Oct_TSO_fpg_TFS1828_Gabriel.qxp 2018-09-0711:00AMPage3 wh Ind B i l i wh n citizens g u D a K l E · E o i B C E S o W i N E p o T e r n M v l O M d h r B o R S o u c U E S Y h e iduals o L R o n eflec T C l o I · v E H c L 2 ac o D 9 A I - e · N S I d j T a · G E n a I O 1 g U R 6 e N I 2 S t t o T g r . a d e 1 2 t , S T E E F T H S E I R . S C T O R A I E S 98174 / TFS – Canada’s International School docket / client APPROVED BY TSO House Programme publication December Edition insertion date Sunday, December 2, 3:00pm at 2018 Sunday, 7:30pm at 2018 30, November Friday, 8:00pm at 2018 29, November Thursday, 8:00pm 28, at November 2018 Wednesday, and on silent during the performance. As Finale: AllegroIV. con fuoco III. Scherzo: Pizzicato ostinato II. Andantino modo in canzona di I. Andante sostenuto Op.36 4 in FMinor, No. Symphony IlyichPiotr Tchaikovsky Intermission III. Waltz ofthe Flowers II. Characteristic Dances: I. Overture Miniature Suite from IlyichPiotr Tchaikovsky fromPolonaise IlyichPiotr Tchaikovsky Earl Lee Sir Andrew Davis, Interim ArtisticSir Andrew Davis, Interim Director To Full Page = 6.5'' x 9.5" ad size acourtesy musicians, to guest artists, and fellow concertgoers, please put your phone away 4C process magazine quality colour ronto Symphony Orchestra Symphony ronto TFS-18-30 ad number Dance ofthe Reed Flutes Chinese Dance ArabianDance Russian Dance Dance ofthe Sugar Fairy Plum March Friday September 7, 2018 file released , conductor The Nutcracker Eugene Onegin Eugene 9 NOVEMBER 28, 29, 30 & DECEMBER 2, 2018 ABOUT THE WORKS Piotr Ilyich Tchaikovsky Polonaise from Eugene Onegin Born: Kamsko-Votkinsk, Russia, May 7, 1840 4 Died: St. Petersburg, Russia, November 6, 1893 min Composed: 1877–1878 The stately polonaise was surely one of As such, it encapsulates a rich array of dramatic Poland’s most widespread cultural exports allusions. Act 3 of Tchaikovsky’s best-known throughout the 18th and 19th centuries. opera opens with this polonaise, at the height Originating as a sung folk dance with simple of a scintillating fancy-dress ball, which the rhythms and melodies, it was taken up by world-weary Onegin attends on his return from the Polish nobility in the 17th century, then a long sojourn abroad. The celebrated beauty popularized throughout much of Europe in he meets there, the Princess Gremina, turns out the 18th, evolving into a more sophisticated to be none other than Tatyana, whose impulsive instrumental dance for grand society events. declaration of young love he had coolly spurned Composers including Bach, Couperin, Mozart, years before. A classic yet moving dramatic Beethoven, Schubert, and, of course, Chopin, reversal plays out in his recognition of his supplied examples of its increasingly elaborate passion for her, and her refusal, despite the development as an attractive instrumental confession of love Onegin compels from her, dance form. It had special currency in Russia, to leave her husband. Beneath the grandeur where a choral polonaise was used as an and panache of this polonaise, in its operatic anthem in the later 18th century. context, lies the irony and poignancy of this scene, wherein the magnificence of the Tchaikovsky’s interest in this French-named dance—once a simpler form itself—so elegantly Polish product, then, was hardly unique. encapsulates the distance between the naïve However, he did seem to have had polonaises girl Tatyana and the sophisticated society on the brain, so to speak, in the latter part of woman she has become. 1877. That summer, he had two large-scale works on his desk—his Fourth Symphony and Program note by Sherry Lee an opera—and he put polonaises into both. While Tchaikovsky-as-symphonist is well represented on this program, the brief and splendid polonaise from his 1878 opera, Eugene Onegin, is a transplant to the symphonic repertoire, exhibiting the composer’s twin preoccupations with the stage genres of the opera and the ballet. 10 TORONTO SYMPHONY ORCHESTRA Piotr Ilyich Tchaikovsky Suite from The Nutcracker 22 Composed: 1891–1892 min Tchaikovsky’s highly developed gifts in At first, Tchaikovsky felt indifferent toward it, but rhythm, melody, musical drama, and colourful he warmed to it as he worked on the score. The orchestration made him a natural ballet choreography was created by the celebrated composer. Swan Lake (1877), The Sleeping Beauty master Marius Petipa, who had fulfilled the (1890), and The Nutcracker (1892) form the same function with The Sleeping Beauty. summit of 19th-century theatrical dance music. The music of the 85-minute ballet, as He composed The Nutcracker in tandem encapsulated in this 22-minute suite, is with his final opera, Iolanta. They were enlivened by a memorable chain of melodies, commissioned as a double bill by Ivan and displays the strokes of a master orchestral Vsevolozhsky, director of the Imperial colourist’s brush. The suite starts with a Theatres in St. Petersburg, who had previously miniaturized overture, followed by the March commissioned The Sleeping Beauty. from Act One, which serves as a transition to Tchaikovsky began work on The Nutcracker Act Two’s enchanted kingdom of sweets. This in March 1891. He completed the sketches in is where the Nutcracker Prince has brought his July, after his journey to New York to take part young friend, Clara, and where his courtiers in the opening ceremonies of Carnegie Hall. He entertain the couple with a delightful chain orchestrated first those selections that he had of dances (albeit not in the same sequence as already decided to include in this concert suite, in the ballet), commencing with the “Dance which made its highly successful début in of the Sugar Plum Fairy”, from the ballet’s March 1892 for the St. Petersburg branch of the four-part Pas de deux, which features the Russian Musical Society, nine months before shimmering sounds of the recently invented the complete ballet and Iolanta received their French keyboard instrument, the celesta. This dual premières. The opera/ballet double bill is followed by three of the ballet’s four brief, was not a success, however. It was performed nationalistic Characteristic Dances: Russian, just 11 times, to ever-dwindling audiences, Arabian, and Chinese. The suite’s middle after which The Nutcracker was not produced section then concludes with the “Dance of again in Russia until 1919. the Reed Flutes”. The elegant “Waltz of the Flowers”, among Tchaikovsky’s most widely The original scenario was based on Alexandre recognized and rearranged melodies, brings Dumas the elder’s version of the 1816 short the suite to a shimmering close. story “The Nutcracker and the Mouse King” by the celebrated German author E.T.A. Hoffmann. Program note by Don Anderson NOVEMBER 28, 29, 30 & DECEMBER 2, 2018 11 ABOUT THE WORKS Piotr Ilyich Tchaikovsky Symphony No. 4 in F Minor, Op. 36 44 Composed: 1876–1878 min Though in “low spirits” when he began his It unfolds as a sweeping, powerfully expressive Fourth Symphony, late in 1876, Tchaikovsky musical drama with its own idiosyncratic logic had drafted the whole work by the end of May and an overwhelming cumulative effect. Its 1877. But the orchestration was interrupted main themes, moreover, have profound social, by his marriage, in July, to a young student— moral, and biographical implications. The Fate partly motivated by his fear that exposure of fanfare has the profile of a polonaise, a stately, his homosexuality would shame his family and ceremonial dance associated, in Russia, with friends. The marriage, never consummated, the nobility, while subsequent themes are like was a disaster, and Tchaikovsky suffered a waltz, a “lower” form of dance associated an emotional collapse. He fled to Western with common people. Through the interplay Europe, where he gradually recovered, and, in between these two dance types in the first December, in Italy, he completed the symphony, movement, Tchaikovsky creates a musical which he considered a seminal work in his metaphor for the submission of human feelings artistic development. The première in Moscow, and aspirations to the inevitability of Fate. on February 10, 1878, was only moderately Tchaikovsky described the last three successful, but a performance that November in movements as “very simple” by comparison. St. Petersburg was a triumph. The Andantino, he noted, is at once melancholy As Tchaikovsky admitted, the Fourth and sweet. In the novel Scherzo, a series of Symphony is autobiographical: turbulent “capricious arabesques,” three instrumental but finally triumphant, it reflects his recent choirs (strings, woodwinds, and brass) are tribulations as well as his eventual recovery. introduced in turn and then wittily combined. The principal idea of the symphony, he said, is The episodic and optimistic Finale, which the implacability of Fate, a force that “poisons features variations on a popular Russian the soul” by impeding the individual’s quest song, “A Birch Tree Rustled in the Field”, was for peace and fulfillment. Fate is conjured up at for Tchaikovsky a celebration of community once in the “Fate motto”, a portentous fanfare (the song ultimately wins out over the “Fate that opens the work. motto”). “Life is still possible,” he wrote of this movement—and such was the lesson he took The first movement departs fundamentally from this difficult period of his life. from Classical models, and marks an advance in Tchaikovsky’s symphonic technique.