Saturday, November 4, 2023, at 7:30 PM Sunday, November 5, 2023, at 2:30 PM The Hemmens Cultural Center Chad Goodman, conductor Stephen Rose, violin Brant Taylor, cello
R. HALFFTER
Obertura festiva, op. 21
BRAHMS
Double Concerto in A minor, op. 102 Allegro Andante Vivace non troppo Stephen Rose, violin Brant Taylor, cello ~ Intermission ~
BEETHOVEN
Symphony No.2 in D major, op. 36 Adagio molto—Allegro con brio Larghetto Scherzo: Allegro Allegro molto
This program is supported, in part, by a grant from the Illinois Arts Council Agency Este programa es apoyado, en parte, por un subsidio de la Agencia del Consejo de Artes de Illinois
ORCHESTRA PERSONNEL / PERSONAL DE LA ORQUESTA Violin I Isabella Lippi Concertmaster Eleanor Bartsch Gerald Loughney Kate Carter Eric Pidluski Joseph Malmquist Susan Carlson Helen Kim Lee Jennifer Leckie Betty Lewis Joanna Nerius Azusa Tashiro Violin II Daniela Folker Principal Robbie Herbst Caroline Slack Susan Thorne Steve Winkler Elizabeth Huffman Kelvin Lin Kathryn Siegel Christine Chon Nina Saito Pam Lutter Martin Hackl
Viola Jason Butler Sava Velkoff Mark Djordjevic Kelly Larson Daniel Golden Matt Barwegen Jay Pike
Flute Jean Bishop Principal Scott Metlicka
Cello Matthew Agnew Principal Nazar Dzhuryn Kerena Fox Mark Kuntz Robert Weber Elizabeth Start Sara Sitzer
Clarinet Gene Collerd Barbara Drapcho
Double Bass Lauren Pierce Gregory Heintz Susan Sullivan Jason Niehoff Adam Attard Tracy Dullea
Oboe Adèle-Marie Buis Joseph Claude
Bassoon Vincent Disantis Principal Collin Anderson French Horn Greg Flint Principal Steven Replogle Sharon Jones Mary BuscanicsJones Trumpet Ross Beacraft Principal David Gauger Timpani Joseph Lapalomento
ESO BOARD AND ADMINISTRATION / JUNTA Y ADMINISTRACIÓN DE ESO EXECUTIVE COMMITTEE R. Bert Crossland
DIRECTORS Frank Maxson
Alexis India Alm Ross Beacraft* Carlos Chavez Michele Clark Dr. Gene Crume Joyce Dlugopolski Jennifer Fukala Sandra Hagan K. Eric Larson Dr. Thomas Long Mary Maloy
Board Chair
Andre Fiebig
Immediate Past Board Chair
Robert Chiappetta Treasurer
Rev. Arlyn Tolzmann Secretary
Dr. Patricia Harkin
Governance Chair
Carole Medal Martin Nobs Patrick Parks Ron Rogers Timothy Shaffer* Dr. Savitha Susarla James Tammi Marc Thayer, CEO* Rafael Villagomez Herman A. Zwirn
* Ex Officio members
HONORARY LIFETIME DIRECTORS Richard Collins ◊
Harry ◊ & Phyllis Blizzard
Ed & Karen Schock
Edward & Pearle Brody ◊
Deceased ◊
Dean & Jane Chipman ◊
ADMINISTRATION EXECUTIVE Marc C. Thayer
Chief Executive Officer
Rebecca DeWane Director of Finance & Administration
ARTISTIC Eric Gaston-Falk
Vice President of Artistic Planning & Operations
Macauley Manzano
Orchestral Librarian & Patron Services Manager
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OPERATIONS
Chuck Kocal
David Goldman
Leslie Antoniel
Eric Block
Director of Marketing
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Donna Lake
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Foundation, Corporate and Government Grants
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MUSIC DIRECTOR / DIRECTOR MUSICAL Chad Goodman has received widespread praise for thrilling conducting that combines “precision, agility and fervor” (N. Stanić Kovačevic, South Florida Classical Review) and for displaying the “pitch perfect combination of abandon and subtlety” (L. Budman, South Florida Classical Review). The 2023/24 season marks Goodman’s inaugural season as Music Director of the Elgin Symphony Orchestra—only the fifth leader in the orchestra’s prestigious seven-decade history. Upcoming concerts include Strauss’ Four Last Songs with soprano Christine Brewer, Prokofiev’s Symphony No. 5, Schumann’s Piano Concerto with Orli Shaham and Beethoven’s Symphonies No. 2 and No. 9. Goodman also serves as Artistic Director of IlluminArts, Miami’s art song and chamber music concert series. In this role, he curates site-specific classical music programs in collaboration with the leading museums, art galleries, and historic venues of Miami. From 2019 to 2023, Goodman was the Conducting Fellow of the New World Symphony. In addition to leading the orchestra in more than fifty performances, he created the educational program “SPARK: How Composers Find Inspiration,” which blended engaging audience participation with captivating light design and videography. From 2018 to 2023, Goodman served as an Assistant Conductor to the San Francisco Symphony, working alongside Michael Tilson Thomas, Esa-Pekka Salonen, Manfred Honeck, Daniel Harding, Pablo Heras-Casado,
Simone Young, and James Gaffigan, among others. He has recently made debuts with the Baton Rouge Symphony Orchestra, Greensboro Symphony Orchestra, San Francisco Chamber Orchestra, and Orquesta Sinfónica del Estado de Puebla (OSEP). As Founder and Artistic Director of Elevate Ensemble, Goodman’s ambitious vision for concert programming resulted in the pairing of music from Bay Area composers with underappreciated gems of the 20th and 21st centuries. Under his leadership, Elevate Ensemble established a Composer-in-Residence program and commissioned fifteen new works. Goodman also leads workshops that teach young musicians the business skills needed to successfully navigate the music world. Forbes praised the conductor’s bold strides both on and off stage and hailed him as “An entrepreneur bringing innovation to classical music.” Last year, he published the book "You Earned a Music Degree. Now What?” Goodman holds a Bachelor of Music degree from the Eastman School of Music and a Master of Music degree from San Francisco State University. His mentors include Michael Tilson Thomas and Alasdair Neale.
GUEST ARTIST / ARTISTA INVITADO Stephen Rose has held the position of principal second violin of The Cleveland Orchestra since 2001. He joined the Orchestra in April 1997 as a member of the first violin section. He performed as first violin of the Everest Quartet from 1992 to 1996; the group was a top prize winner at the Banff International String Quartet Competition in 1995.
Mr. Rose is a member of the violin faculty at the Cleveland Institute of Music, and teaches regularly at the New World Symphony, National Orchestral Institute, and Kent Blossom Music Festival. A participant in many summer music festivals, he frequently appears at the Seattle Chamber Music Festival, Mimir Chamber Music Festival in Texas and Australia, Pacific Music Festival in Japan, and Colorado College Music Festival. Stephen Rose earned a bachelor of music degree from the Cleveland Institute of Music and a master of music degree and performer’s certificate from the Eastman School of Music. In 2005, he was the recipient of the Alumni Achievement Award from CIM. * * * Brant Taylor’s varied career has included solo appearances and collaborations with leading artists in chamber music, orchestral, pedagogical and popular music settings on five continents. Before his appointment to the Chicago Symphony Orchestra by Daniel Barenboim, he was cellist of the Everest Quartet, prize winners at the Banff International String Quartet Competition and the Fischoff Chamber Music Competition, as well as a member of the St. Louis Symphony Orchestra. He made his solo debut with the San Antonio Symphony at the age of 14. A dedicated teacher of both cello and chamber music, Taylor frequently combines performance and pedagogy, conducting master classes and writing articles on a wide variety of musical topics. He is a member of the faculty of DePaul University’s School of Music and serves on
the board of cellobello.org, the leading online resource for all things pertaining to the cello. With the Everest Quartet, he performed and taught extensively in North America and the Caribbean and gave the world premiere of a work by IsraeliAmerican composer Paul Schoenfield. He regularly participates in audition-training seminars and mentoring at Miami’s New World Symphony, of which he was a member and to which he has returned to perform as concerto soloist under Michael Tilson Thomas and Nicholas McGegan. Taylor also has performed and taught at music festivals around the world, including the Festival der Zukunft in Ernen, Switzerland; the Portland Chamber Music Festival; the Shanghai International Music Festival; the Aspen Music Festival; the Mimir Chamber Music Festival in Melbourne, Australia, and Fort Worth, Texas; the Mammoth Lakes Chamber Music Festival; the Strings Music Festival in Steamboat Springs, Colo.; the International Cello Institute; the Lakes Area Music Festival in Minnesota; Music Festival Santo Domingo; Village Bach Festival in Michigan; Music at Gretna, where he has made repeated appearances as a concerto soloist, and Arizona Musicfest, where he serves as principal cello of the festival orchestra. A fan of many styles of music, Taylor had a seven-year association with the band Pink Martini. With this unique ensemble, he appeared on Late Night with Conan O'Brien, The Late Show with David Letterman, at the Hollywood Bowl with the Los Angeles Philharmonic and in nightclubs and theaters across North America. He can be heard on Pink Martini's 2007 studio release Hey Eugene! Taylor holds a bachelor of music degree and a performer's certificate from the Eastman School of Music, where he won the school's concerto competition and performed as soloist with the Eastman Philharmonia. His master of music degree is from Indiana University. His primary teachers have been János Starker and Paul Katz.
PROGRAM NOTES Written by - Daniel Maki Obertura festiva Rodolfo Halffter (1900-1987) Rodolfo Halffter was born in Madrid to a Catalan mother and a German father. In addition to Rodolfo, this musical family would produce two other composers of note, Rodolfo’s brother Ernesto and his nephew Cristóbal. Although largely self- taught, he would participate in and be influenced by the rich cultural ferment of Madrid. He was introduced to Manuel de Falla, then considered Spain’s leading composer, and certainly absorbed aspects of that composer’s traditional Spanish style. On the other hand, he was a member of Grupo de los Ocho (“Group of Eight”), a group of composers that emphasized the desire to experiment with new techniques, including influences from French music and even the radical new language of serialism as practiced by Arnold Schoenberg. As happened in many families, the Spanish Civil War divided the Halffters, Ernesto supporting General Franco and Rodolfo taking the side of the Republican government. At the end of the war Rodolfo went into voluntary exile in Mexico, where he would spend much of the rest of his life. He became an important figure in Mexican musical life, teaching at the National Conservatory, editing a leading musical journal, and winning the respect of Mexico’s leading composers, including Carlos Chávez. He is credited with being the first composer to bring serialism to Mexico. He returned several times to Spain, where his music, as well as that of his brother and nephew, was recognized. He died in Mexico City. Obertura festiva was written in 1952. The title is selfexplanatory, as the work is filled with exhilarating rhythms and a festive good humor from beginning to end. The
traditional Spanish style of de Falla is recognizable but there are also some fierce modernistic dissonances. The principal theme dominates the work, as it has no contrasting theme but evolves into a series of episodes that are closely related to it. The orchestration is skillful as woodwinds and brass play against the strings. Like any good overture, Obertura festiva whets the appetite for what is to come. Concerto for Violin and Cello in A minor, op. 102 Johannes Brahms (1833-1897) The so-called Double Concerto for violin and cello was completed in 1887 and would be Brahms’ last orchestral work. There was some concern in his immediate circle of friends that the new work would not be worthy of the master’s high standards, and apparently Brahms himself, who had always been severely self-critical, was obsessed by the idea that his creative juices were drying up. Early performances, which were treated with respect but not affection, seemed to confirm the verdict that the work lacked the immediate appeal of the three great solo concertos of Brahms (one for violin and two for piano). Nevertheless, the concerto gradually took its place in the standard repertoire and acquired a passionate following not only among musicians, but also with audiences that find the interaction between two soloists of high caliber visually as well as aurally exciting. The concerto also continues to serve as a fascinating document of the last years of one of the great conservative creative figures of the nineteenth century. Brahms knew that he was in some ways the last of an era. As biographer Jan Swafford has pointed out, 1887 was the year in which Van Gogh painted Moulin de la Galette, and the year in which Marc Chagall and Marcel Duchamp were born. Two years later, Mahler’s First Symphony and Richard Strauss’s Don Juan would electrify the world with new sounds. When compared to these harbingers of modernism, the Double
Concerto seems almost defiantly old-fashioned, and its somewhat severe, autumnal beauty serves to remind us that great art is ultimately beyond the mere fashions of the moment. The Double Concerto was a particularly personal work for Brahms. After some 30 years of close friendship with the great violinist Joseph Joachim, Brahms became involved in divorce proceedings between Frau Joachim and her husband. Much to Brahms’ dismay, a letter which he had sent to her was used as evidence in court, causing Joachim to end the friendship in a rage. After several years of estrangement, Brahms shyly approached Joachim with the idea of a new concerto. (Joachim had worked closely with Brahms on the great solo violin concerto, written years earlier.) The violinist eventually took the bait, leading to what was at least a partial reconciliation and the eventual premier performance of the work with Joachim as violinist, Robert Haussman, cellist of the famous Joachim String Quartet, as solo cellist, and Brahms himself on the podium. After a brief rhetorical introduction in the orchestra, the two protagonists are introduced in a double cadenza, beginning with the cello and followed by the violin. The orchestra then states the main theme before the soloists reenter. Eventually a contrasting gentle theme appears, first in the cello and echoed in the violin. The cumulative effect of the first movement is that of a grand, richly developed symphonic movement, filled, incidentally, with many of Brahms’ well-known syncopations and cross rhythms. The soulful slow movement shows Brahms at his most tender and reflective. The tone is set immediately by the principal theme, which is stated by both soloists in octaves. The orchestra plays its part as well, occasionally carrying the melody itself, while the soloists play ornamental accompanying figures. The finale is a tribute to Joachim’s Hungarian heritage and Brahms’ own love of the fire and energy of Gypsy
music. The principal theme is a delightfully dance-like tune which recurs, refrain-like, a number of times. Symphony No. 2 in D major, op. 36 Ludwig van Beethoven (1770-1827) Of the nine canonical Beethoven symphonies which form the Holy Scripture of Western classical music, the Second is among the least often performed. Over time, this delightful work which, as Hector Berlioz put it, “smiles throughout,” has had to live in the shadow of such heroic works as the one which closely followed it, the Eroica Symphony (No. 3). As is well known, the Third Symphony was the grandest, most revolutionary symphony written to that time, and changed the entire concept of what a symphony should be. These are relative matters, however, and when the Second Symphony was first performed, it was itself in its own way stretching symphonic boundaries, being an unusually grand and brilliant work, and containing a variety and intensity of effect that was unprecedented. At this point we might do well to remind ourselves that the current popular notion of the symphony as Big Statement, a grandiose work into which a composer pours a wide variety of emotion and experience and which serves as a kind of musical equivalent of the novel, was not always applicable. The symphony developed in the middle of the eighteenth century from a type of Italian opera overture and was at first considered to be light entertainment, played on concerts between more important works, such as vocal compositions and concertos. Only gradually did the genre acquire the gravitas now associated with it, and it was really not until the latter part of the century that Haydn and Mozart began to write works of what we now consider to be symphonic weight. Mozart’s grandly impressive Symphony No. 38 (the Prague Symphony), for example, written in 1786, marked a milestone in his symphonic development, as the longest and most complex symphony that he had written to that date. There are some striking similarities between the D
major Prague Symphony and Beethoven’s own D major Second Symphony that have prompted some musicologists to suggest that Beethoven had the Mozart work in mind as a model. Beethoven did a great deal of the work on the Second Symphony during a six month stay in 1802 in the small town of Heiligenstadt, near Vienna. If the popular, Hollywood notion of a composer as someone who simply pours the emotions of the moment into music has any validity, the Second Symphony should be a very somber work indeed, for Beethoven was going through one of the great crises of his life. The name Heiligenstadt has its own special significance in Beethoven lore, for it was there that in October of 1802 Beethoven wrote the famous letter, addressed to his brothers, describing his despair over his worsening deafness. In this Heiligenstadt Testament, as it has come to be known, Beethoven recounts his suicidal thoughts and also his determination to overcome them so that he might fulfill his artistic destiny. Paradoxically, however, despite such agony of soul, Beethoven produced a symphony that is a brilliant, extroverted, and often humorous work, giving no hint of his personal tragedy. The premiere took place in Vienna in April of 1803 and shocked many critics, who heard the new work as bizarre, boisterous, and outlandish, and compared it unfavorably to Beethoven’s more conventional First Symphony. In one of the more famous examples of musical invective, one critic wrote that the symphony was “a hideously writhing, wounded dragon that refuses to die, but bleeding in the finale, furiously thrashes about with its stiffened tail.” The symphony opens with a stately slow introduction, begun with exactly the same ta-DA rhythm that one might say in making an important announcement. (Such an opening, known as premier coup d’archet – “opening bow stroke”- was very popular in Paris.) This is the longest introduction in symphonic history up to this point and recalls the similar grand introduction of Mozart’s Prague Symphony. After such a portentous beginning Beethoven wanders off in
rather romantic fashion through several new keys before working his way without pause into the delightfully effervescent Allegro con brio. In addition to the lively first theme there is a march-like second theme, both of which give the movement its special quality. As the great English musicologist Donald Francis Tovey put it, “its brilliance and energy were quite unprecedented in orchestral music at the time.” The second movement is sweet and serene, and it became a sort of model for the expression of innocent, child-like beauty. There are two main themes, the first a radiantly beautiful singing melody, and the second, more dance-like and humorous. Many passages will bring to mind the music of later composers such as Schubert, Mendelssohn, and Schumann. In Classical-period symphonies to this point, the third movement had been a minuet, the old, three-to-a-bar aristocratic dance which had at least a hint of the hoity-toity about it. Beethoven is famous for changing that practice of the ancien régime into the new scherzo, a piece that is faster and filled with rather rambunctious humor and fantasy. (Scherzo is an Italian word for “joke.”) In his First Symphony, Beethoven had labeled the third movement a minuet, although the style and tempo indications made it for all practical purposes a scherzo. Here in the Second Symphony, for the first time he calls a scherzo a scherzo, and it is a delightful one, filled with sudden dynamic changes and much boisterous and un-aristocratic humor. The finale begins with an impudent sounding theme which creates the effect of a hiccough. (Some musicologists have suggested with a straight face that Beethoven was referring here to his life-long digestive problems.) This is the movement that critics found particularly monstrous, for though it has the high spirits of the finales of Beethoven’s teacher Haydn, it carries them to a new level of energy and expression. As the critic Michael Steinberg has put it: “The Eroica is open revolution: the Second is revolution within the conventions of eighteenth-century high comedy.”
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