PROGRAM: ATLANTIC CROSSING Thursday, March 20, 2014 / 7:30 PM / BING Concert HALL ATLANTIC CROSSING 30 STANFORD LIVE MAGAZINE MARCh 2014 ARTISTS PROGRAM Chanticleer Midnight Bells Fritz Kreisler (1875–1962) New Century Chamber Orchestra New Century Chamber Orchestra Barcarole aus “Hoffmanns erzählungen” Jacques Offenbach (1819–1880)/Julius Hopp (1819–1885) Chanticleer arr. Erwin Bootz/Comedian Harmonists Wochenend’ und sonnenschein Milton Ager (1893–1979)/Jack Yellen (1892–1991) Chanticleer arr. Harry Frommermann/Comedian Harmonists In einem kühlen grunde Trad., arr. H. Frommermann/Comedian Harmonists Chanticleer We gratefully acknowledge the generous support of Clinton and Mary Gilliland and the National Allegro giusto Miklós Rózsa (1907–1995) Endowment for the Arts. from Concerto for String Orchestra, op. 17 New Century Chamber Orchestra Four Old Hungarian Folksongs Béla Bartók (1881–1945) Chanticleer Selections from Six Chansons Paul Hindemith (1895–1963) I. O la biche II. Un cygne III. Puisque tout passe Chanticleer Romanian Folk Dances Béla Bartók New Century Chamber Orchestra Bills Ballhaus in Bilbao Kurt Weill (1900–1950) Völlerei My Ship Chanticleer Mack the Knife Kurt Weill, arr. Clarice Assad Tutti *INTERMISSION* Medley George Gershwin (1898–1937), arr. Clarice Assad It Ain’t Necessarily So Summertime Bess, You Is My Woman Now There’s a Boat Dat’s Leavin’ Soon for New York Tutti Tea for Two Vincent Youmans (1898–1946)/Irving Caesar (1895–1996) Chanticleer arr. H. Frommermann/Comedian Harmonists Stormy Weather Harold Arlen (1905–1986) Chanticleer arr. H. Frommermann/Comedian Harmonists Medley Duke Ellington (1899–1974)/Billy Strayhorn (1915–1967) Lush Life arr. Clarice Assad East St. Louis Toodle-oo Take the A Train It Don’t Mean a Thing (If It Ain’t Got That Swing) Tutti Program subject to CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. encoremediagroup.com 31 PROGRAM: ATLANTIC CROSSING Notes CONTINUE ON page 38 ATLANTIC CROSSING “Refugees from 20th-century war and revolution transformed the American performing arts,” says the subtitle of Joseph Horowitz’s 2008 book Artists in Exile, which begins by describing the wave of Russian refugees to the United States in the wake of the Bolshevik Revolution. Europe’s tumult was America’s gain when the rise of Nazism precipitated a mass exodus of musicians, artists, scientists, and thousands upon thousands of people from all walks of life from Germany and elsewhere. According to their age and the marketability of their skills, they could count on varying degrees of success in the New World. The ones who most publicly transformed their new home were the musicians. Among the many who took a westbound ocean liner was Fritz Kreisler, one of Chanticleer the most celebrated violinists of the 20th century. Kreisler made the move Broadway and in the movies. Kurt Weill, would turn his experience in the French not once but twice, living in New York who had composed a string quartet and capital into “An American in Paris,” during World War I and then returning a violin concerto in his early years, had the trip strengthening his resolve to after the outbreak of World War II, become famous in Germany through his immerse himself in classical symphonic this time for good. Although he took theatrical collaborations with Bertolt composition even as European musicians American citizenship, Kreisler remained Brecht, such as Threepenny Opera and with classical backgrounds advanced their quintessentially Viennese, his most Rise and Fall of the City of Mahagonny. careers by working in popular styles. beautiful melodies always inspired by his He had 15 productive and successful native city. years on Broadway before his death One might say that the most complete from a heart attack soon after his 50th musical fusion of European and Stravinsky and Schoenberg immigrated birthday. Miklós Rózsa, also trained as American musical elements was the to the United States, along with many of a composer of symphonic and chamber wildly popular, all-male vocal quintet the greatest European composers, who music, was a relative beginner when from Germany called the Comedian adapted to the new environment with he came to America. Along with Franz Harmonists, who took America by varying degrees of success. Béla Bartók, Waxman and many others, he went to storm on a tour in the mid-1930s. 59 when he arrived, hardly had a chance Hollywood where he soon became a star Inspired by The Revelers, an American to adjust at all. Within a few years, he with his scores for Spellbound, Ben-Hur, vocal jazz group, the Harmonists were came down with an illness that eventually and many more movie classics. active in Berlin in the late 1920s and claimed his life. Paul Hindemith, early 1930s, performing songs from significantly younger, successfully The Atlantic crossings went both ways. both sides of the Atlantic in inimitable reinvented himself as a master teacher Some American artists, like Sidney Bechet arrangements by Harry Frommermann. who, through his many students at Yale, and Josephine Baker, crossed the ocean Because several of them were Jews, the had a major impact on American music. in the opposite direction and settled in Harmonists were forced to disband as France. Duke Ellington and his orchestra the war approached, but their many Many classically trained composers had their first European tour in 1933, recordings have assured that they found their niche outside classical performing to great acclaim in Britain, continue to remind us of the final concert venues or academia, notably on Holland, and France. George Gershwin moments before Europe exploded again. 32 STANFORD LIVE MAGAZINE MARCh 2014 Texts AND Translations Barcarole aus “Hoffmanns Erzählungen” Jacques Offenbach/Julius Hopp, arr. Erwin Bootz/Comedian Harmonists Schöne Nacht, du Liebesnacht, o stille mein Verlangen. Beautiful night, you night of lust, o satisfy my longing. Süsser als der Tag uns lacht die schöne Liebesnacht. Sweeter than the day looks to us the night of lust. Flüchtig eilt die Zeit unwiederbringlich uns’rer Liebe. Fleeting is the time of our irretrievable love. Fern von diesem lausch’gen Ort weicht flücht’ge Zeit. Far from this cozy place passes fleeting time. Zephyre lind un sacht die uns kosen umfangen, Zephyrs softly embracing us, Zephyre haben sacht sanfte Küsse gebracht. Zephyrs have brought soft kisses. Schöne Nacht, du Liebesnacht, o stille mein Verlangen. Beautiful night, you night of lust, o satisfy my longing. Süsser als der Tag uns lacht die schöne Liebesnatch. Sweeter than the day looks to us the night of lust. Stille das Verlangen, Liebesnacht. Satisfy the longing, night of lust. Wochenend’ und Sonnenschein Milton Ager/Jack Yellen, arr. Harry Frommermann/Comedian Harmonists Wochenend’ und Sonnenschein Weekend and sunshine und dann mit di rim Wald allein— and then alone in the woods with you— weiter brauch ich nichts zum Glücklichsein, we need nothing more to be happy, Wochenend’ und Sonnenschein. weekend and sunshine. Über uns die Lerche zieht, Above us the lark flies, sie singt genaus wie wir ein Lied. singing a song just like us. Alle Vöglein stimmen fröhlich ein: All little birds happily join in: Wochenend’ und Sonnenschein. Weekend and sunshine. Kein Auto, keine Chaussee, und niemand in uns’rer Näh’. No car, no avenue, and no one near. Tief im Wald nu rich und du, Deep in the woods just you and me, der Herrgott drückt ein Auge zu, the Lord God looks the other way denn er schenkt us ja zum Glücklichsein: as He allows us happiness: Wochenend’ und Sonnenschein. Weekend and sunshine. Nur sechs Tage sind der Arbeit, Only six days are meant for work, doch am siebten Tag sollst du ruh’n, on the seventh day thou shalt rest, sprach der Herrgott, said the Lord God, doch wir haben auch am siebten Tage zu tun! but we have things to do on the seventh day! Wochenend’ und Sonnenschein… Weekend and sunshine… In einem kühlen Grunde Traditional., arr. Harry Frommermann/Comedian Harmonists In einem kühlen Grunde, da geht ein Mühlenrad. In a cold corner, the mill’s wheel is turning. Mein Liebchen ist verschwunden, das dort gewohnet hat. My darling is gone, who once used to live there. Sie hat mir Treu’ versprochen, gab mire ein’ Ring dabei. She promised to be true, and even gave me a ring. Sit hat die Treu’ gebrochen. Das Ringlein sprang entzwei. She broke her vow. The ring, it burst in two. Hör ich das Mühlrad gehen, ich weiß nicht, was ich will. When I hear the wheel turning, I don’t know what I want. Ich möcht’ am liebsten sterben, da wär’s auf einmal still. I’d die if I could, then all would suddenly be still. encoremediagroup.com 33 PROGRAM: ATLANTIC CROSSING Texts AND Translations Négy Regi Magyar Népdal (Four Old Hungarian Folksongs) Béla Bartók (1881–1945) I. Rég megmondtam, bús gerlice I’ve long told you, sad turtledove, Ne rakj fészket útszéjire! Do not make a nest by the side of the road! Mer az úton sokan járnak, For many pass along that road, A fészedbo´´l kihajhásznak. And will drive you from your nest. Rakjál fészket a su´´ru´´be, Make your nest in the depths of the wood, Bánatfának tetejibe; Atop the tree of sorrow; Aki kérdi; ezt ki rakta? When asked, who made this? Mondjátok; egy árva rakta, Reply, ‘twas an orphan, Kinek sem apja, sem anyja, Who has neither a father nor a mother, Sem egy igaz atyjafia. Nor even a true friend. II. Jaj istenem! kire várok: Oh my Lord, who am I waiting for: Megyek Budapestre, I’m off to Budapest, ott sétálok a lányokkal To take a stroll with the girls Minden szombat este.