Saturday, January 13, 2023, at 7:30 PM Sunday, January 14, 2023, at 2:30 PM The Hemmens Cultural Center Lidiya Yankovskaya, conductor Brandon Patrick George, flute
BACEWICZ
Overture
IBERT
Flute Concerto
Allegro Andante Allegro scherzando
~ Intermission ~ SCHUBERT
Symphony No. 8 in B minor, D.759, “Unfinished” Allegro moderato Andante con moto
HINDEMITH
Symphonic Metamorphosis of Themes by Carl Maria von Weber Allegro Turandot: Scherzo Andantino March
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 Associate Concertmaster Gerald Loughney Kate Carter Eric Pidluski Joseph Malmquist Susan Carlson Carol Dylan Helen Kim Lee Wendy Evans Carmen Abelson Jennifer Leckie Violin II Daniela Folker Principal Robbie Herbst Assistant Principal Caroline Slack Maria Arrua Susan Thorne Steve Winkler Cristina Buciu Elizabeth Huffman Kelvin Lin Meg Lanfear Kathryn Siegel Viola Amanda Grimm Principal Loretta Gillespie Assistant Principal Assistant Principal Rebecca Swan Jason Butler Erin Rafferty Sava Velkoff Susan Posner
Cello Matthew Agnew Principal Nazar Dzhuryn Assistant Principal Kerena Fox Mark Kuntz Robert Weber Elizabeth Start Sara Sitzer Double Bass Timothy Shaffer Principal Jeremy Attanaseo Assistant Principal Susan Sullivan Gregory Heintz Jason Niehoff
Bassoon Vincent Desantis Principal Collin Anderson French Horn Greg Flint Principal Steven Replogle Sharon Jones Mary BuscanicsJones Trumpet Ross Beacraft Principal Michael Brozick David Gauger Assistant Principal
Flute Jean Bishop Principal Scott Metlicka
Trombone Reed Capshaw Principal Adam Moen
Oboe Andrew Port Principal
Tuba Charles Schuchat Principal
Clarinet Gene Collerd Principal Trevor O’Riordan
Timpani Robert Everson Principal Percussion Brian Oriente Principal Michael Folker
ESO BOARD AND ADMINISTRATION / JUNTA Y ADMINISTRACIÓN DE ESO EXECUTIVE COMMITTEE R. Bert Crossland Board Chair
Andre Fiebig
Immediate Past Board Chair
Robert Chiappetta Treasurer
Rev. Arlyn Tolzmann Secretary
Dr. Patricia Harkin
Governance Chair
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
Carole Medal Martin Nobs Patrick Parks Timothy Shaffer* Dr. Savitha Susarla James Tammi Marc Thayer, CEO* Rafael Villagomez Herman A. Zwirn
* Ex Officio members
HONORARY LIFETIME DIRECTORS Harry ◊ & Phyllis Blizzard Edward & Pearle Brody ◊ Dean & Jane Chipman ◊
Richard Collins ◊ Ed & Karen Schock Deceased ◊
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 & Digital Marketing Manager
DEVELOPMENT & MARKETING Chuck Kocal
Director of Marketing
Leslie Antoniel
Development Consultant
Mitchell Bennett
Director of Patron and Community Development
Jonathan Horn
Development Coordinator
Donna Lake
Public Relations Manager
Erica Warszewik
Box Office Manager
Pia Laipert
Foundation, Corporate and Government Grants
OPERATIONS David Goldman Stage Manager
Eric Block
Stage Manager
Elsa Jimenez Translator
LaTrisha Williams
In Harmony Program Coordinator
GUEST CONDUCTOR / DIRECTOR INVITADO Lidiya Yankovskaya is a fiercely committed advocate for Slavic masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 17 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. As Music Director of Chicago Opera Theater, her daring performances before and amid the pandemic earned recognition from the Chicago Tribune, which praised her as “the very model of how to survive adversity, and also how to thrive in it,” while naming her Chicagoan of the Year. Following her debut at Santa Fe Opera in a new production of Dvořák’s Rusalka in summer 2023, Ms. Yankovskaya will conduct orchestras across the United States. She debuts at Atlanta Symphony Orchestra, Indianapolis Symphony Orchestra, Utah Symphony, North Carolina Symphony, Phoenix Symphony, Louisiana Philharmonic Orchestra, and Symphony San Jose. Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, and Ann Howard Jones. Committed to developing the next generation of artistic leaders, she also volunteers with Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, illuminating the path to a more equitable future in the arts.
GUEST ARTIST / ARTISTA INVITADO Brandon Patrick George, hailed as a “knockout musician with a gorgeous sound” by The Philadelphia Inquirer, is a leading flute soloist and Grammy®nominated chamber musician whose repertoire extends from the Baroque era to today. He is the flutist of Imani Winds and has appeared as a soloist with the Atlanta, Baltimore, and Albany symphonies, American Composers Orchestra, and the Orchestra of St. Luke’s, among others. Brandon has performed at the Elbphilharmonie, the Kennedy Center, the Dresden Music Festival, and the Prague Spring Festival. In addition to his work with Imani Winds, Brandon’s solo performances include appearances at Lincoln Center, the Metropolitan Museum of Art, 92nd Street Y, Tippet Rise, and Maverick Concerts. In 2021, Brandon was part of the inaugural class of WQXR’s Artist Propulsion Lab, a program designed to advance the careers of early and mid-career artists and support the future of classical music. In September 2023, Brandon's latest album, Twofold, will be released on In a Circle Records. Twofold follows the success of Brandon Patrick George’s debut solo album, released in 2020 on Haenssler Classics. George was featured in The New York Times around the album’s release, in an article titled “A Flutist Steps into the Spotlight,” which described the album as “a program that showcases the flute in all its wit, warmth and brilliance." Raised by a single mother in Dayton, OH, Brandon is the proud product of public arts education. He draws on his
personal experiences in his commitment to educating the next generation, performing countless outreach concerts for school children every year, and mentoring young conservatory musicians of color embarking on performance careers. Brandon trained at the Oberlin Conservatory of Music, the Conservatoire de Paris, and the Manhattan School of Music. He serves on the faculty of the Curtis Institute and the Banff Centre for Arts and Creativity.
PROGRAM NOTES Written by - Daniel Maki Overture Grażyna Bacewicz (1909-69) Grażyna Bacewicz was born in Łódź, Poland, into a musical family of Lithuanian descent. Beginning her musical studies with her father, who taught her violin and piano, she continued at a local conservatory in Łódź, and began to compose at the age of thirteen. When her family moved to Warsaw, she enrolled in the conservatory there, eventually graduating with major studies in violin and composition. After graduation she received assistance from the eminent Polish pianist Ignacy Jan Paderewsky which enabled her to go to Paris to study with the legendary teacher of music theory and composition, Nadia Boulanger. She also studied there with the violinist Carl Flesch, one of the leading violin pedagogues of the time. Ms. Bacewicz’s career was in full swing in her twenties, both as a prolific composer as well as a violinist. She appeared as soloist with orchestras as well as in concerts with her brother Kiejstut, a well-known pianist. From 1936 to 1938 she was concertmaster of the Polish Radio Orchestra, a position that allowed her to play and hear some of her own music.
It will come as no surprise that that unpleasantness known as the Second World War disrupted Poland’s musical life. In September of 1939, when the composer was 30 years old, Poland was invaded by both Nazi Germany and the Soviet Union. Ms. Bacewicz gave underground concerts during the occupation and, although composing at a much slower pace, did manage to complete some significant works, including the Overture heard on today’s program. After the war, she would resume her career, eventually turning entirely to composition and teaching. In her final decades, her work became widely known as she received many commissions and awards, achieving an honored place not only in Polish musical culture but also abroad. Although the Overture was written in 1943 during the war, it is filled not with angst but with vigorous optimism, a quality that would certainly have been much appreciated when the work received its premiere at the Krakow Festival of Contemporary Music, just 4 months after Germany had surrendered. A few strokes of the timpani launch the orchestra into a furious Allegro, with strings sawing madly away and brass and woodwinds adding rhythmic punctuation. Soon the pace slows down to a pastoral Andante dominated by gently melodic woodwinds, in stark contrast to the whirlwind opening. Soon enough, however, that whirlwind returns as the opening ideas are developed. Again, with strings providing the rhythmic propulsion, the brass add triumphant fanfares. A brief coda drives the work to a jubilant conclusion. The work does what any good overture does, raising the curtain and whetting the appetite for what is to come. * * *
Flute Concerto Jacques Ibert (1890-1962) The world owes much to French culture, but it might be said that that is particularly true of players and lovers of the flute. What came to be known at the end of the nineteenth century as the French school of flute playing would produce a style that in its expressivity and virtuosity sought to rival the violin as a solo instrument. Among the many outstanding flutists that France has produced was Marcel Moyse (1889-1984), who played in many French orchestras but also was a pioneer in making the flute a solo instrument, touring widely and making a number of recordings. In his later life, he was one of several fine French players who settled in this country, bringing the style with them. As a founder of the renowned Marlboro Music Festival in Vermont, he was a guru to students from around the world who came to learn the subtleties of French playing. In 1932 composer Jacques Ibert began work on a concerto dedicated to Moyse and eventually premiered by him on 24 February, 1934, with the Orchestre de la Sociêtê du Concerts du Conservatoire, conducted by Philippe Gaubert, himself one of the long line of distinguished French flutists. Perhaps due to the difficulty of the concerto it did not receive its American premiere until 1948 when the great American flutist Julius Baker played it on a radio broadcast with the CBS Symphony. That beautiful performance was released on a recording by Baker’s own record label, Oxford Records, and is a collector’s item today. Jacques Ibert was a prolific composer as well as an important figure in French culture as an administrator, serving as director of the Académie de France at the Villa Medici in Rome and later as director of the Paris Opéra and the Opéra-Comique. His substantial output, which included opera, ballet, and film music in addition to many varieties of instrumental works, is difficult to categorize. He lived through
a period of great ferment in music, filled with new “isms” of all kinds from Impressionism to Expressionism and Neoclassicism, each offering various new approaches to composition. Ibert himself walked his own path, claiming that “all systems are valid”, and thus falling into the category of “eclectic”. Perhaps the best summary of his aesthetic was his statement that he simply wrote music that he himself wanted to hear. The flute probably first brings to mind an instrument that is a lyrical instrument par excellence, one that tries to imitate the human voice and has actually often been used to accompany the voice. The other major characteristic of the instrument, though, is its agility, involving not only finger dexterity but also dexterity of the tongue which allows the flutist to match many of the effects achieved by the bow on stringed instruments. In his Flute Concerto Ibert exploits both the lyrical and the technical aspects of the instrument to the full. The first movement is dominated by rapid fire virtuoso passage work in the solo instrument in a light and gracefully airy style but also has a brief contrasting second theme in lyrical style. It is in the haunting slow movement that the lyrical capability of the flute is brought to the fore. This movement had personal significance for the composer as his father had recently died. The movement thus serves as an elegy as the flute sings in its most soulful manner. A particularly poignant moment occurs near the end of the movement when a solo violin takes the main theme with the flute adding a graceful and intricate counter-melody. Virtuoso fireworks return in the dazzling finale which has a strong jazz influence, giving the soloist the chance to perform seemingly impossible acrobatics. Here too there is a contrasting lyrical section which introduces a melancholy flavor. Soon enough, however, the fireworks return leading to a spectacular solo cadenza filled with both finger and tongue virtuoso effects. The orchestra then brilliantly closes
this work, which, with its grace, elegance, and wit, seems to be quintessentially French. * * * Symphony No. 8 in B minor, “Unfinished” Franz Schubert (1797-1828) Early in May, 1865, a well-known Viennese conductor named Johann von Herbeck made a trip to the village of Ober-Andritz, near Graz, to visit a certain composer named Anselm Hüttenbrenner, then 71 years old. It was known that Hüttenbrenner, who had been a friend of Schubert, had in his possession the manuscript of a symphony that Schubert had given to Anselm’s younger brother, Josef. Herbeck’s ploy was to offer Hüttenbrenner the chance to have some of his music performed at a concert in Vienna. But wouldn’t it be better for everyone if he could program a new symphony by Schubert on the same program? Hüttenbrenner, by now thoroughly flattered, confessed that he had a manuscript of a Schubert symphony in B minor with only two completed movements which had never been performed and gave it to Herbeck. And so it happened that on 17 December, 1865, almost 40 years after Schubert’s death, on a concert in Vienna under Herbeck’s direction, the world heard for the first time one of the most remarkable and best loved works of nineteenth century music. Why Schubert was so casually willing to give up his astonishingly original symphony and why it took so long to resurface remains one of the great unsolved mysteries of music history. We know that he gave the manuscript as a token of gratitude for receiving the Diploma of Honor from the Styrian Musical Society in Graz, of which Anselm Hüttenbrenner was a member. Anselm’s brother Josef apparently served as courier, delivering the diploma and
receiving the manuscript in return. Although at this point in his career he did leave a number of incomplete manuscripts, it is clear that at some point Schubert intended to finish the symphony—this is confirmed by the fact that he left an incomplete third scherzo movement. Charming as it is, however, the musical substance of the movement is generally considered to be no match for the first two movements. The most likely explanation for the mystery, then, would seem to be that Schubert was stymied as to how to complete the work in the same lofty vein as he had begun. Particularly problematic might be a concluding fourth movement, the bugaboo of many a symphonic composer. Beethoven had gradually shifted the center of gravity from the first movement of his symphonies to a gradually exalted finale. Could it be that Schubert was not ready to deal with such a finale? An important part of the performance history of the Unfinished concerns the many well-meaning attempts to complete the work. The incomplete scherzo movement that Schubert left has been completed by various scholars, and has, from time to time, been performed as part of the symphony. At the first performance in Vienna, mentioned above, Herbeck rather arbitrarily used the finale of Schubert’s Third Symphony to end the work, a dubious choice. Another common practice that goes back to the nineteenth century was that of ending the work with the B minor Entr’acte from Schubert’s incidental music to the play Rosamunde. Some scholars have tried to make a case for this practice, suggesting that Schubert had originally intended the movement as the finale to the symphony but, in order to meet a deadline, diverted it into the Rosamunde score. (It should be said that other scholars have rejected this theory entirely.) All these noble attempts notwithstanding, it now seems to be for the best that the standard practice has become to let well enough alone, be grateful for the two heavenly movements that have been equeathed to us, and perform them as Schubert left them.
For some of us the only problem with the Unfinished Symphony is that it is so familiar that we forget how strikingly original it once was. There had been proto-Romantic symphonic openings before, but the mysteriously dark beginning of the Unfinished, completely unprepared by any formal gesture, was the real thing—the first Romanic symphony, as it has often been called. The opening section comes to a conclusion with another Romantic gesture, a tumultuous cadence with strange cross rhythms which then suddenly leave the dark key of B minor and move to a gentle G major. Here, over a gently syncopated rhythm in the violas and clarinets, we hear the cellos sing one of the world’s sweetest and best-known melodies. As the distinguished Schubert scholar Alfred Einstein (cousin of the physicist) put it, that melody could have been written “only by Schubert in Vienna.” Soon a dramatic dark chord interrupts that sweet melody, returning to the original darkness, and much of the remaining movement seems to be a battle between those opposing forces with darkness ultimately prevailing. After the B minor tragic tone of much of the first movement, the gentle E major opening of the slow movement offers pastoral relief. The movement has its own moments of melancholy, however, such as the wonderfully soft second theme, played hauntingly first by the clarinet and then taken up by the oboe and then shattered by an astonishing outburst of emotion by the entire orchestra. There is no development section and both themes occur again in the recapitulation. It is worth noting that this time the second theme occurs first in the oboe and then in the clarinet, in reverse order of the first appearance. The orchestral outburst recurs and Schubert explores several foreign keys before returning home to E major. The movement ends with a feeling of autumnal tranquillity. * * *
Symphonic Metamorphosis of Themes by Carl Maria von Weber Paul Hindemith (1895-1963) Despite its formidably academic sounding title, Hindemith’s Symphonic Metamorphosis of Themes by Carl Maria von Weber is one of the composer’s lightest and most playful works and has been a favorite of audiences since its successful premiere by the New York Philharmonic in 1944. Works of art sometimes have a circuitous route to completion, and that is the case here. The project began in 1940, the year that Hindemith left Europe to escape the Nazi regime and settled in the United States. (Having been denounced as a “degenerate” composer, he had already left his native Germany two years earlier for safety in Switzerland.) The prominent choreographer and dancer Leonide Massine approached Hindemith with the idea of a ballet which was to be based on music by the early Romantic composer Carl Maria von Weber (1786-1826). Having worked with Massine before, Hindemith dutifully began work, but artistic differences between the two soon scuttled the project. Not one to waste material, Hindemith returned to the project in 1943 and transformed what he had begun into a 4- movement symphonic work of considerable sophistication. Although he is known today only by a handful of works and can rightfully be called an underrated composer, Carl Maria von Weber was a major figure at the beginning of the Romantic period. Most of the music that Hindemith appropriated can be found in an obscure collection of 4hand piano duets which he often played with his wife. In one sense Hindemith’s title is misleading: it is not simply themes that are metamorphosed but entire long sections. Somewhat paradoxically, though Hindemith is in some ways very faithful to the original pieces, the changes that he makes through harmony, orchestration, and the addition of
counter-melodies produce music that is unmistakeably modern. I.
II.
III. IV.
Allegro. This movement has a march-like character with a vaguely exotic feeling, perhaps giving a hint of the Turkish music that was fashionable at the time. The brilliant orchestration often treats brass, woodwinds, and strings in blocks opposing each other. Turandot: Scherzo. The theme of this playful movement comes from incidental music that Weber wrote for Friedrich Schiller’s adaptation of Carlo Gozzi’s play on the legend of Turandot, the same play, incidentally, that was the basis for Puccini’s opera of the same name (1926). This melody may or may not be an authentic folk melody, but in any case certainly has the sound of Chinese music, being based on the pentatonic or 5note scale that is so important in Asian music. This theme is taken through a series of eight varitions culminating in a fugue. Andantino. This movement serves as a gentle, lyrical interlude. In 3-part ABA form, the final section features an extended, highly ornamental flute solo. March. Beginning in a minor key, this march has the character of a sombre funeral march. When the horns introduce a jubilant fanfare in a major key, however, we realize that this is all in good fun. The movement ends triumphantly. * * *
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