CCM Philharmonia Orchestra Mark Gibson, music director and conductor Violin I Double Bass Trumpet Yabing Tan, concertmaster Anthony Rideout, principal George Carpten*+ Minhee Bae, assistant concertmaster Jieyan Zhang, assistant principal Zack Paulus Haoli Lin, associate concertmaster Andrew Mehraban Chris Rolfes Boyang Wang Minjoo Hwangbo ORCHESTRA Eunhye Son Kyle Lane Bass Trumpet Jeehaeng Lee Scott Mehring Daniel Turchyn SERIES PRESENTS Yang Liu Quanshuai Li (Strings listed in alphabetical order Trombone Hyemin Kim after first stand) Ian Gregory*+ Haeun Kim Nicole Hillis Dasom Cheon Flute Aaron Recchia Heewon Woo Nave Graham* Carol Joe Bass Trombone Violin II Xue Su John Renfroe Lu Li, principal Ding Sun+ Chris Robinson, assistant principal Tuba Vicki Hsu Oboe Matt Gray David Goist Chelsea Cox WAGNER AND CINEMA: Caitlin Stokes Thomas Friedle Timpani Sarah Uhimchuk Katelyn Kyser*+ Brian Graiser Dickey Matthew Martha Peck Jacob Dike “REDEMPTION THROUGH LOVE” Ahrhim Lim Rachel Lee English Horn Cindy (Xin) Qi Thomas Friedle Percussion Tyler Niemeyer Viola Clarinet Scott Gettlin Emilio Carlo, principal John Devine Devin Lambert Laurie Dixon, assistant principal Patrick Sikes+ CCM PHILHARMONIA Tzu-Hui Hung Elisha Willinger* Harp Helen Sun Sofija Tasicsa Mark Gibson, music director Wen-Chieh Huang Bass Clarinet Frances Cobb Jonathan Moore Zachary Stump Tony Palmer, film director Martin Hintz *Principal in Lohengrin Matthew Porter Bassoon +Principal in Siegfried’s Rhine Amy Johnson, soprano Matt Kirkendall Cullen Blain*+ Journey Bei Liu Travis Peplinski Thomas Baresel, tenor Wang Zhong Wang (Film Sequence principal parts Cello are shared among musicians Kenneth Shaw, bass Yijia Fang, principal Horn within their section) Titilayo Ayangade, assistant principal Devin Cobleigh-Morrison# Wei-Shuan Yu Mackenzie Harris# Graduate Assistants Le Gao Matthew Mauro, Assistant Maria Mercedes Diaz Garcia Philip Goist Nicholas Miller Yael Front Elizabeth Rice Nathanael Minor# Michael Goist Caitlyn Chenault Brooke Ten Napel*+ Junping Qian Grace Hartman Jessica Pinkham Rhett Lei Jonathan Lee Hirofumi Tanaka# Stefano Sarzani Hsiu-Ju Tsai Josh Wood Rebecca Tong Christopher Sassmanshaus Saturday, October 12, 2013 # Horns doubling Wagner tuba Orchestra Manager Corbett Auditorium Rebecca Tong 8:00 p.m. Librarian Maria Mercedes Diaz Garcia CCM has become an All-Steinway School through the kindness of its donors. A generous gift by Patricia A. Corbett in her estate plan has played a key role in making this a reality. Program Notes (cont.) In Le Sang [d’un Poète], I shifted the musical sequences [composed by George Auric], which were too close to the PROGRAM images, in order to obtain accidental synchronization. This time, I shall respect them but I shall direct them. The result Prelude to Act 3 of Lohengrin (1850) Richard Wagner will be counterpoint; that is, sound and image will not run (1813-1883) together both saying the same thing at the same time, neutral- Rhett Lei, conductor izing each other. In the concluding sequence of Palmer’s montage that accompanies the “Liebestod,” the visual focus is not Isolde or any of Wagner’s women Siegfried’s Rhine Journey from Richard Wagner but King Ludwig II of Bavaria, a devoted patron of Wagner. In the cor- Prologue of Götterdämmerung (1874) responding scene of Palmer’s original film Wagner, the narrator reports that the king died, “seeking redemption.” Thus, unlike Cocteau’s ac- cidental synchronization, Palmer’s visuals do correspond to Gibson’s musical theme of redemption at least in the final sequence of the mon- From Siegfried (1869), Richard Wagner tage. Yet the film director’s visual representation of the theme is differ- Der fliegende Holländer (1841), ent from the conductor’s interpretation of it: King Ludwig II as Isolde. And the audience is invited to participate in this interpretive process Götterdämmerung (1874), Die Walküre (1856) of discovering “the third meaning” of redemption through one’s own Tannhäuser (1845) Tristan und Isolde (1859) experience of the surreptitious interplay between music and image. Sequence of the music: Notes by Jeongwon Joe, Associate Professor of Musicology, CCM. I. From Siegfried, Act 3: Orchestral introduction, Professor Joe is co-editor of Between Opera and Cinema (Routledge, 2002) and Wagner and Cinema (Indiana University Press, forthcoming “Brünnhilde’s Awakening” in 2009), and author of Opera as Soundtrack (Ashgate, forthcoming in II. From Der fliegende Holländer, Act 1: Aria of Holländer, 2011). “Die Frist ist um.” III. From Götterdämmerung, Prologue: Tony Palmer is an award-winning British film and stage director. A Cam- bridge graduate, he studied with Ken Russell and Jonathan Miller, and Beginning of Prelude produced over 100 narrative films and documentaries about musicians, IV. From Die Walküre, Siegmund and Sieglinde, ranging from such classical composers and performers as Stravinsky, “Winterstürme...Du bist der Lenz...Siegmund heiss ich” Puccini, Britten, Rachmaninoff, Wagner, Maria Callas, and Yehudi V. From Tristan und Isolde, Act 3: Beginning of Prelude Menuhin to numerous pop and jazz musicians, such as Frank Zappa, The Beatles, Jimi Hendrix, and Scott Joplin. His opera staging includes VI. From Tannhäuser, Act 3, Scene 2: Scene and Aria of Britten’s Peter Grimes at the Zurich Opera House (1991), Wagner’s Wolfram, “Wie Todesahnung... Parsifal in St. Petersburg (1997) and Moscow (1998), and John Adams’ O du mein holder Abendstern” The Death of Klinghoffer in Helsinki (2001). Among the international VII. From Tristan und Isolde, Act 3: prizes Palmer won are 12 Gold Medals from the New York Film Festi- val, Emmy Awards, British Academy Film Awards, and a Sony Award Continuation of the Prelude for best arts program, which he received for his BBC Radio 3 program VIII. From Tristan und Isolde, Act 3: Isolde, “Mild und leise” “Night Waves.” He is currently shooting a documentary about Wagner titled, The Wagner Family: A Story of Betrayal, which will be released Amy Johnson, soprano later this year. To order his DVDs, see http://www.tonypalmerdvd.com/ Thomas Baresel, tenor Kenneth Shaw, bass-baritone The Wagner and cinema concert, “Redemption Through Love,” is spon- The footage from the 1983 filmWagner featured during this sored by the Mariann Steegman Foundation in Germany and the office of Dean Douglas Knehans of CCM. concert includes some imagery intended for mature audiences. Program Notes (cont.) Conductor’s Note fulfillment of redemptive love. In his program notes to the premiere of The challenges of Wagner’s personal life — his incapacity for Tristan und Isolde, Wagner wrote: romantic constancy, his attraction to unavailable women, his need to seduce, his narcissism and artistic obsession — are manifest in his They must confess they belong only to each other. No end, operas and interwoven throughout his oeuvre. Wagner projected now, to the yearning, the desire, the bliss, the suffering of these personality traits onto his protagonists and into his operas in love; world, power, fame, splendor, honor, knighthood, loyalty, ways that extend beyond standard Romantic conventions of unattain- friendship—all scattered like an empty dream. One thing able love. Wagner’s heroes and heroines rarely find a healthy, human alone still living; yearning, yearning, unquenchable, ever- love precisely for reasons that derive from his own personality. The regenerated longing—languishing, thirsting; the only redemp- redemption Wagner sought both in his life and in his creative output tion—death, extinction, eternal sleep!” may be ever thwarted, yet out of that search for redemption, his greatest triumphs and his larger message for humanity can be found, Tristan and Isolde glorify death in their love duet in Act 2: “Now even if they are ultimately realized in death. Hence, I have sought to banish all fearing/Sweetest death/Longed for and hoped for/Love in share, through this project, a sense of Wagner’s spirit; his personal death!”; and the opera concludes with Isolde’s “Liebestod,” the culmi- quest for redemption through love. nation of redemption through love in death. And like Wagner’s opera, the Philharmonia concert ends with the “Liebestod.” Mark Gibson Tony Palmer’s film created for the Philharmonia concert is a montage from his nearly eight-hour biographical picture, Wagner, produced in 1983 in commemoration of the centennial of the com- Program Notes poser’s death. In this film, Richard Burton played the title role. Like Bill Viola’s video images in The Tristan Project, Palmer’s montage is Why Wagner and Cinema? not a naive illustration of the musical theme. In many places, Palmer’s images are equivocal in relation to music, providing another layer of (The notes are modified excerpts from Wagner and Cinema, edited meaning yet to be interpreted by the audience: for instance, one will by Jeongwon Joe and Sander L. Gilman, to be published by Indiana see on the screen the images of the Nibelungen dwarfs, forging the University Press in December of 2009. Any quotes from the program Ring, while hearing an excerpt from the Prelude to Act 3 of Tristan. notes should be authorized by the editors.) The effect, then, is ironic, as it resembles the “alienation effect” of Bertolt Brecht’s epic theater, which was intended to be an aesthetic From the ruins of the fallen hall, the men and women antidote to Wagnerian’s Gesamtkunstwerk, demanding not integration watch with profound emotion as the flames leap up high but separation of each component of the drama. Brecht wrote: into the sky. When the glow reaches its brightest inten sity, the hall of Valhalla suddenly becomes visible, with So long as the expression ‘Gesamtkunstwerk’ (or ‘integrated the gods and heroes all assembled there. Bright flames work of art’) means that the integration is a muddle, so long seem to seize upon the hall of the gods. As the gods as the arts are supposed to be ‘fused’ together, the various become entirely hidden by the flames, the curtain falls. elements will all be equally degraded, and each will act aas a mere, ‘feed’ to the rest.