Program - Dvorák Symphony No. 9 “New World”

CLASSICS

2018/19

2018/19 SEASON PRESENTING SPONSORS:

DVOŘÁK SYMPHONY NO. 9 COLORADO SYMPHONY BRETT MITCHELL, conductor DAMON GUPTON, narrator Friday, January 18, 2019, at 7:30 p.m.

Saturday, January 19, 2019, at 7:30 p.m.

Sunday, January 20, 2019, at 1:00 p.m.

Boettcher Concert Hall

COPLAND

Lincoln Portrait

JOSEPH SCHWANTNER

ew Morning for the World N (Daybreak of Freedom)

— INTERMISSION — DVOŘÁK Symphony No. 9 in E minor, Op. 95, “From the New World” Adagio – Allegro molto Largo Molto vivace Allegro con fuoco

Friday's Performance is Gratefully Dedicated to Malcolm and Donna Wheeler Saturday's Performance is Gratefully Dedicated to AMG National Trust Bank Sunday’s Performance is Gratefully Dedicated to Lt. Col. And Mrs. Robert W. Riegel PROUDLY SUPPORTED BY

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IN CONCERT

with the Colorado Symphony conducted by Music Director Brett Mitchell

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MAR 23-24 - 2:00

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CLASSICS BIOGRAPHIES PHOTO: ROGER MASTROIANNI

BRETT MITCHELL, conductor Hailed for presenting engaging, in-depth explorations of thoughtfully curated programs, Brett Mitchell began his tenure as Music Director of the Colorado Symphony in July 2017. Prior to this appointment, he served as the orchestra’s Music Director Designate during the 2016/17 season. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety special programs featuring such guest artists as Renée Fleming, Yo-Yo Ma, and Itzhak Perlman.

Mitchell is also in consistent demand as a guest conductor. Highlights of his 2018/19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit, Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra.

Mitchell also regularly collaborates with the world’s leading soloists, including Yo-Yo Ma, Renée Fleming, Rudolf Buchbinder, Kirill Gerstein, James Ehnes, Augustin Hadelich, Leila Josefowicz, and Alisa Weilerstein.

From 2013 to 2017, Mitchell served on the conducting staff of The Cleveland Orchestra. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra’s hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour.

From 2007 to 2011, Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under Kurt Masur from 2006 to 2009, and the Castleton Festival, where he worked under Lorin Maazel in 2009 and 2010. In 2015, Mitchell completed a highly successful five-year appointment as Music Director of the Saginaw Bay Symphony Orchestra.

As an opera conductor, Mitchell has served as music director of nearly a dozen productions, principally at his former post as Music Director of the Moores Opera Center in Houston, where he led eight productions from 2010 to 2013. His repertoire spans the core works of Mozart (The Marriage of Figaro and The Magic Flute), Verdi (Rigoletto and Falstaff), and Stravinsky (The Rake’s Progress) to contemporary works by Adamo (Little Women), Aldridge (Elmer Gantry), Catán (Il Postino and Salsipuedes), and Hagen (Amelia). As a ballet conductor, Mitchell most recently led a production of The Nutcracker with the Pennsylvania Ballet in collaboration with The Cleveland Orchestra during the 2016/17 season.

In addition to his work with professional orchestras, Mitchell is also well known for his affinity for working with and mentoring young musicians aspiring to be professional orchestral players.

His tenure as Music Director of the Cleveland Orchestra Youth Orchestra from 2013 to 2017 was highly praised, and included a four-city tour of China in June 2015, marking the orchestra’s SOUNDINGS

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CLASSICS BIOGRAPHIES second international tour and its first to Asia. Mitchell is regularly invited to work with the highly talented musicians at the Cleveland Institute of Music and the orchestras at this country’s highlevel training programs, such as the National Repertory Orchestra, Texas Music Festival, Sarasota Music Festival, and Interlochen Center for the Arts.

Born in Seattle in 1979, Mitchell holds degrees in conducting from the University of Texas at Austin and composition from Western Washington University, which selected him as its Young Alumnus of the Year in 2014. He also studied at the National Conducting Institute, and was selected by Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship. Mitchell was also one of five recipients of the League of American Orchestras’ American Conducting Fellowship from 2007 to 2010.

For more information, please visit www.brettmitchellconductor.com

DAMON GUPTON, narrator A native of Detroit, Michigan, Damon Gupton held the post of assistant conductor of the Kansas City Symphony from 2006 to 2008. Gupton received his Bachelor of Music Education degree from the University of Michigan. He studied conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute in Washington, D.C. He served as American conducting fellow of the Houston Symphony for the 2004/05 season, and has made conducting appearances with the Orchestra of St. Luke’s, Detroit Symphony, Baltimore Symphony, The Cincinnati Pops, National Symphony Orchestra, Toledo Symphony, Fort Worth Symphony, Florida Orchestra, San Diego Symphony, Long Beach Symphony, San Antonio Symphony, Princeton Symphony, Orchestre Philharmonique de Monte Carlo, NHK Orchestra of Tokyo, Orquesta Filarmonica de UNAM, Brass Band of Battle Creek, New York University Steinhardt Orchestra, Kinhaven Music School Orchestra, Vermont Music Festival Orchestra, Michigan Youth Arts Festival Honors Orchestra, and Sphinx Symphony as part of the 12th annual Sphinx Competition. He led the Sphinx Chamber Orchestra on a national tour with performances at Carnegie Hall and a well-reviewed recording available at White Pine Music. He also conducted the finals of the Seventh Cliburn International Amateur Piano Competition. He is a winner of the Third International Eduardo Mata Conducting Competition, held in Mexico City.

Musical collaborations include work with Marcus Miller, Kenn Hicks, Brian Stokes Mitchell, Byron Stripling, Tony DeSare, The Midtown Men, Kathleen Battle and Jamie Cullum.

Gupton has been featured as narrator in many venues including The Cleveland Orchestra, The Grand Teton Music Festival, The Grant Park Music Festival, The Houston Symphony, The Memphis Symphony, and on the The Videmus recording Fare Ye Well. He also narrated a concert version of Beethoven’s Fidelio with David Robertson and the St. Louis Symphony Orchestra.

Awards include the Robert J. Harth Conducting Prize and The Aspen Conducting Prize. Gupton is the inaugural recipient of the Emerging Artist Award from the University of Michigan School of Music and Alumni Society.

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CLASSICS BIOGRAPHIES An accomplished actor, Gupton graduated from The Drama Division of the Juilliard School in New York. He has had roles in television, film, and on stage, including the Broadway production of Bruce Norris’ Pulitzer Prize and Tony Award winning Clybourne Park, the Ovation and LA Drama Critic’s Circle award winning Ma Rainey’s Black Bottom (Mark Taper Forum), Superior Donuts (The Geffen), Christina Anderson’s Inked Baby (Playwrights Horizons), Meg’s New Friend (The Production Company), Wendy Wasserstein’s An American Daughter (Arena Stage), True History and Real Adventures (The Vineyard Theatre), Treason (Perry Street Theatre), and The Story (Public Theater). He also performed the title role of Academy Award-winner Eric Simonson’s Carter’s Way at Kansas City Repertory Theater. Gupton was featured in title role in the critically acclaimed Heart of America Shakespeare Festival production of Othello. He received an AUDELCO nomination for Best Supporting Actor for his work in Clybourne Park.

Gupton’s television credits include series regular roles on Black Lightning, Criminal Minds, The Player, The Divide, Prime Suspect, and Deadline as well as guest appearances on Goliath, A&E’s Bates Motel, Aaron Sorkin’s The Newsroom, Suits, Empire, Rake starring Greg Kinnear, Law & Order, Law & Order Criminal Intent, Conviction, The Unusuals, Third Watch, Hack, and Drift. He appeared in Damien Chazelle’s Academy Award-winning films Whiplash and LaLa Land, as well as This is Forty, The Last Airbender, Helen at Risk, Before The Devil Knows You’re Dead, Unfaithful, and The Loretta Claiborne Story.

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CLASSICS PROGRAM NOTES AARON COPLAND (1900-1990): Lincoln Portrait for Narrator and Orchestra Aaron Copland was born November 14, 1900 in Brooklyn, New York and died December 2, 1990 in North Tarrytown, New York. Lincoln Portrait was composed in 1942. Carl Sandburg was the narrator in the premiere, on May 14, 1942, with the Cincinnati Symphony Orchestra conducted by André Kostelanetz. The score calls for two flutes (both doubling piccolo), two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, celesta, harp and strings. The last performance of Lincoln Portrait on a classical series took place December 11-13, 1972. Brian Priestman conducted the orchestra, and the narrator was John Love, then Governor of Colorado.

Soon after the United States entered World War II, conductor André Kostelanetz asked three American composers to write works that would convey “the magnificent spirit of our country.”

He felt that “the greatness of a nation is expressed through its people, and those people who have achieved greatness are the logical subjects for a series of musical portraits. The qualities of courage, dignity, strength, simplicity and humor which are so characteristic of the American people are well represented in [our leaders].” Following Kostelanetz’s request, Virgil Thomson composed the Mayor Fiorello H. LaGuardia Waltzes and Jerome Kern the Portrait for Orchestra of Mark Twain. Aaron Copland was the third composer approached by Kostelanetz, and he provided the following information about the composition and nature of his Lincoln Portrait: “It was in January 1942 that André Kostelanetz suggested the idea of my writing a musical portrait of a great American. He put teeth into the proposal by offering to commission such a piece and to play it extensively. My first thought was to do a portrait of Walt Whitman, the patron poet of all American composers. But when Mr. Kostelanetz explained that the series of portraits already included a literary figure, I was persuaded to change to a statesman. From that moment on the choice of Lincoln as my subject seemed inevitable.

“On discussing my choice with Virgil Thomson, he amiably pointed out that no composer could possibly hope to match in musical terms the stature of so eminent a figure as that of Lincoln.

Of course, he was quite right. But the sitter himself might speak. With the voice of Lincoln to help me I was ready to risk the impossible.

“The letters and speeches of Lincoln supplied the text. It was a comparatively simple matter to choose a few excerpts that seemed particularly apposite to our [wartime] situation. I avoided the temptation to use only well-known passages, permitting myself the luxury of quoting only once from a world-famous speech. The order and arrangement of the selections are my own.

“The first sketches were made in February and the Portrait finished on April 16, 1942. The orchestration was completed a few weeks later. I worked with musical materials of my own, with the exception of two songs of the period: the famous Camptown Races and a ballad that was first published in 1840 under the title of The Pesky Sarpent, but is better known today as Springfield Mountain. In neither case is the treatment a literal one. The tunes are used freely in the manner of my use of cowboy songs in Billy the Kid. “The composition is roughly divided into three main sections. In the opening section, I wanted to suggest something of the mysterious sense of fatality that surrounds Lincoln’s personality.

Also, near the end of that section, something of his greatness and simplicity of spirit. [Springfield Mountain is the thematic basis of this portion.] The quick middle section briefly sketches in the background of the times during which he lived. [Fragments of Stephen Foster’s Camptown Races PROGRAM 6

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CLASSICS PROGRAM NOTES figure prominently in this passage.] This merges into the concluding section, where my sole purpose was to draw a simple but impressive frame around the words of Lincoln.”

Copland: Lincoln Portrait text “Fellow citizens, we cannot escape history.”

That is what he said, That is what Abraham Lincoln said: “Fellow citizens, we cannot escape history.

We of this Congress and this administration will be remembered in spite of ourselves.

No personal significance or insignificance can spare one or another of us.

The fiery trial through which we pass will light us down in honor or dishonor to the latest generation.

We — even we here — hold the power and bear the responsibility.”

He was born in Kentucky, raised in Indiana, and lived in Illinois.

And this is what he said: This is what Abe Lincoln said: “The dogmas of the quiet past are inadequate to the stormy present.

The occasion is piled high with difficulty, and we must rise with the occasion.

As our case is new, so we must think anew and act anew.

We must disenthrall ourselves and then we shall save our country.”

When standing erect he was six feet four inches tall.

And this is what he said: He said: “It is the eternal struggle between two principles — right and wrong — throughout the world.

It is the same spirit that says: ‘You toil and work and earn bread — and I’ll eat it’ ...

No matter in what shape it comes, Whether from the mouth of a king who seeks to bestride the people of his own nation and live by the fruit of their labor, or from one race of men as an apology for enslaving another race, it is the same tyrannical principle.”

Lincoln was a quiet man.

Abe Lincoln was a quiet and melancholy man.

But when he spoke of Democracy This is what he said: He said: “As I would not be a slave, so l would not be a master.

This expresses my idea of democracy. Whatever differs from this, to the extent of the difference, is no democracy.”

Abraham Lincoln, sixteenth President of these United States, is everlasting in the memory of his countrymen, For on the battleground of Gettysburg, this is what he said: SOUNDINGS

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CLASSICS PROGRAM NOTES He said: “That from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion; that we here highly resolve that these dead shall not have died in vain; and that this nation, under God, shall have a new birth of freedom; and that government of the people, by the people, and for the people shall not perish from the earth.”

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JOSEPH SCHWANTNER (born in 1943): New Morning for the World, “Daybreak of Freedom” for Narrator and Orchestra Joseph Schwantner was born March 22, 1943 in Chicago. New Morning for the World was composed in 1982 and premiered on January 15, 1983 in Washington, D.C. by the Eastman Philharmonia conducted by David Effron, with Willie Stargell as narrator. The score calls for four flutes (third and fourth doubling piccolo), two oboes, English horn, three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, four trombones, tuba, timpani, percussion, piano, celesta, harp and strings. Duration is about 28 minutes.

Scott O'Neil conducted and Terrance Carroll was the narrator in the last performance of the work on May 9 & 10, 2015.

Joseph Schwantner is one of today’s most frequently performed American composers.

While in high school, he learned to play tuba and guitar, studied music theory and history, and composed several pieces for the student jazz ensemble, one of which, Offbeat, won the National Band Camp Award in 1959. Two years later, he enrolled as a composition student at the American Conservatory in Chicago, where he studied with Bernard Dieter. After graduating from the Conservatory in 1964, Schwantner undertook postgraduate work at Northwestern University with Anthony Donato and Alan Stout, receiving his master’s and doctoral degrees from that institution in 1966 and 1968. Following brief tenures teaching at Pacific Lutheran University in Tacoma and Ball State University in Muncie, he served on the faculties of the Eastman School of Music and Yale School of Music. Schwantner’s residencies include the Saint Louis Symphony, Cabrillo Music Festival and Sonoklect New Music Festival, and his music has been played extensively throughout the United States, Canada, Mexico, Europe and Asia by many leading orchestras, ensembles and soloists. His commissions and grants include those from the Ford Made in America Consortium, New York Philharmonic, Saint Louis Symphony, National Symphony, Boston Symphony, Dallas Symphony, San Diego Symphony, Chamber Music America, Chamber Music Society of Lincoln Center, National Endowment for the Arts and other prestigious ensembles and organizations. Among his many honors and awards are the first Charles Ives Scholarship from the American Academy of Arts and Letters, the Pulitzer Prize (1979, for Aftertones of Infinity), First Prize in the Kennedy Center Friedheim Competition, a Guggenheim Fellowship, election to the American Academy of Arts and Letters, and an honorary doctorate from Baldwin-Wallace University. Schwantner received the 2012 Grammy Award for “Best Classical Instrumental Solo Performance” for the Naxos recording of his Percussion Concerto, commissioned by the New York Philharmonic in honor of its 150th anniversary, by soloist Christopher Lamb and the Nashville Symphony conducted by Giancarlo Guerrero. Joseph Schwantner has been the subject of a documentary produced by WGBH, Boston, which was broadcast nationally on public television.

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CLASSICS PROGRAM NOTES New Morning for the World, “Daybreak of Freedom” for Narrator and Orchestra was commissioned in 1982 by the Eastman School of Music in Rochester, New York, and made possible by a grant from the American Telephone and Telegraph Company. Schwantner’s composition, in the manner of Aaron Copland’s Lincoln Portrait, enfolds passages taken from some of the most stirring published writings of Martin Luther King, Jr.: Stride Toward Freedom (1958), Behind the Selma March (1965), Letter from Birmingham Jail (1953) and I Have a Dream (1963). The score is dedicated to Dr. King. The work’s premiere was given at the Kennedy Center in Washington, D.C. on January 15, 1983 by the Eastman Philharmonia, conducted by David Effron. Pittsburgh Pirates’ star Willie Stargell was narrator on that occasion, as well as in subsequent performances in Philadelphia, New York, Pittsburgh and Rochester.

Schwantner: New Morning for the World text There comes a time when people get tired, tired of being segregated and humiliated, tired of being kicked about by the brutal feet of oppression.

We are going to walk non-violently and peacefully to let the nation and the world know that we are tired now. We’ve lived slavery and segregation three hundred and thirty-five years. We waited a long time for freedom.

Before the Pilgrims landed at Plymouth, we were here.

Before the pen of Jefferson etched across the pages of history the Majestic words of the Declaration of Independence, we were here.

For more than two centuries, our foreparents labored in this country without wages—and build the homes of their masters in the midst of brutal injustice and shameful humiliation. And yet out of a bottomless vitality, they continued to thrive and develop.

If the inexpressible cruelties of slavery could not stop us, the opposition we now face will surely fail. We will win our freedom because the secret heritage of our nation and the eternal will of God are embodied in our echoing demands.

Now is the time to make real the promise of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quicksands of racial justice to the solid rock of brotherhood. Now is the time to make justice a reality to all God’s children.

We cannot walk alone. As we walk, we must make the pledge that we shall always march ahead.

We cannot turn back. No, no we are not satisfied and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream. … We’re on the move… neither the burning of our churches nor the beating and killing of our clergymen will stop us. We’re on the move now… my people listen! The battle is in our hands…

CLASSICS PROGRAM NOTES I know some of you are asking, “How long will it take?” I come to say to you however difficult the moment, however frustrating the hour, it will not be long because truth pressed the earth will rise again. How long? Not long because no lie can live forever. How long? Not long because you will reap what you sow. How long? Not long because the arm of the moral universe is long but it bends toward justice.

With the history books are written in future generations, the historians will have pause and say. “there lived a great people—a black people—who injected new meaning and dignity into the veins of civilization.” This is our challenge and our responsibility.

I have a dream. The dream is one of equality of opportunity, of privilege and property widely distributed; the dream of the land where men will not take necessities for the many to give luxuries to a few; a dream of a land where men do not argue that the color of a man’s skin determines the content of his character; a dream of a place where all our gifts and resources are not held for ourselves alone but as instruments of service for the rest of humanity; the dream of a country where every man will respect the dignity and worth of human personality, and men will dare to live together as brothers.

Whenever it is fulfilled, we will emerge from the bleak and desolate midnight of man’s inhumanity to man into the bright and glowing daybreak of freedom and justice for all of God’s children.

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ANTONÍN DVOŘÁK (1841-1904): Symphony No. 9 in E minor, Op. 95, “From the New World” Antonín Dvořák was born September 8, 1841 in Nelahozeves, Bohemia ands died May 1, 1904 in Prague. He composed the “New World” Symphony between December 1892 and May 24, 1893 in New York City. Anton Seidl led the New York Philharmonic in the work’s premiere on December 16, 1893 at Carnegie Hall. The score calls for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings.

Duration is about 44 minutes. The Symphony was last performed on April 13 & 14, 2016, with André de Ritter on the podium.

When Antonín Dvořák, aged 51, arrived in New York on September 27, 1892 to direct the new National Conservatory of Music, both he and the institution’s founder, Mrs. Jeanette Thurber, expected that he would help to foster an American school of composition. He was clear and specific in his assessment: “I am convinced that the future music of this country must be founded on what are called Negro melodies. They can be the foundation of a serious and original school of composition to be developed in the United States.... There is nothing in the whole range of composition that cannot find a thematic source here.” Dvořák’s knowledge of this music came from Henry Thacker Burleigh, an African-American songwriter and student of his who sang the traditional melodies to the enthralled composer. Burleigh later recalled, “There is no doubt that Dr. Dvořák was very deeply impressed by the Negro spirituals from the old plantation. He just saturated himself in the spirit of those old tunes, and then invented his own themes.”

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musical idiom but also a reflection of his feelings about his own country. “I should never have written the Symphony as I have,” he said, “if I hadn’t seen America,” but he added in a later letter that it was “genuine Bohemian music.” There is actually a reconciliation between these two seemingly contradictory statements, since the characteristics Dvořák found in Burleigh’s indigenous American music — pentatonic (five-note) scales, modal minor keys with a lowered seventh degree, rhythmic syncopations, frequent returns to the central key note — are common to much folk music throughout the world, including that of his native Bohemia. Because his themes for the “New World” Symphony drew upon these cross-cultural qualities, to Americans, they sound American; to Czechs, they sound Czech.

The “New World” Symphony is unified by the use of a motto theme that occurs in all four movements. This bold, striding phrase, with its arching contour, is played by the horns as the main theme of the sonata-form opening movement, having been foreshadowed (also by the horns) in the slow introduction. Two other themes are used in the first movement: a sad, dancelike melody for flute and oboe that exhibits folk characteristics, and a brighter tune, with a striking resemblance to Swing Low, Sweet Chariot, for the solo flute.

Many years before coming to America, Dvořák had encountered Longfellow’s epic poem The Song of Hiawatha, which he read in a Czech translation. The great tale remained in his mind, and he considered making an opera of it during his time in New York. That project came to nothing, but Hiawatha did have an influence on the “New World” Symphony: the second movement was inspired by the forest funeral of Minnehaha; the third, by the dance of the Indians at the feast. That the music of these movements has more in common with the old plantation songs than with the chants of native Americans is due to Dvořák’s mistaken belief that African-American and Indian music were virtually identical.

The second movement is a three-part form (A–B–A), with a haunting English horn melody (later fitted with words by William Arms Fisher to become the spiritual Goin’ Home) heard in the first and last sections. The recurring motto here is pronounced by the trombones just before the return of the main theme in the closing section. The third movement is a tempestuous scherzo with two gentle, intervening trios providing contrast. The motto theme, played by the horns, dominates the coda.

The finale employs a sturdy motive introduced by the horns and trumpets after a few introductory measures in the strings. In the Symphony’s closing pages, the motto theme, Goin’ Home and the scherzo melody are all gathered up and combined with the principal subject of the finale to produce a marvelous synthesis of the entire work — a look back across the sweeping vista of Dvořák’s musical tribute to America. ©2019 Dr. Richard E. Rodda

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