~ProgramNotes~BerkshireSymphonyOrchestra

April21st,2017ReinholdGliéreHarpConcerto,1stmov.(1874-1956)

OfBelgiandescent,butborninKiev,Ukraine,GlièrewasaclosecontemporaryofRachmaninovandbecameapupilofArensky,TaneyevandIppolitov-IvanovattheMoscowConservatoire.HelatertaughtinMoscowandKiev,researchedAzerbaijan,UzbekandUkrainianfolksongandfinallysettledinMoscowin1920.HisearlyworksshowthecolorfulRussiancosmopolitanstyle,imbuedwithaccentsofRussianfolkmusicbuttreatedwithconsiderableorchestrasophisticationthathelearnedfromhisteachers,andhedidnotmodifyhisidiommuchthroughouthislonglife–certainlynotwiththetransitionofTsaristRussiatotheCommunistUSSR.Whilekeepinghimselfoutofthepoliticallimelight,Glièremanagedtoprosperunderthenewregime,forwhomhisbrandofcolorfulnationalism,romanticaspirationandclassicalformwastheofficially-approvedidiom.GlièreisbestknownforsuchvividorchestralscoresashismassiveThirdSymphony(IlyaMurometz)andthecolourfulSovietballetTheRedPoppy,buthewroteworksinawidevarietyofgenresandsometimesforunusualcombinations.HecomposedhisHarpConcertoinEflatmajor,op74in1938fortheharpistKseniaErdeli(1878-1971),whomheconsultedsofrequentlyontheeffectivenessofhisharpwritingthatheeventuallyofferedtonameherasjointcomposerofthework—anhonourshedeclined.Scoredforacomparativelysmallorchestra,theHarpConcertocouldeasilybeperformedbyachamberorchestra,whichenhancesitsqualityofcharmandintimacy.Thereisinfactlittleinitsidiomtotellthelistenerinwhichcenturyitwascomposed,andvirtuallynothingthatcouldn’thavebeenwritten50yearsbeforeitsactualdate.StylisticallyitisredolentbothofVienneseclassicalstyle,withatinctureofRussianromanticnationalism—an‘archaic’mixturewearemostfamiliarwithinworkslikeTchaikovsky’sMozartianaSuite.Thethreemovementsareconceivedonanamplescale.Thefirstisafull-scale,ratherdreamysonata-formmovementwithahighlymelodicsecondsubjectthathasbeencomparedwithRachmaninovforitssweepinglyricism.—MalcolmMacDonald

WolfgangAmadeusMozart(1756-1791)“Haigiavintalacausa,”fromMarriageofFigaro."Haigiàvintalacausa!"isperhapsthemostactorlyariaintheDaPonteoperasofWolfgangAmadeusMozart.TheCountisfrustratedthathecannotenjoythedroitduseigneur—anoldcustom,longoutdated,throughwhichalordwouldspendthefirstpost-weddingnightwiththebrideofasubordinate—withFigaro'sbride,Susanna.AteveryturninLeNozzediFigarotheCounthasbeenstifled,leadingtothisgreataria,inwhichhevacillatesfromfrustrationtopomposity.Theseemotionalfluctuationschangewitheveryfewmeasures.Theariahasimmensepower,butitsenergyisconstantlycheckedwithdoubt.Itisaperfectsoliloquyforanactor.—KeithKibler

JacquesIbert(1890-1962)FluteConcerto,1stmov.

JacquesFrançoisAntoineIbertwasbornin1890toasuccessfulParisianbusinessmanandanaccomplishedpianist,whoencouragedtheyoungboytolearnviolinandpianofromayoungage.AfterfinishingschoolIbertbegantosupporthimselfplayingmusic,gainingadiversesetofmusicalexperiencesteachinglessons,freelancingasanaccompanist,andplayingthepianoforthecinema.TheaspiringcomposergainedentrytotheParisConservatoirein1910buthistimeattheConservatoirewasinterruptedwhenhewascalledtoserveasanavalofficerintheFirstWorldWar.However,theyoungcomposerquicklydemonstratedthathewasquiteabletoforgehisownstylisticpath,however:uponreturningfromthewar,hemanagedtowinthecovetedPrixdeRomeonhisfirstattemptin1919.IberthasbeendescribedbysomeasmusicallyconservativeonaccountofhiscontinueddedicationtoelementsoftheclassicFrenchtraditionofSaint-SaënsandFauré,buthewasalsoprofoundlyinfluencedbytheabundanceofartisticphilosophiescirculatingaroundParisduringhisformativeyears.

TheFluteConcertohasremainedoneofthemostpopularworksfortheinstrument,regardlessofthecomposerʼsoverallcanonicalstatus.Ibertbeganworkonthepiecein1932afterParisConservatoireprofessorandaccomplishedflutistMarcelMoyseaskedhimtowriteapiecefortheinstrument,whichhepremiered1934towidespreadacclaim.Indeed,thepiecewassopopularandtechnicallychallengingthattheParisConservatoirebeganthatyeartousethefinalmovementasatestpiecefor

studentauditions.TheconcertoʼsFinale(Allegroscherzando)providesclearevidencethatIbertwasnotsimplyamusicallyconservative,steadfastlyFrenchcomposer.Thecomplexrhythmicfabricofthemovement,alternatingbetweensectionsoffourandthreebeats,isobviouslyinfluencedbyAmericanjazz,andislikewiseevocativeofsomeofIbertʼsfilmscoresbasedonpopularmusic.Thefinalmovementmakesarangeoftechnicaldemandsofthesoloist,fromswiftleapstoevenswifterscalepassagesandtongue-twistingmelodicmaterial,whicharecombinedinthefinalcadenzaandpunctuatedbythemovementʼsenergeticorchestralconclusion.—LindsayWrightCamilleSaint-Saens(1835-1921)PianoConcertoNo.2,1stmov.PianistAntonRubensteinwasperformingonaseriesofconcertsinParisin1868whenhementionedadesiretoconductaprogramwithSaint-Saënsassoloist.Sincethehallwasnotavailableforafewweeks,Saint-Saënssuggestedthecompositionofanewworkandhurriedlyputtogetherthe2ndConcerto.Thepremieredidnotgoverywell,partlybecauseSaint-Saënshadnotbudgetedmuchtimeforpracticeinhisrushtocompletethescorebutalsoduetounpredictableswingsofmoodinthemusic.ThefamouscriticalquotefromtheeveningcamefromfellowpianistandcomposerSigmondStojowskiwhoclaimedthattheconcerto“beganwithBachandendedwithOffenbach.”Awittyremarktobesure,butnotsuchanindictmentoncloserinspection.ThereisaBach-likeatmosphereastheworkopensandthereisanabruptshiftoftemperamentintothescherzo,butitfeelsmoreliketheothersideofthesamecointhanacrimeofdisconnection.Thefleetandfranticfinaleonlyservestoconfirmacertaindelightfultotalityborneoftheconcerto’squick-changeantics.Saint-Saënswasnevershyinhisopinionsandhewouldbecomequitetheconservativekilljoyinhislateryears.In1868,however,hewasstillthegood-spiritedmanofthehourandthe2ndConcertoreflectshisactiveandoftenwittymind.Itremainshismostpopular.—JeffCounts

LudwigvanBeethoven(1770-1827)CoriolanOverture,Op62 BeethovenknewandadmiredtheworksofShakespeareintheprosetranslationofEschenburg.Thecomposer'sCoriolanOverturewasnotinspiredbytheBard'sCoriolanus,however,butratherbyamuchlesselevatedsource,aplaybyMatthausvonCollinthathadenjoyedabriefvogueinViennaduringtheyearsfrom1802to1805asavehiclefortheactorLange.Originallytheplaywasperformedwithsecond-handmusic,adaptedbyAbbeStadlerfromMozart'sIdomeneo.Beethovenapparentlyadmiredthesomewhathackneyedpoetictragedyfortheidealsofclassicalvirtueembodiedtherein(andtheauthorwas,inanycase,afriendofhis,andaninfluentialoneatthat,sinceheservedasCourtSecretary). TheonlyinformationwehaveforthedatingoftheworkisBeethoven'sownindication"1807"onthemanuscriptandthefactthatithadbeenperformedbyMarchofthatyearnotoncebuttwiceinsubscriptionconcertsgivenatthehomeofPrinceLobkowitz.ItseemsalsotohavebeengivenearlyinMarch(apressnoticeappearedonthe8th)ataprivatemusicalesponsoredbyanotheraristocratwithwhomBeethovenhadnotbeenonthebestoftermsinrecentmonths,PrinceLichnowsky.Theprecedingautumn,whilestayingatPrinceLichnowsky'scountryhomenearTroppau,Beethovenwaspesteredbyothergueststoplaythepianoforthem.Herefused,objectingtotheirevidentexpectationsthatheundertake"meniallabor"asifhewereaservant;athreatofarrestcertainlymadeasajokecausedhimtoexplodeandleaveonthespot.HewalkedtothenearesttownandtookthepostcarriagebacktoVienna.Theoutburstwascharacteristic,butitblewoverquickly.ByMarchBeethovenwashappytoallowtheprincetousehisnewmanuscriptoverture. TheprogramofthetwosubscriptionconcertssponsoredbyLobkowitzincludedthefirstfoursymphonies,apianoconcerto,ariasfromFidelio,andthenewoverture.Ac-cordingtoanevaluationintheJournaldesLuxusundderModem:“Richnessofideas,boldoriginalityandfullnessofpower,whicharetheparticularmeritsofBeethoven'smuse,wereverymuchinevidencetoeveryoneatthesecon-certs;yetmanyfoundfaultwithlackofanoblesimplicityandthealltoofruitfulaccumulationofideaswhichonaccountoftheirnumberwerenotalwaysadequatelyworkedoutandblended,therebycreatingtheeffectmoreoftenofroughdiamonds.Yettheoverturemusthavemadeafairlystrongimpression,forbyApril24themanagementoftheImperialTheater(theBurgtheater)mountedasingleperformanceofCollin'sdrama,usingBeethoven'soverture,soastounitetheplaywiththemusicthatitinspired.ItismostlikelythatthishappenedatthesuggestionofPrinceLobkowitzhimself,whowasadirectorofthetheater.” Thecombinationofmusicwithdramaseemstohavebeennoimprovementoverthemusicalone;theplayhasapparentlyneverbeenperformedsince.Beethoven'soverture,ontheotherhand,recognizedfromthefirstasbeing"fulloffireandpower,"isoneofhismost

admiredshortorchestralworks,aprobingessayinmusicaldrama.ThetensionofBeethoven'sfavoritedramatickey,Cminor,isheightenedbyorchestralchordspunctuatingtheweakestbeatofthemeasureatthephraseendingsintheAllegrotheme.Formallythedesignisstrikinginthatthesecondthematicgroup,representingCoriolanus'motherVolumnia,istheonlypartoftheexpositionthatisrecapitulated.Finallytheopeningthemereturnsinthehomekey,butitistransformedrhythmicallyintoashortseriesoflamentingfragments,andthewholeovertureendswithawonderfullydramaticuseofsilence—amusicalsuggestionoftragedyfarmorepotentthanthataccomplishedbytheprolixrhetoricofCollin'sverse.—StevenLedbetterIgorStravinksy(1875-1954)FirebirdSuite(1919edition)

ThenotoriousinabilityofAnatolLiadovtofinishhisscoresintimegaveStravinskyhisfirstbigbreak.In1909,SergeiDiaghilevneededtofindafast-workingcomposerforanewballetbasedontheoldRussianlegendoftheFirebird.HavingbeenimpressedbyStravinsky’sFireworks,whichhehadheardafewmonthsearlier,DiaghilevwenttoStravinskytodiscussapossiblecommissionforTheFirebird.ThoughdeeplyengrossedinhisoperaTheNightingale,StravinskynaturallyrecognizedthataballetcommissionfromDiaghilevwithaproductioninPariswasanopportunityhecouldnotturndown.Infact,hewassoenthusiasticthathebegansketchingthemusicbeforetheformalcommissionfinallyreachedhim.HecomposedthelargescorebetweenNovember1909andMarch1910;thefinaldetailsofthefullscorewerefinishedbyMay18.ThepremiereofthelavishlycolorfulscoremarkedasignaltriumphfortheBalletsRussesandputthenameofStravinskyonthemap.Diaghilevquicklysignedhimupformoreballets,andinshortorderheturnedoutPetrushkaandTheRiteofSpring,withwhichhebroughtonamusicalrevolution.

ThescenarioofTheFirebirdinvolvestheinteractionofhumancharacterswithtwosupernaturalfigures,themagicFirebird(asortofgoodfairy),andtheevilsorcererKashchei,agreen-talonedogrewhocannotbekilledexceptbydestroyinghissoul(whichispreservedinacasketintheformofanegg),andwhohasanenchantedgardeninwhichhekeepsthirteencapturedprincesses.Manyvaliantknightshavetriedtorescuetheprincesses,butallhavebeencapturedandturnedtostone.

Thesuiteopenswiththeballet’sintroduction,withitsmoodofmagicalawe.Thedoublebassespresentamelodicfigure(twosemitonesandamajorthird)thatliesbehindallthemusicoftheFirebird.Followingaculminatingshowerofbrilliant

harmonicsontheviolins(playedwithanewtechniqueinventedbyStravinskyforthispassage),amutedhorncallsignalstheriseofthecurtainonanocturnalsceneinthe“EnchantedGardenofKashchei,”whichcontinuesthemysteriousmusicoftheopening(achromaticbassoonphraseforeshadowsthesorcerer).SuddenlytheFirebirdappears(shimmeringstringsandwoodwinds),pursuedbyayoungprince,IvanTsarevich.TheFirebirdperformsalivelydance,allshotthroughwithbrillianthighinterjectionsfromtheupperwoodwinds.ButIvanTsarevichcapturesthemagicbird(hornchordssforzando)asitfluttersaroundatreebearinggoldenapples.TheFirebirdappealstobefreedinanextendedsolodance,butIvantakesoneofitsfeathers—amagicfeather—asatokenbeforeallowingittodepart.

Thirteenenchantedprincesses,thecaptivesofKashchei,appear—tentativelyatfirst—shaketheappletree,thenusethefallenapplesforagameofcatch.IvanTsarevichinterruptstheirgame,forhehasfalleninlovewithoneofthem.Theydanceakhorovod(astatelyslowrounddance)tooneofthefavoritepassagesofthescore,amelodyfirstintroducedbythesolooboe(thisisanactualfolksong).

Inpursuitoftheprincesses,IvanTsarevichentersthepalace,whereheiscapturedbythemonstersthatserveasKashchei’sguards.ThesuitethenjumpstothepointatwhichKashcheibeginstoturnIvanintostone,makingaseriesofmagicgestures:one…two…Butbeforehecanmakethethirdandfinalgesture,IvanTsarevichrememberstheFirebird’sfeather;hewavesit,summoningtheFirebirdtohisaid.Kashchei’sfollowersareenchantedbythemagicbird,whosetsthemdancingtoan“infernaldance”ofwildsyncopationandstrikingenergy.

TheFirebirdalsoindicatestothePrincewherehecanfind—anddestroy—thesoulofKashchei,whereuponalltheknightsthathadbeenturnedtostonebeforecomebacktolife(inasweetlydescendingphraseoffolklikecharacter)andalltakepartinadanceofgeneralhappiness(amoreenergeticversionofthesamephrase).TheFirebirdhasdisappeared,butitsmusic,nowrenderedmore“human”intriadicharmony,soundsintheorchestraasthecurtainfalls.

TherearethingsintheFirebirdthatalreadyforeshadowtherevolutionarycomposertocome:theinventiveearfornewandstrikingsounds,theloveofrhythmicirregularities(thoughthereismuchlessofitherethaninTheRiteofSpring),andthepredilectionforusingostinatostobuilduppassagesofgreatexcitement.Inlisteningtothisfamiliarscore,wemaybeabletosenseafreshtheexcitementofbeingonthevergeofarevolution.—StevenLedbetter