“The CSO has played the Mahler Third on many occasions but almost never with the degree of concentration, fervor and refinement it summoned for Haitink at this performance. But it was the sublime, transcendent finale toward which every- thing built, and Haitink rightly made it the beating heart of his performance. With Haitink and the CSO, a great musical partnership has been born.” John von Rhein, Chicago Tribune, October 21, 2006 “. Bernard Haitink debuted as CSO principal conductor with a performance of Mahler’s massive 100-minute Third Symphony that was one for the history books. Haitink showed that he was here to bring out the mysteries of this magical piece, one that contains an entire world, and that he wanted to meet the CSO’s players at a mountaintop of artistry that they would share with the composer.” Andrew Patner, Chicago Sun-Times, October 21, 2006 CSO Resound is underwritten This recording is made by a generous gift from possible with the Mr. and Mrs. Ralph Smykal. generous support of MAHLER / SYMPHONY NO. 3 CHICAGO SYMPHONY ORCHESTRA / BERNARD HAITINK / MICHELLE DeYOUNG CHICAGO SYMPHONY ORCHESTRA BERNARD HAITINK / MICHELLE DeYOUNG 23 Oboes Saxophone Tuba Eugene Izotov Burl Lane Gene Pokorny Principal Principal The Nancy and Larry The Arnold Jacobs Principal Fuller Chair Horns Tuba Chair, endowed by Michael Henoch Dale Clevenger Christine Querfeld Assistant Principal and Principal Acting English Horn Daniel Gingrich Timpani Scott Hostetler Associate Principal Donald Koss James Smelser Principal Clarinets David Griffin Vadim Karpinos Rosenberg Todd by Photo Larry Combs Oto Carrillo Assistant Bernard Haitink Principal Susanna Drake Conductor John Bruce Yeh Percussion Assistant Principal Trumpets Patricia Dash Gregory Smith Christopher Martin Acting Principal J. Lawrie Bloom Principal Vadim Karpinos The Adolph Herseth Principal James Ross Trumpet Chair, endowed by Acting Principal E-flat Clarinet an anonymous benefactor John Bruce Yeh Mark Ridenour Assistant Principal Piano Bass Clarinet John Hagstrom Mary Sauer Mahler’s Symphony No. 3 is accompanied by the artwork entitled “Cycle.” The cyclical Principal Steiner Christian by Photo motion and flaring crest of the image refer to the magical “Wunderhorn,” a musical J. Lawrie Bloom Tage Larsen motif, as well as the cycle of life and quest for greater understanding. The many unique Michelle DeYoung arrows illustrate individual journeys from naïveté to enlightenment as part of a larger, Librarians Bassoons Trombones Mezzo-Soprano collective migration. The arrows also capture the robust energy of the CSO under the Peter Conover direction of Bernard Haitink in this recording. David McGill Jay Friedman Principal Principal Principal Carole Keller William Buchman James Gilbertsen Assistant Principal Associate Principal Mark Swanson Producer: James Mallinson French translation of sung texts used Dennis Michel Michael Mulcahy Engineer: Christopher Willis courtesy of Dennis Collins and the Editing Engineering: Classic Sound Limited San Francisco Symphony. Burl Lane Charles Vernon © 2003 San Francisco Symphony. Recorded live in Orchestra Hall at Symphony Center on October 19, 20, © 2007 Chicago Symphony Orchestra Contrabassoon Bass Trombone and 21, 2006. CSOR 901 701 Burl Lane Charles Vernon Design: IA Collaborative 22 MAHLER / SYMPHONY NO. 3 CHICAGO SYMPHONY ORCHESTRA MAHLER / SYMPHONY NO. 3 Bernard Haitink Baird Dodge Violas Basses Chicago Symphony Orchestra / Bernard Haitink, Conductor / Michelle DeYoung, Mezzo-Soprano Principal Conductor Principal Charles Pikler Joseph Guastafeste Women of the Chicago Symphony Chorus / Duain Wolfe, Director The Marshall and Arlene Principal Principal Chicago Children’s Choir / Josephine Lee, Artistic Director Bennett Family Foundation The Prince Charitable The David and Mary Pierre Boulez Chair Helen Regenstein Trusts Chair Winton Green Chair Conductor Emeritus Albert Igolnikov Li-Kuo Chang Daniel Armstrong Assistant Principal Assistant Principal Roger Cline Lei Hou The Louise H. Benton Violins Joseph DiBello Arnold Brostoff Wagner Chair Samuel Magad Michael Hovnanian Fox Fehling John Bartholomew Concertmaster Robert Kassinger The Sarah and Watson Hermine Gagné Catherine Brubaker Mark Kraemer Armour Chair Rachel Goldstein Karen Dirks Stephen Lester Robert Chen Mihaela Ionescu Lee Lane Concertmaster Diane Mues Bradley Opland The Louis C. Sudler Chair, Melanie Kupchynsky endowed by an anonymous Wendy Koons Meir Lawrence Neuman Harps benefactor Joyce Noh Yukiko Ogura David Taylor Daniel Orbach Sarah Bullen Nancy Park Principal Yuan-Qing Yu Ronald Satkiewicz Max Raimi Assistant Concertmasters Lynne Turner Florence Schwartz-Lee Robert Swan Cornelius Chiu Jennie Wagner Thomas Wright Nathan Cole Flutes DISC 1 Alison Dalton Mathieu Dufour Cellos Principal Part I Kozue Funakoshi John Sharp Richard Graef 1 1. Kräftig. Entschieden 35:10 Russell Hershow Principal Assistant Principal Qing Hou The Eloise W. Martin Chair Louise Dixon Nisanne Howell Kenneth Olsen DISC 2 Assistant Principal Jennifer Gunn Blair Milton Part II Philip Blum Paul Phillips, Jr. Loren Brown Piccolo 1 2. Tempo di Menuetto. Sehr mässig 9:52 Sando Shia Richard Hirschl Jennifer Gunn 2 3. Comodo. Scherzando. Ohne Hast 18:13 Susan Synnestvedt Katinka Kleijn 3 4. Sehr langsam. Misterioso 9:13 Rong-Yan Tang Jonathan Pegis 4 5. Lustig im Tempo und keck im Ausdruck 4:18 Akiko Tarumoto David Sanders 5 6. Langsam. Ruhevoll. Empfunden 24:39 Gary Stucka Brant Taylor Total timing 1:41:25 4 MAHLER / SYMPHONY NO. 3 CHICAGO SYMPHONY ORCHESTRA BERNARD HAITINK / MICHELLE DeYOUNG 21 MAHLER / SYMPHONY NO. 3 Gustav Mahler spent the summer of 1893 genesis of Mahler’s Third Symphony is so curious haben achtundfünfzig Grammy® Awards von der in Steinbach on the Attersee near Salzburg. it sounds haphazard in the retelling: the first National Academy of Recording Arts and Sciences That year he became a “summer composer,” movement was added after the other movements gewonnen, mehr als jedes andere Orchester establishing the pattern that would suit him the were finished and the original finale was removed in der Welt. Diese Veröffentlichung der Dritten rest of his life—working on his music during and set aside, only to turn up later as the last Symphonie von Mahler ist die erste Aufnahme, the long summer days in the countryside, then movement of Mahler’s Fourth Symphony. The die unter dem neuen eigenen Recording Label, returning to the hectic life of a conductor and resulting work, with six movements divided into CSO Resound, des Chicago Symphony Orchestras the tiresome chores of administration during the two large parts, is no more idiosyncratic than the aufgenommen wurde. Weitere Informationen season in the city. The next summer Mahler had way it evolved. finden Sie unter www.csoresound.org. a tiny hut built, precisely to his specifications, on The first music Mahler sketched in the hut the edge of a meadow and right on the shore of on the Attersee, in June 1895, is the charming the lake, where he could compose undisturbed. minuet that is now the symphony’s second He furnished it with a piano, a writing desk, a movement. Mahler said it was the most carefree bookcase, and a wood-burning stove; from the music he had ever written, like flowers bending windows he could see only the lake and the on their stems in the wind, as he put it. But, as mountains beyond. Mahler later realized when this one movement During the summers of 1895 and 1896, was performed on its own—it was the first music Mahler went there every day to write this from the symphony ever played in public—it symphony, beginning around 6:30 in the morning. gave people the wrong impression of his nature Breakfast was brought to him on a tray. He was painting—it made them think of birds and woodsy not to be disturbed unless the door to the hut was smells, not the god Dionysus or the great Pan. open. A scarecrow was installed in the meadow Nature was Mahler’s chosen subject, one that he to discourage loud birds. Villagers were told to absorbed daily in his mountain retreat, staring out stay away, nearby peasants bribed not to sharpen the window as storms swept across the lake, or their scythes. He would break late each afternoon walking in the forest after a long day’s work. When for lunch, a nap, reading, and a walk. For two the conductor Bruno Walter went to visit Mahler summers this music was his life. in Steinbach and stopped to admire the mountain The history of this symphony is disorderly; like view, Mahler said matter-of-factly that he had most of Mahler’s early symphonies it took time already set that to music. and thought to reach its final form. Movements In the summer of 1895, Mahler’s work evolved were rearranged; the narrative “program” was into a seven-movement symphony, with a large- refined, debated, and ultimately discarded; scale introductory movement before the minuet titles were proposed, changed, and dropped. The (now called What the flowers in the meadow 20 MAHLER / SYMPHONY NO. 3 CHICAGO SYMPHONY ORCHESTRA BERNARD HAITINK / MICHELLE DeYOUNG 5 Jean Martinon qui a occupé le poste de directeur Tod im Jahr 1905 Musikdirektor, nur drei Wochen tell me), and the song, “Das himmlische Leben” this music, and he chose to delete the titles musical pour les cinq saisons de 1963 à 1968. nach der Eröffnung der Orchestra Hall. Sein (Heavenly life), composed in 1892, as the finale. altogether. When the complete symphony was Sir Georg Solti, le directeur musical de 1969 à Nachfolger, Frederick Stock, war siebenunddreißig In between Mahler envisioned a series of titled performed for the first time in 1902, it was simply 1991, a dirigé l’Orchestre en 1971 lors de sa Jahre lang Musikdirektor, von 1905 bis 1942, movements: What the beasts of the forest tell listed as Symphony no. 3, and the movements première tournée européenne saluée par la und hat die ersten kommerziellen Aufnahmen me, What the night tells me, What the morning were labeled only with generic tempo markings.