Stravinsky, Ravel & Strauss CLASSICAL SERIES FRIDAY & SATURDAY, NOVEMBER 16 & 17, AT 8 PM NASHVILLE SYMPHONY HANS GRAF, conductor CLASSICAL SERIES NASHVILLE SYMPHONY CHORUS PRESENTING PARTNER TUCKER BIDDLECOMBE, chorus director RICHARD STRAUSS Serenade in E-fl at Major, Op. 7 IGOR STRAVINSKY Symphony of Psalms Psalm 38:13-14 This weekend's performances are Psalm 39:2-4 dedicated to the Nashville Symphony Chorus, Psalm 150 made possible by Mr. & Mrs. James W. White. Nashville Symphony Chorus – INTERMISSION – MAURICE RAVEL Daphnis et Chloé Nashville Symphony Chorus This concert will last two hours, including a 20-minute intermission. INCONCERT 39 TONIGHT’S CONCERT AT A GLANCE RICHARD STRAUSS Serenade in E-Flat Major, Op. 7 • Like Mozart, Strauss grew up under the influence of a powerful father who directed his musical education. The elder Strauss, Franz, performed as principal horn at the Court Opera in Munich and was a Wagner-loathing conservative who nevertheless performed in the world premieres of several of Wagner’s operas. • Strauss started composing as a child and studied composition privately before attending Munich University. He wrote this piece at age 17, while still in what we would today call high school. • The piece is written for 13 wind instruments. Though it comes from early in Strauss’ career, we can still hear his instinctive feeling for mixing colors and timbres. The Serenade was successful enough, following its 1882 premiere, to catch the attention of conductor Hans von Bülow, who would go on to be an early supporter of Strauss’. IGOR STRAVINSKY Symphony of Psalms • Symphony of Psalms represents a notable shift in the career of this composer who was known for changing his style. After the opulence of his breakthrough score for The Firebird and the revolutionary primitivism of The Rite of Spring, this work was something different still — a stark, neo-Classical adaptation of sacred texts. • Commissioned by Boston Symphony Orchestra music director Serge Koussevitzsky, the work is a choral-orchestral setting of three Psalms, and it represents an expression of the composer’s own Russian Orthodox faith. • Prior to the premiere in 1930, Stravinsky wrote to a friend that the work was not “a symphony in which I have included psalms to be sung.” Instead, he explained, “It is the singing of psalms that I am symphonizing.” • Stravinsky entirely omits clarinets and upper strings from the score, removing the traditional source of what we hear as a “warm” blend with voices. Instead, a sense of division between the chorus and orchestra brings a unique and sometimes chilly clarity to the sound. MAURICE RAVEL Daphnis et Chloé • Daphnis et Chloé is the product of Ravel’s collaboration with the Russian impresario Serge Diaghilev, who had previously collaborated with Stravinsky on The Firebird and would stage The Rite of Spring one year after this work’s premiere. • The source material is an ancient poem attributed to the second-century Greek writer Longus. A love story focusing on the two title characters, the ballet’s narrative alternates between atmospheric scenes, character-defining set dances and action sequences. • The scale of the piece is larger than any of Ravel’s other compositions, and the music was clearly conceived as part of a carefully integrated whole — the composer called it a “choreographic symphony.” He uses subtle blends of colors and harmonies, achieved in part through the singing of a wordless chorus. 40 NOVEMBER 2018 RICHARD STRAUSS Composed: 1881 First performance: November 27, 1882, with Born on June 11, 1864, Franz Wüllner conducting members of the in Munich, Germany; Musicians’ Association of Dresden died on September 8, 1949, First Nashville Symphony performance: CLASSICAL in Garmisch-Partenkirchen, October 18, 1949, with music director William Germany Strickland Estimated length: 10 minutes Serenade in E-flat major, Op. 7 ichard Strauss is treasured for his unsurpassed R gift for composing music that tells a story, WHAT TO LISTEN FOR whether in the tone poems that first made him famous or in the operas that rank among the ozart’s wind serenades would have been glories of the 20th-century repertory. But the Mfamiliar to Strauss thanks to his household first piece to be played outside his native Munich environment, though the 13 wind instruments he was the purely instrumental Serenade, which uses here (woodwinds and horns) do not precisely he had written with no story attached. This is replicate Mozartean scoring. Many hear strains of “absolute” (as opposed to programmatic) music Mendelssohn as well in the oboe’s gentle opening inspired by the classical models that his father theme. A Classical-era serenade was typically cast Franz, principal horn at the Court Opera in in multiple movements, but Strauss felt he had said Munich, had taught him to revere. all he needed to with a single movement, set at a Strauss grew up under the influence of leisurely Andante pace. The clarinet contributes the this powerful father, who directed his musical second theme, and the development is relatively education. Franz Strauss was one of the most simple, though already the young composer’s sought-after musicians of his era, but he was instinctive feeling for the possibilities of different a Wagner-loathing conservative in his musical mixtures of color and timbre is evident. taste (who nevertheless performed in the world During these crucial years of searching for premieres of several of Wagner’s operas). his voice, Strauss received this bit of advice in Young Richard had started composing as a letter from papa Franz: “Increasingly, it’s my a child and studied composition privately experience that only melodious music makes a before enrolling at Munich University, where lasting impression on musicians and amateurs, his subjects were philosophy, the history of art and melody is the most viable element in music.” and Shakespeare (rather than music). In his last Richard would proceed not long after to evolve into year of what we would now call high school, at something of a bad boy of the avant-garde, shocking age 17, he completed the Op. 7 Serenade, and the public with the bold orchestral experiments in the fall of 1882 it was premiered in Dresden, of his tone poems and, eventually, with his operas a city that would become closely associated Salome and Elektra. Yet the obvious gift for melody with Strauss’ later career. The conductor, Franz that graces the Serenade would never fail him. Wüllner, had led the world premieres of Wagner’s first two Ring operas in Munich. The success The Serenade is scored for pairs of flutes, oboes, clarinets and bassoons, as well as contrabassoon of the Serenade won the attention of the highly and 4 horns. influential conductor Hans von Bülow, a celebrity of the era who became a key early supporter of S t r a u s s’. INCONCERT 41 IGOR director, Serge Koussevitzsky, commissioned the Symphony of Psalms in 1930, he left it up CLASSICAL STRAVINSKY to Stravinsky to decide what form the project should take, hoping for a “popular” piece for Born on June 17, 1882, orchestra alone. Instead, the composer opted in Oranienbaum, Russia; for a choral-orchestral work setting excerpts died on April 6, 1971, in New York City from three of the Psalms. In the 1920s, he had begun to re-explore the Russian Orthodox faith in which he had been raised, composing Symphony of Psalms an a cappella setting of the Lord’s Prayer in 1926. Biographer Stephen Walsh suggests that Composed: January-August 1930; revised 1948 the global Depression — which forced a rude First performance: December 13, 1930, with Ernest awakening from the giddy exuberance of the Ansermet conducting the Brussels Philharmonic. 1920s — may have left its mark, too, as seen in First Nashville Symphony performance: a wave of spiritually themed works by several April 4 & 5, 1977, with music director of Stravinsky’s contemporaries. Michael Charry Here is how Stravinsky inscribed his score: Estimated length: 21 minutes “This symphony, composed to the glory of GOD, is dedicated to the Boston Symphony Orchestra gor Stravinsky underwent numerous on the occasion of the 50th anniversary of its Imetamorphoses throughout his long career, existence.” Sacred and secular are casually not unlike Pablo Picasso, his contemporary and intermingled, the first of numerous indications occasional collaborator. The Russian composer that nothing is to be taken for granted with made a style of changing styles, shaking up his the Symphony of Psalms. Stravinsky defies image with a variety of artistic makeovers. Or expectations on every level. that’s how his contemporaries tended to view Stravinsky’s seemingly restless shape-shifting. WHAT TO LISTEN FOR What had been the opulence of his breakthrough ballet The Firebird was replaced by a revolutionary espite the allusion to the genre of the “primitivism” and then, even more shockingly, Dsymphony — particularly in the context of a coolly “objective” attitude that appeared to do his preceding works in the neo-Classical vein — the an about-face on the avant-garde, play-acting three-movement Symphony of Psalms is at a far with 18th-century musical props. remove from Classical archetypes. Moreover, the Yet running through all of these phases is idea of an epic choral symphony, as pioneered by Stravinsky’s unmistakable voice. Even his so- Beethoven in his Ninth, finds its virtual antithesis called neo-Classical phase accommodated a in Stravinsky’s emotional reserve and compact variety of stylistic approaches. With its interplay proportions (three movements connected without of stark, neo-Classical economy and sacred pause). This work represents the polar opposite texts, the Symphony of Psalms — one of the of the hyper-expressive individualism that the most impressive masterpieces in Stravinsky’s preceding century had idolized.