19 FEBRUARY 2016 FRIDAY SERIES 9 Helsinki Music Centre at 19.00 Hans Graf, conductor DER ROSENKAVALIER (Austria 1925) Der Rosenkavalier. Eine Komödie mit Musik Director & producer: Robert Wiene Screenplay: Louis Nerz, Robert Wiene – after the libretto by Hugo von Hofmannstahl Cinematography: Hans Theyer, Ludwig Schaschek, Hans Androschin Art direction: Alfred Roller, Stefan Wessely, Hans Rouc Costumes: Alfred Roller Wigs: Ludwig Rudlof Music for cinema orchestra: Richard Strauss, from his opera (1911) Musical arrangements: Karl Alwin, Otto Singer Cast: Michael Bohnen (Baron Ochs von Lerchenau), Huguette Duflos (the Marschallin), Paul Hartmann (the Marschall), Jaque Catelain (Octavian), Elly Felicie Berger (Sophie, Faninal’s daughter), Carmen Cartellieri (Annina, Valzacchi’s partner), Friedrich Fehér (Valzacchi, an Italian intriguer), Karl Forest (Herr von Faninal), Riki Raab (a dancer) Filming locations: Vienna (Schönbrunn Palace, Belvedere Palace), Dürnstein Viennese premiere: Haydn-Kino 10.12.1925. Restored copy: 2006, Filmarchiv Austria (Fumiko Tsuneishi & Nikolaus Wostry). Reconstruction of music: Bernd Thewes, conductor & synchronisation: Frank Strobel. Gala premiere of restored copy: Sächsische Staatsoper Dresden, 6.9.2006. FILMPHILHARMONIC EDITION: Film by courtesy of Prof. Dr. Walter Dillenz / Filmarchiv Austria, Music by courtesy of Schott Music GmbH & Co. KG. Interval at about 20.10. The concert ends at about 21.15. 1 “UND IN DEM ‘WIE’, DA LIEGT DER GANZE UNTERSCHIED” (“AND IN THE ‘HOW’, THERE LIES THE WHOLE DIFFERENCE”) The premiere of the film of Der The Marschallin is a lonely, neglected Rosenkavalier was a momentous oc- wife who was abandoned on her wed- casion for high culture, as persons of ding day (her marriage was not even great renown in music, theatre and cin- consummated on her wedding night). ema made their way to the Dresden She finds consolation in a young lover, Opera House. Yet despite its spectac- until her jealous husband comes home ular launch, the film did not achieve from the war to challenge his rival and the widespread distribution it merit- demand his wife’s love for himself. ed, being overshadowed by the sound The role suits the languid French film. Several attempts were made to re- Huguette Duflos very well, unlike Asta launch it from the 1950s onwards, but Nielsen, whom Hofmannsthal had orig- only since the restoration of 2006 has a inally had in mind for the part. Octavian full re-evaluation been possible. is not, in the film, a breeches role; he is Richard Strauss was famous for played by Jaque Catelain, a Frenchman his opposition to film, and he agreed who had had a prominent role in Marcel to take part in the project only after L’Herbier’s film L’Inhumaine (1924). some persuasion from by Hugo von The services of Strauss’s own favourite, Hofmannstahl, the opera’s librettist. Michael Bohnen the opera star, were Hofmannstahl had weighty financial obtained for the part of Baron Ochs interests vested in the project, which auf Lerchenau. did not bode well for the film. Strauss Invited to direct the film was Robert nevertheless wrote an enthusiastic Wiene, the director of the legendary pitch for the distributor to use and expressionist film The Cabinet of Dr. conducted the orchestra at the pre- Caligari. Wiene was also known for his miere in Dresden. popular mainstream comedies and for Cynthia Walk says that dramas featuring Germany’s number Hofmannsthal’s opera immerses the one star Henny Porten. plot in a philosophical reflection on The film has more comic touches, time, impermanence, loss and mortal- scheming, battle-field action and col- ity, as do many of his other works – his ourful dance and stage scenes than the early poems and almost all his plays and opera. Best of all are the sumptuous in- librettos. Ignoring this aspect transfers teriors and exteriors in Schönbrunn, in the film to the domain of operetta and the Prater and at Wachau reflecting makes it a comedy of customs. Marital the Baroque splendour of Vienna. and extramarital relations are governed by the moral rules prevailing at court. Antti Alanen 2 RICHARD STRAUSS AS FILM COMPOSER His operas Salome (1905) and Elektra Strauss did not take part in adapting (1909) placed Richard Strauss (1864– the music. Instead, he entrusted the job 1949) in the forefront of modernism, to composer-conductor Otto Singer Jr. taking him right up to the threshold of (1863–1931) and conductor Karl Alwin expressionism. He soon realised, how- (1891–1945). They were allowed to ever, that he did not wish to go any choose music from the opera and to further, for the next step would have do the necessary editing and arrang- been to abandon tonality, as Arnold ing. If they needed new music, Strauss Schönberg and his pupils had done. offered ready excerpts from his other As the topic for Strauss’s next opera, works. These include two marches, part Hugo von Hofmannsthal, who had writ- of the tableau music he had composed ten the libretto for Elektra, suggested for the golden wedding anniversary of a comedy set in the Vienna of Maria the Grand Duke of Weimar in 1892, and Theresa in the 1740s. Strauss leapt at the Wirbeltanz from the dance suite the idea. He composed the music as based on music by the French Baroque Hofmannsthal fed him new texts, and master François Couperin of 1922. Only in a burst of enthusiasm once even for one scene did he need to compose composed a stage direction. a completely new march. Several orchestral suites of mu- sic from Der Rosenkavalier have been Kimmo Korhonen compiled for concert use. The most un- usual of the subsequent adaptations is Programme notes translated (abridged) the film premiered in January 1926. The by Susan Sinisalo opera and the film are closely linked in that the film was, from the very be- ginning, intended for use with Richard Strauss’s music. The music of the op- era could not, however, be used as such. Firstly, the film is only a little over half as long as the opera, though even so it lasts nearly two hours. Secondly, Hofmannsthal changed the order of a few of the scenes in his screenplay, and added some new ones now possible by cinematographic means. Thirdly, there are no singers in the film, so the vocal parts have had to be transferred to the orchestra. 3 HANS GRAF Known for his wide repertoire and cre- phy includes the complete symphonies ative programming, Austrian conduc- of Mozart and Schubert, the premiere tor Hans Graf concluded his ten-year recording of Zemlinsky’s opera Es war tenure of the Houston Symphony einmal and the complete orchestral Orchestra in May 2013. Prior to his ap- works of Dutilleux. One of his most re- pointment in Houston, he had been cent releases, on the Myrios label, is of the Music Director of the Calgary the complete works for viola by Paul Philharmonic, the Orchestre National Hindemith, with Tabea Zimmermann Bordeaux Aquitaine and the Salzburg and the Berlin Symphony Orchestra. Mozarteum Orchestra. Mr Graf has been awarded the Born in Linz, Hans Graf first stud- Chevalier of the Ordre de la Légion ied the violin and piano in Graz, later d’honneur by the French govern- in Italy and Russia. He is a frequent ment for championing French mu- guest with all of the major North sic around the world as well as the American orchestras; he has recent- Grand Decoration of Honour in Gold ly appeared in Cleveland, Philadelphia for services to the Republic of Austria. and Boston, and with the New York and He has been Professor of Orchestral Los Angeles Philharmonics. In Europe Conducting at the Mozarteum he has, among others, conducted the University in Salzburg since 2013. Vienna and London Philharmonics, the Amsterdam Concertgebouw and Leipzig Gewandhaus Orchestras, and he makes regular guest appearanc- es in Hong Kong and Sydney. He has also conducted at the Salzburg, Tanglewood, Aspen, Maggio Musicale Fiorentino and Aix-en-Provence festi- vals. An experienced opera conductor, Mr Graf first conducted the Vienna State Opera in 1981 and has since led produc- tions in Berlin, Munich, Paris, Rome and elsewhere. His extensive opera reper- toire includes several world premieres. Recent opera engagements include Parsifal at the Zurich Opera and Boris Godunov at the Opéra national du Rhin in Strasbourg. His extensive discogra- 4 THE FINNISH RADIO SYMPHONY ORCHESTRA The Finnish Radio Symphony Orchestra The FRSO has recorded works by (FRSO) is the orchestra of the Finnish Ligeti, Eötvös, Nielsen, Hakola, Lindberg, Broadcasting Company (Yle). Its mission Saariaho, Sallinen, Kaipainen, Kokkonen is to produce and promote Finnish musi- and others, and the debut disc of the op- cal culture and its Chief Conductor as of era Aslak Hetta by Armas Launis. Its discs autumn 2013 has been Hannu Lintu. The have reaped some prestigious distinc- FRSO has two Honorary Conductors: tions, such as the BBC Music Magazine Jukka-Pekka Saraste and Sakari Oramo. Award, the Académie Charles Cros The Radio Orchestra of ten players Award and a MIDEM Classical Award. founded in 1927 grew to symphony or- The disc of the Sibelius and Lindberg chestra strength in the 1960s. Hannu Violin Concertos was Gramophone mag- Lintu was preceded as Chief Conductor azine’s Editor’s Choice in February 2014. by Toivo Haapanen, Nils-Eric Fougstedt, The FRSO regularly tours to all parts Paavo Berglund, Okko Kamu, Leif of the world. One of the many high- Segerstam, Jukka-Pekka Saraste and lights of the 2015/2016 season will be Sakari Oramo. tours to Japan and Austria with conduc- In addition to the great Classical- tor Hannu Lintu. Romantic masterpieces, the latest con- The home channel of the FRSO is Yle temporary music is a major item in the Radio 1, which broadcasts all its con- repertoire of the FRSO, which each year certs, usually live, both in Finland and premieres a number of Yle commissions.