COMMENTS
OTTORINO RESPIGHI
Born July 9, 1879; Bologna, Italy
Died April 18, 1936; Rome, Italy
Fountains of Rome
COMPOSED
1915–16
FIRST PERFORMANCE
March 11, 1917; Rome, Italy
INSTRUMENTATION
2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bells, chimes, 2 harps, piano, celesta, organ, strings
APPROXIMATE PERFORMANCE TIME 15 minutes
Ottorino Respighi came to this country for the first time in December 1925. He was already well known among music lovers for Fountains of Rome, a brilliant tone poem he completed in 1916, three years after he settled in Rome. Respighi and his wife, Elsa, a soprano, began their American sojourn in New York City, where he played his new piano concerto with the Philharmonic under Willem Mengelberg. Pines of Rome, a sequel to Fountains of Rome, was to be given its world premiere later that season by the Philharmonic under the baton of Arturo
Toscanini, who was already one of Respighi’s greatest champions.
After New York, Respighi traveled to Chicago to appear with the Chicago Symphony, which had already welcomed a number of composers as guest conductors, including Richard Strauss, Sergei Prokofiev, and Respighi’s fellow countryman, Ferruccio Busoni. Respighi was the rare artist who held the stage in three different roles—as composer, conductor, and pianist, “a dangerous test for any man to subject himself to,” the Chicago Post said the day after his January 29 debut. “But he is one of those who, with proper humility, has estimated his powers accurately.”
Respighi had caused a stir in New York when he spoke bluntly with a Musical America reporter: “Atonality? Thank heaven, that’s done for! The future course of music? Who can say? I believe that every composer should first of all be individual.” He went on to clarify that for him, dissonance, like polytonality, had its place—“as a means to expression it has important uses.” For many in the Chicago audience who had already heard some of Schoenberg’s thorniest music, including the U.S. premiere of his Five Pieces for Orchestra
this page: Ottorino Respighi, photo by Ghitta Carell (1899–1972), 1934. Gallica Digital Library | next page: The Villa Medici in Rome, tempera on parchment, by Gaspar van Wittel (1653–1736), 1685. Museo Nazionale di San Martino, Naples, Italy. Photo by De Agostini, Getty Images
COMMENTS in 1913, Respighi’s works came as a welcome sign of modernism in moderation.
The novelty of Respighi’s language is largely lost on audiences today. Some of his most radical sound effects, such as a phonograph recording of a nightingale’s song in Pines of Rome, which were once hotly debated, can seem passé nearly a century later. The imagination of his orchestral writing, rivaled only by Ravel among early twentieth-century composers, is easily overlooked in the electronic age. His brilliant color palette and the powerful sweep of his writing long ago became the lingua franca of film scores. (Even though Respighi’s work is no longer in fashion as concert music, his is still the style of choice for epic adventure movies—John Williams, today’s most celebrated film composer, claims Respighi is one of his primary inspirations.)
musical subject soon after he settled there in 1913. Respighi spent the rest of his life in Rome and taught at the Accademia di Santa Cecilia for many years; his longest absences were his two North American tours.
Respighi’s U.S. tour was a triumph. In Chicago, audiences embraced his appearance, his stage presence, considerable pianistic skills, intoxicating music, and ability to coax powerful performances from the orchestra.
Although he was born in Bologna and studied in Saint Petersburg (with Rimsky-Korsakov) and Berlin (with Max Bruch), it was Rome that became Respighi’s most successful
Like most visitors to Rome, Respighi was struck by the city’s many magnificent fountains (the official count stands at over 2,000), a few of them among Rome’s most important cultural monuments. “I wonder why no one has ever thought of making the fountains of Rome ‘sing,’ ” he wrote to his wife when he started to compose this music, “for they are, after all, the very voice of the city.” This association dates back to the time of Augustus Caesar, the first emperor of the Roman Empire, who promoted the expansion of the extensive system of aqueducts that fed fountains both monumental and modest in size—in plazas, at major intersections, and in home gardens. For his first orchestral impression of Rome, Respighi selected just four fountains,
visiting each one at a different time of day.
Together, the four pieces form a richly atmospheric portrait of a day in the city. They owe much of their idiomatic coloristic effect to the teachings of Rimsky-Korsakov as well as a general impressionistic style to Debussy and a stylistic bent to Richard Strauss, whose own tone poems had recently set a new standard for the genre. Unlike those composers, Respighi wasn’t so much a pioneer as a great assimilator who had the rare skill of combining the best of what he heard around him and producing works of strong individuality. As a result, Fountains of Rome eventually enjoyed a popularity equal to that of Sheherazade, La mer, and Don Juan.
Respighi begins in a gentle landscape at dawn at the site of the fountain of Valle Giulia. “Droves of cattle pass and disappear in the fresh damp mists of a new Roman day,” he writes.
With a rude blast of horns, we suddenly stand before Bernini’s great Triton Fountain, one of the glories of the Roman baroque. Respighi perfectly captures Bernini’s mythological demigod blowing on his conch shell—even if it’s car horns that we now associate with the Triton, located at one of Rome’s busiest intersections. Years after Respighi’s death, his widow commented
that her husband had captured the sensuous sounds of Rome “before these dreadful automobiles, trucks, motorcycles, and police sirens ruined it all.” Respighi was certainly thinking of a more pastoral age when the traffic consisted of “troops of naiads and tritons, who come running up, pursuing each other, and mingling in a frenzied dance between the jets of water.”
It is now midday, and we move to Rome’s most famous fountain, the Trevi Fountain, celebrated in literature and film (from Three Coins in the Fountain, inspired by the legend that the visitor who tosses coins into the fountain will return to Rome, to Federico Fellini’s La dolce vita, with Marcello Mastroianni and Anita Ekberg’s then-scandalous, water-logged embrace). Respighi matches the triumphant splendor and radiance of the eighteenth-century sculpture with “Neptune’s chariot drawn by the sea horses and followed by a train of sirens and tritons.” He finishes the day at the Villa Medici at the “nostalgic hour of the setting sun.” This is the fountain that the Medici family dynasty commissioned in 1587 and that Corot painted in the nineteenth century. “The air is full of the sound of tolling bells, twittering birds, and rustling leaves. Then all melts away gently in the silence of the night.”
—Phillip Huscher
SOON HEE NEWBOLD
Born November 11, 1974; Seoul, South Korea
Lion City
COMPOSED 2009
FIRST PERFORMANCE
February 6, 2009; Singapore. International Honor Orchestra Festival
Perseus
COMPOSED 2008
FIRST PERFORMANCE
June 2008; Grandville, Michigan. The Grandville High School Symphony Orchestra
Soon Hee Newbold is an internationally acclaimed composer and conductor known for incorporating differing cultural and ethnic styles in her writing, inspired by her experiences and travels. She started studying piano at age five and violin at seven and has performed as a concert artist in professional ensembles around the world. As a composer, Newbold’s works are performed by groups ranging in all levels from professional symphony orchestras to beginning elementary ensembles in venues such as Carnegie Hall, the Kennedy Center, Wolf Trap, Disney Hall, Lincoln Center, Midwest
INSTRUMENTATION string orchestra
APPROXIMATE PERFORMANCE TIME 5 minutes
INSTRUMENTATION string orchestra
APPROXIMATE PERFORMANCE TIME 6 minutes
Band and Orchestra Clinic, and many more worldwide stages. In addition, Newbold is frequently sought after as a keynote speaker and guest clinician. She has conducted and worked with orchestras and bands throughout the United States and overseas in the Netherlands, Belgium, Australia, Indonesia, Singapore, and China. As a filmmaker and composer in Hollywood, she makes music that can also be heard in film and other recording projects. Lion City offers an experience of the diverse cultures of Singapore in a whirlwind of sonorities. From the opening harmonic glissandos to the innovative use of instruments (to imitate authentic instruments such as the erhu, pipa, and gamelan), this work is brilliantly
this page: Soon Hee Newbold | opposite page: Jean Sibelius, portrait painted by his brother-in-law Eero Järnefelt (1863–1937), 1892
orchestrated. The rhythmic intensity and soaring themes create a sonic experience that many will not believe possible from a string orchestra.
Perseus is a dynamic and stunning symphonic work that takes us on a journey with the legendary hero as he slays the snake-haired Medusa and
JEAN SIBELIUS
rescues Princess Andromeda. From the opening rhythmic figures to the soaring melodies, this piece commands the listeners’ attention, plunging them into a whirlwind of adventure.
—Alfred Music
Born December 8, 1865; Tavastehus, Finland
Died September 20, 1957; Järvenpää, Finland
Symphony No. 2 in D Major, Op. 43
COMPOSED 1902
FIRST PERFORMANCE
March 8, 1902; Helsinki, Finland. The composer conducting
INSTRUMENTATION
2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, strings
APPROXIMATE PERFORMANCE TIME 44 minutes
The spell of Italy often has a salutary effect on artists from the North. Goethe regularly recommended making the trip to Italy— Mendelssohn took his advice and returned with his Italian Symphony. Berlioz toured Italy against his better judgment and ended up staying fifteen months, addicted to the
countryside (Harold in Italy is the souvenir he brought us). Wagner claimed he got the idea for the opening of Das Rheingold in La Spezia on the western seacoast. Tchaikovsky later nursed a broken spirit in Italy and took home his Capriccio italien, as untroubled as any music he ever wrote.
Jean Sibelius went to Italy in 1901. Even then, his name suggested northern lights and bitter cold to people who had not yet heard his music. To those who had—in particular the overly popular Finlandia, first performed at a nationalistic pageant in 1899—Sibelius was the voice of Finland. But in Italy, Sibelius’s thoughts turned away from his homeland, and he contemplated a work based on Dante’s Divine Comedy. While staying in the sun-drenched seaside town of Rapallo, he toyed with a four-movement tone poem, Festival, based on the same “Stone Guest” theme that Mozart had treated in Don Giovanni. Nothing ever
came of these ideas, but he did begin his Second Symphony, which he finished once back in Finland.
We should not credit Italy alone with the warmth and ease of Sibelius’s Second Symphony, for years later, he would return there only to write Tapiola, the bleakest of all his works. But Sibelius did love Italy (he later admitted it was second only to his native Finland), and his extended stay there in 1901 certainly had a profound effect on Finland’s first great composer. His sketchbooks confirm that ideas conceived in Rapallo turn up throughout the Second Symphony, and even Sibelius himself admitted that Don Juan stalks the second movement.
Sibelius is more interesting as a composer than as a national voice. Ultimately, the qualities that give his music its own quite singular cast—the bracing sonorities and craggy textures and the quirky but compelling way his music moves forward—are the product of musical genius, not Finnish heritage. It is true that as a schoolboy, he developed an abiding interest in the Kalevala, the Finnish national epic, and that he knew, loved, and sometimes remembered his native folk song when writing music. But he did not even learn Finnish until he was a young man (having grown up in a Swedish-speaking household), and his patriotism was fueled not so much by landscape and congenital pride but by marriage into a powerful and politically active family. It is precisely because Sibelius’s music is not outwardly nationalistic (of the picture-postcard variety) that it is so
profound—specific and evocative yet also timeless and universal.
The symphony was the most important genre for Sibelius’s musical thoughts at a time when the form didn’t seem to suit most composers. Strauss, Schoenberg, Stravinsky, and Bartók, for example, all wrote symphonies of various kinds, but their pioneering work was done elsewhere. The one contemporary of Sibelius whose symphonies are played today, Gustav Mahler, took the symphony to mean something quite different. Sibelius and Mahler met in Helsinki in 1907, and their words on the subject, often quoted, suggest that this was the only time their paths would ever cross, literally or figuratively. Sibelius always remembered their encounter:
When our conversation touched on the essence of symphony, I said that I admired its severity and style and the profound logic that created an inner connection between all the motifs. This was the experience I had come to in composing. Mahler’s opinion was just the reverse. “Nein, die Symphonie müss sein wie die Welt. Sie müss alles umfassen.”
(No, the symphony must be like the world. It must embrace everything.)
Those lines have often been repeated to explain why Mahler’s symphonies sprawl and sing, resembling no others ever written, but they are just as useful in seeing Sibelius’s point of view. By 1907 Sibelius had fixed his vision on symphonic music of increasing austerity; his Third Symphony, completed
that summer, marks the turning point. That same summer, Mahler put the final touches on his Eighth Symphony, scored for eight vocal soloists, chorus, boys choir, and huge orchestra; taking as its text a medieval hymn and the closing scene from Goethe’s Faust; and lasting nearly two hours—the work we know as the Symphony of a Thousand. Five years earlier, in 1902, the year Sibelius’s Second Symphony was first performed, Mahler had unveiled his third, which lasts longer than Sibelius’s first two symphonies combined.
Sibelius’s Second Symphony is a bold, unconventional work. We know too many of his later works, and too much later music in general, perhaps, to see it that way, but at the time—the time of Schoenberg’s luscious Transfigured Night, not Pierrot lunaire; of Stravinsky’s academic E-flat symphony, not The Rite of Spring—it staked out new territory to which Sibelius alone would return. The first movement, like much of his most characteristic music, makes something whole and compelling out of bits and pieces. As Sibelius would later write: “It is as if the Almighty had thrown down the pieces of a mosaic for heaven’s floor and asked me to put them together.” Heaven’s floor turns out to be designed in a familiar sonata form, but this isn’t readily apparent. (Commentators seldom agree on the beginning of the second theme, for example.) Certainly, any symphony that begins in pieces can’t afford to dissect things further in a traditional development section. In fact,
for Sibelius, development often implies the first step in putting the music back together. (Once, when asked about these technical matters, Sibelius cunningly chose to speak about “a spiritual development” instead.)
There is true, sustained lyricism in the slow second movement, but that is not how it opens. Sibelius begins with a timpani roll and restless pizzicato strings from which a bassoon tune struggles to emerge. Melody eventually does take wing, but what we remember most is the wonderful series of adventures encountered in the process.
The scherzo is brief, hurried (except for a sorrowful woodwind theme inspired not by Finland’s fate, as commentators used to insist, but by the suicide of Sibelius’s sister-in-law), and expectant. When, after about five minutes, it leads straight into the broad first chords of the finale, we realize that this is what we have been waiting for all along. From there, the fourth movement unfolds slowly, continuously, and with increasing power and majesty. It rises and soars in ways denied the earlier movements, and that, of course, is Sibelius’s way: heaven’s floor visible at last.
—Phillip Huscher
Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.
Laura Emerick is the digital content editor for the Chicago Symphony Orchestra.
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CIVIC ORCHESTRA OF CHICAGO SCHOLARSHIPS
Members of the Civic Orchestra receive an annual stipend to help offset some of their living expenses during their training in Civic. The following donors have generously helped to support these stipends for the 2024–25 season.
Ten Civic members participate in the Civic Fellowship program, a rigorous artistic and professional development curriculum that supplements their membership in the full orchestra. Major funding for this program is generously provided by Lori Julian for the Julian Family Foundation
Nancy A. Abshire
Mason Spencer,* viola
Dr. & Mrs. Bernard H. Adelson Fund
Elena Galentas, viola
Fred and Phoebe Boelter
Daniel W. Meyer, bass
Rosalind Britton^
Sam Day, cello
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Income Charitable Fund
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Buianto Lkhasaranov, cello
Matthew Musachio,* violin
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Anonymous
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† Deceased * Civic Orchestra Fellow ^ Partial Sponsor ** Civic Administrative Fellowship Sponsor
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Gifts listed as of February 2025
