightenment introduces the music from the stage to share insights and connect with the audience. Playing on instruments the composer would have known and used, the players aim to make old works sound as new and fresh as when they were written.
  • LIEDERABEND CHRISTIAN GERHAHER Samstag, 19.11.2016 · 20.00 Uhr

    LIEDERABEND CHRISTIAN GERHAHER Samstag, 19.11.2016 · 20.00 Uhr

    LIEDERABEND CHRISTIAN GERHAHER Samstag, 19.11.2016 · 20.00 Uhr KONZERTHAUS DORTMUND CHRISTIAN GERHAHER BARITON GEROLD HUBER KLAVIER Abo: Liederabend In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. Ebenfalls aus Rücksicht auf die Künstler bitten wir Sie, von Bild- und Tonaufnahmen während der Vorstellung abzusehen. Wir danken für Ihr Verständnis! 2,50 E 4I5 ROBERT SCHUMANN (1810 – 1856) Lieder und Gesänge op. 77 (1850) ›Der frohe Wandersmann‹ ›Mein Garten‹ HECTOR BERLIOZ (1803 – 1869) ›Geisternähe‹ »Les nuits d’été« op. 7 (1841) ›Stiller Vorwurf‹ ›Villanelle‹ ›Aufträge‹ ›Le spectre de la rose‹ ›Sur les lagunes‹ Zwölf Gedichte op. 35 (1840) ›Absence‹ ›Lust der Sturmnacht‹ ›Au cimetière‹ ›Stirb, Lieb und Freud!‹ ›L’île inconnue‹ ›Wanderlied‹ ›Erstes Grün‹ ROBERT SCHUMANN ›Sehnsucht nach der Waldgegend‹ Vier Gesänge op. 142 (1840) ›Auf das Trinkglas eines verstorbenen Freundes‹ ›Trost im Gesang‹ ›Wanderung‹ ›Lehn deine Wang’‹ ›Stille Liebe‹ ›Mädchen-Schwermut‹ ›Frage‹ ›Mein Wagen rollet langsam‹ ›Stille Tränen‹ ›Wer machte dich so krank?‹ – Ende ca. 22.00 Uhr – ›Alte Laute‹ – Pause ca. 20.50 Uhr – 6I7 PROGRAMM 8I9 AUSDRUCK LEIBHAFTIGER TIEFE ROBERT SCHUMANN LIEDER UND GESÄNGE OP. 77 Über 260 Lieder hat Robert Schumann der Nachwelt hinterlassen. Damit steht er zahlenmäßig zwar im Schatten Franz Schuberts, der auf unglaubliche 634 Liedkompositionen kommt, doch das schmälert seine Bedeutung für die Gattung keineswegs. Es ist vor allem Schumanns Ver- mögen, ein »Gedicht in seiner leibhaftigen Tiefe« wiederzugeben, wie er selbst es als Zielvorgabe für den Liedkomponisten formuliert hat. Und genau darin zeigt sich seine überragende Bedeu- tung für die Geschichte des Liedes: Schumanns privilegierter Zugriff auf Musik und Literatur durch seine persönliche Doppelbegabung zeigt sich in der Fähigkeit, pianistische Virtuosität und satztechnische Komplexität mit einer unerhörten Sensibilität für das Wort zu verbinden.
  • Digital Concert Hall Programme 2018/2019 3

    Digital Concert Hall Programme 2018/2019 3

    2 DIGITAL CONCERT HALL PROGRAMME 2018/2019 3 WELCOME TO THE DIGITAL CONCERT HALL The 2018/2019 season marks a very special Zubin Mehta. Another highlight is the return phase in the history of the Berliner Philhar- on two occasions of Sir Simon Rattle, and moniker. Following on from the end of the with several debuts, new artistic connections Simon Rattle era, it is characterised by look- will also be made. Among the top-class guest ing forward to a new beginning when Kirill soloists is the pianist Daniil Trifonov to name Petrenko takes up office as chief conductor. but one, the Berliner Philharmoniker’s current Although this is not due until the summer of Artist in Residence. 2019, exciting joint concerts are on the hori- zon, beginning with the season opening con- Another special feature of this season: cert which is dedicated to the core repertoire the 10th anniversary of the Digital Concert of the Berliner Philharmoniker: a Beethoven Hall. On 17 December 2008, this unprece- symphony and two symphonic poems by dented project went online, followed by a first Richard Strauss. In the Digital Concert Hall live broadcast on 6 January 2009. Since then, we are also showing a tour concert from Lu- around 50 live concerts have been shown cerne, a programme with works by Schoen- per season. The video archive now holds more berg and Tchaikovsky in the spring of 2019, than 500 concert recordings, from the and Kirill Petrenko appears at the helm of the present day back to the Karajan era. There National Youth Orchestra of Germany as well.
  • Christian Gerhaher, Baritone Gerold Huber, Piano

    Christian Gerhaher, Baritone Gerold Huber, Piano

    Tuesday, October 29, 2019 at 7:30 pm Mahler Songs Christian Gerhaher, Baritone Gerold Huber, Piano ALL-MAHLER PROGRAM Lieder eines fahrenden Gesellen (1883–85) Wenn mein Schatz Hochzeit macht Ging heut’ morgen übers Feld Ich hab’ ein glühend Messer Die zwei blauen Augen von meinem Schatz Selections from Des Knaben Wunderhorn (1887–1898) Wer hat dies Liedlein erdacht? Ablösung im Sommer Ich ging mit Lust durch einen grünen Wald Um schlimme Kinder artig zu Machen Rheinlegendchen Der Schildwache Nachtlied Intermission Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Alice Tully Hall, Starr Theater Adrienne Arsht Stage White Light Festival The White Light Festival 2019 is made possible by The Shubert Foundation, The Katzenberger Foundation, Inc., Mitsubishi Corporation (Americas), Mitsui & Co. (U.S.A.), Inc., Laura Pels International Foundation for Theater, Culture Ireland, The Joelson Foundation, Sumitomo Corporation of Americas, The Harkness Foundation for Dance, J.C.C. Fund, Japanese Chamber of Commerce and Industry of New York, Great Performers Circle, Lincoln Center Patrons and Lincoln Center Members Endowment support is provided by The Andrew W. Mellon Foundation and the Blavatnik Family Foundation Fund for Dance Lead Support for Great Performers provided by PGIM, the global investment management business of Prudential Financial, Inc. Additional Support for Great Performers is provided by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Katzenberger Foundation, Inc., Audrey Love Charitable Foundation, Great Performers Circle, Lincoln Center Patrons and Lincoln Center Members Endowment support for Symphonic Masters is provided by the Leon Levy Fund Endowment support is also provided by UBS Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M.