Saturday, August 5, 2017, 8pm Zellerbach Hall Asian Youth Orchestra Richard Pontzious, conductor Sarah Chang, violin PROGRAM Richard STRAUSS (1864–1949) Don Juan, Tone Poem (after Nicolaus Lenau), Op. 20 Jean SIBELIUS (1865–1957) Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro, ma non tanto INTERMISSION Ludwig van Beethoven (1770–1827) Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio The Asian Youth Orchestra’s world tour is sponsored by the Home Affairs Bureau of the Government of the Hong Kong Special Administrative Region. Official Carrier: Cathay Pacific Airways • Platinum Patron: Primasia Foundation Cal Performances’ 2017–18 season is sponsored by Wells Fargo. PROGRAM NOTES very warm welcome to tonight’s con- cians into a superb orchestral ensemble—one cert, one of 21 performances to be that brings wonderful music to audiences Aplayed around the world this summer around Asia and, this year, the world. He has by the 109 members of the Asian Youth Orch - been ably assisted by his co-conductor, James estra (AYO), in a celebration of outstanding Judd, and a group of professional artist faculty talent and great music marking the 20th who work hard to refine the talents of these anni versary of the founding of the Hong Kong young musicians. Special Administrative Region Government. The AYO represents more than the beautiful As such, the government has committed major music they provide. It represents the harmony funding to support this exceptionally ambitious created among these young men and women world tour. from so many Asian countries. While some of The AYO has a wonderful tradition of intro- their home countries may be dealing with po- ducing audiences far and wide to the excep- litical disputes among themselves, these young tional talents of young musicians from across musicians sit side by side as good friends work- Asia, and as a fan—having heard the orchestra ing for the wonderful common goal of perfec- on many occasions, most recently in Hanoi, tion in music. They are symbolic of what we all Vietnam—I can assure you that you are in for would like the world to be. a treat. This five-week world tour will take the AYO Guided with a sure hand by its founder and through Asia, the United States, and numerous recipient of Hong Kong’s Silver Bauhinia Star, European countries. At past performances, Richard Pontzious, the orchestra has been a audiences have responded with true excite- runaway success since its inception, and con- ment. The young musicians of the AYO bring tinues to provide a platform for cultural and them joy and happiness through their tremen- artistic exchange for music lovers from across dous talent and youthful enthusiasm. our region. Every year, the AYO counts on the kindness The Asian Youth Orchestra is a wonderful and generosity of corporate and private bene- example of the best of Hong Kong and Hong factors from around Asia for its support. To all Kong is proud to have the orchestra as cultural who have helped us succeed, the AYO board ambassadors to the world. Please enjoy their and I express our most sincere thanks. concert. But tonight, we invite you to sit back and enjoy. —Mrs. Carrie Lam I am sure you will come away from the concert Chief Executive, Hong Kong thrilled by what you have heard and seen. Special Administrative Region —Jim Thompson Chairman, AYO Board of Director elcome! You are about to enjoy a wonderful experience with the Richard Strauss WAsian Youth Orchestra. Don Juan, Tone Poem This is a very special year for both the AYO (after Nicolaus Lenau), Op. 20 and the place we call home—Hong Kong. It is It was in the 1630 drama El Burlador de Sevilla special for the orchestra because the musicians (The Seducer of Seville) by the Spanish play- are able to bring their music to so many cities wright Tirso de Molina that the fantastic char- of the world during this global tour, and it is acter of Don Juan first strutted upon the world’s special for Hong Kong because this year we cel- stages. Tirso based his play on folk legends that ebrate the 20th anniversary of the return of were at least a century old in his day, and whose Hong Kong to China. These have been 20 years roots undoubtedly extend deeply into some of growth for both the AYO and Hong Kong. Jungian archetype of masculine virility shared, For the past 27 years, Richard Pontzious, the from complementary viewpoints, by men and founder and principal conductor of the AYO, women alike. Don Juan found frequent literary has been molding talented young Asian musi- representations thereafter, notably in works by PROGRAM NOTES Molière, Dumas, Byron, Espronceda, de Mus - though he reels from one to another, at last set, Zorrilla and Shaw. A story of such intense Disgust seizes hold of him, and this Disgust is passion was bound to inspire composers as well the Devil that fetches him.” In Lenau’s version, as men of letters, and Gluck, Delibes, Alfano, Don Juan meets his death in a sword duel with Dargomyzhsky, and half a dozen others wrote the father of one of the women he has seduced. pieces based on the character and his exploits. Disillusioned and empty, ready for death, he The most famous treatment of the tale is, of drops his guard and welcomes his fate. course, Mozart’s Don Giovanni, and it was Strauss’ tone poem captures the feverish through that opera that Richard Strauss first be- emotion and charged sensuality of Lenau’s came acquainted with the Spanish Lothario. In drama, but other than three abstruse excerpts June 1885, Strauss attended a production of from Lenau’s poem that appear in the score, the Paul Heyse’s play Don Juans Ende with his men- composer never gave a specific program for tor, Hans von Bülow, and the drama and its sub- Don Juan. The body of the work comprises ject, building on the influence of Mozart’s themes associated with the lover and his con- master piece, made a powerful impression on quests. The vigorous opening strain and a sten- the young composer. torian melody majestically proclaimed by the Strauss started sketching his own Don Juan horns near the mid-point of the work belong to late in 1887, soon after he had met Pauline de Don Juan. The music depicting the women in Ahna in August. Pauline, a singer of consider- his life is variously coquettish, passionate, and able talent, got on splendidly with Strauss, and ravishing. In the closing pages, an enormous they were soon in love and married. The im- crescendo is suddenly broken off by a long si- passioned love themes of Don Juan were written lence. A quivering chill comes over the music. A under the spell of this romance. (The couple re- dissonant note on the trumpets marks the fatal mained apparently happily married for the rest thrust. Quietly, without hope of redemption, of their lives, though Pauline was a renowned the libertine dies. nag. Gustav and Alma Mahler would cross the street to avoid meeting her.) For the program of Jean Sibelius his tone poem, Strauss went not to da Ponte or Violin Concerto in D minor, Op. 47 the Spanish authors, but to the 19th-century By 1903, when he was engaged on his Violin Hungarian poet Nicolaus Lenau. Lenau, born Concerto, Sibelius had already composed in 1802, was possessed by a blazing romantic Finlandia, Kullervo, En Saga, the Karelia Suite, spirit fueled in part by a hopeless love for the the four Lemminkäinen Legends, and the first wife of a friend. In a fit of idealism in 1832, he two symphonies, the works that established his came to America and settled on a homestead in international reputation. He was composing so Ohio for a few months. Disappointed with the easily at that time that his wife, Aïno, wrote to a New World, he returned to Europe, where he friend that he would stay up far into the night to produced an epic on the Faust legend in 1836, record the flood of excellent ideas that had and then undertook a poetic drama based on come upon him during the day. There were, Don Juan. Lenau left the latter work unfinished however, some disturbing personal worries in 1844 when he lost his mind and was admit- threatening his musical fecundity. ted to an asylum, where he died six years later. Just after the premiere of the Second Sym - Lenau’s Don Juan was not a rakish extrovert but phony in March 1902, Sibelius developed a rather a vain, sensual idealist. In the author’s painful ear infection that did not respond eas- words, “My Don Juan is no hot-blooded man, ily to treatment. Thoughts of the deafness of eternally pursuing women. It is the longing in Beethoven and Smetana plagued him, and he him to find a woman who is to him woman- feared that he might be losing his hearing. (He hood incarnate, and to enjoy in the one all the was 37 at the time.) In June, he began having women on earth whom he cannot as individu- trouble with his throat, and he jumped to the als possess. Because he does not find her, al- conclusion that his health was about to give Opposite: Sarah Chang. Photo by Colin Bell under license to EMI Classics. PROGRAM NOTES way, even wondering how much time he might financial reward worth the trouble, so he have left to work.