Saturday, October 7, 2023, at 7:30 PM
Sunday, October 8, 2023, at 2:30 PM
The Hemmens Cultural Center
Chad Goodman, conductor
Christine Brewer, soprano
MOZART Die Zauberflöte (The Magic Flute) Overture, K. 620
R. STRAUSS Vier letzte Lieder (Four Last Songs)
Frühling (Spring)
September
Beim Schlafengehen (Going to Sleep)
Im Abendrot (At Sunset)
Christine Brewer, soprano
~ Intermission ~
RACHMANINOFF Symphonic Dances, op. 45
Non allegro
Andante con moto (Tempo di valse)
Lento assai Allegro vivace
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
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ORCHESTRA PERSONNEL / PERSONAL DE LA ORQUESTA
Violin I
Isabella Lippi
Concertmaster
Gerald Loughney
Joseph Malmquist
Susan Carlson
Carol Dylan
Helen Kim Lee
Wendy Evans
Jennifer Leckie
Betty Lewis
Katherine Hughes
Pamela Lutter
Joanna Nerius
Violin II
Daniela Folker
Principal
Steve Winkler
Susan Thorne
Kathryn Siegel
Paul Vanderwerf
Kate Carter
Laura Burns
Azusa Tashiro
Sally Stephenson
Nina Saito
Christine Chon
Martin Hackl
Viola
Loretta Gillespie
Nicholas Munagian
Claudia Lasareff-Mironoff
Roz Green
Ryan Rump
Annika Sundberg
Daniel Golden
Cello
Nazar Dzhuryn
Kerena Fox
Mark Kuntz
Robert Weber
Elizabeth Start
Larry Glazier
Double Bass
Tim Shaffer
Principal
Gregory Heintz
Susan Sullivan
Jason Niehoff
Adam Attard
Ben Foerster
Flute
Jean Bishop
Principal
Maria Schwartz
Eliza Bangert
Oboe
Adèle-Marie Buis
Grace Hong
Joseph Claude
Clarinet
Barbara Drapcho
Kathryne Pirtle
Patrick Rehker
Bassoon
Vincent Disantis
Principal
Edin Agamenoni
Karl Rzasa
Alto Saxaphone
Joseph Connor
French Horn
Greg Flint Principal
Steven Replogle
Sharon Jones
Mary BuscanicsJones
Peter Jirousek
Trumpet
Ross Beacraft
Principal
Christian Anderson
Gregory Fudala
Trombone
Adam Moen
Ignacio Del Rey
Robin Schulze
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Charlie Schuchat
Timpani
Bobby Everson
Percussion
Brian Oriente Principal
Michael Folker
Tina Laughlin
Jon Johnson
Mike Kozakis
Harp
Lillian Lau
Keyboard
Pat Lee
ESO BOARD AND ADMINISTRATION / JUNTA Y ADMINISTRACIÓN DE ESO
EXECUTIVE COMMITTEE DIRECTORS
R. Bert Crossland Board Chair
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Immediate Past Board Chair
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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 INVITADA
Grammy Award-winning American soprano Christine Brewer’s appearances in opera, concert, and recital are marked by her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Named one of the top 20 sopranos of all time (BBC Music), her range, golden tone, boundless power, and control make her a favorite of the stage and a highly sought-after recording artist, one who is
“in her prime and sounding glorious” (Anthony Tommasini, New York Times).
Christine Brewer is one of the most celebrated concert singers of our time. She has appeared around the world with orchestras in Boston, Cleveland, Los Angeles, New York, Philadelphia, Washington, D.C., San Francisco, Toronto, London, Dresden, Berlin, Leipzig, Paris, Sydney, Japan, Malaysia and many times with her home orchestra the St. Louis Symphony. She is frequently sought after to sing the great symphonic works of Mozart, Brahms, Verdi, Mahler, Beethoven, Wagner, Janáček and Britten. She has performed Strauss’ Four Last Songs over one hundred times and she has also been invited to perform for such special engagements as the re-opening of Covent Garden with Plácido Domingo for HRH the Prince of Wales and Duchess of Cornwall.
On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss’s Ariadne auf Naxos, which she has performed with the Metropolitan Opera, Opéra de Lyon, Théatre du Chatelet, Santa Fe Opera, English National Opera, and Opera Theatre of St. Louis. Attracting glowing reviews with each role, she has performed Wagner’s Tristan und Isolde at San Francisco Opera, Gluck’s Alceste with Santa Fe Opera, the Dyer’s Wife in Strauss’s Die Frau ohne Schatten at Lyric Opera of Chicago and the Paris Opera, and Lady Billows in Britten’s Albert Herring at Santa Fe Opera and the Los Angeles Opera. She created the role of Sister Aloysius in the world premiere of Doug Cuomo’s opera Doubt with the Minnesota Opera in 2013 and reprised the role in 2016 with the Union Avenue Opera in St. Louis.
Ms. Brewer continues her work with the Marissa, Illinois 6th graders in a program called Opera-tunities, which is now in its 14th year. She also works with the voice students at Webster University. On April 29, 2015, Christine Brewer joined 140 other notable celebrities receiving a bronze star on the St. Louis Walk of Fame.
Brewer’s discography includes over 25 recordings.
PROGRAM NOTES
Written by - Daniel Maki
Die Zauberflöte (The Magic Flute) Overture, K. 620 W.A. Mozart (1756-1791)
The fascination which The Magic Flute continues to exert is of course due to its sublime music but also to the strikingly enigmatic nature of the work. The libretto, which has been called by some one of the noblest, and by others one of the silliest, in operatic history, is a curiously fascinating hodgepodge of fairytale, slapstick, political allegory, and Masonic mysticism.
Of particular interest is the use of the ritual and symbolism of Freemasonry. Like many other distinguished men of the Enlightenment including Goethe, George Washington, and Thomas Jefferson, Mozart was a Mason. At the time, the Masonic movement was a primary channel for revolutionary liberal ideals such as social equality and tolerance. Indeed, as has been pointed out, the American Declaration of independence is a very Masonic sounding document. The eminent Mozart scholar H.C. Robbins Landon has advanced the theory that Mozart and his librettist Schickaneder wrote a Masonic opera in order to keep the movement alive and free of suppression by the Austrian emperor. Alas, although The Magic Flute was an enormous popular success, all Masonic lodges in Austria were closed in 1794, just three years after the opera’s premiere.
Operatic overtures are usually written last, as a composer obviously can’t know how to prepare an audience for something that does not yet exist. On September 28, 1791, Mozart completed the Overture and the introduction to Act II of The Magic Flute in preparation for the premiere which the composer himself conducted two days later. This would be the last stage music that Mozart would ever write, as two months later he lay on his
deathbed, unable to participate actively in the spectacular success of his new work. He died on December 5, 1791.
The Overture evokes the solemn aspects of the story as well as its magical fairytale atmosphere. The famous opening three majestic chords recur later in the opera during the solemn ritual scenes. (The number three has important symbolic significance in the Masonic order, representing the three stages of life, youth, adulthood, and old age.) The main body of the movement begins with a spritely theme which is treated fugally, a technique which was not part of Mozart’s natural musical speech and which he tended to save for special occasions. The music then runs its energetic course except for a restatement of the solemn chords before the development section. This time, incidentally, the chords are played in the precise knocking rhythm that was used by Masons to greet new members to their orders.
For all the philosophical significance behind the music, the Overture stands on its own as an exquisitely wrought piece of music, filled with the sort of fairy tale charm and elegance that only Mozart could produce.
Vier letzte Lieder (Four Last Songs)
Richard Strauss (1864-1949)
As great as Richard Strauss’s achievements were in instrumental music, every bit as important was his contribution to the literature of the human voice, and, it might be said, especially the female voice. In addition to his many unforgettable female opera roles such as the Marschallin in Der Rosenkavalier or the title roles in Elektra or Salome, to mention just a few, he also wrote nearly 200 songs, making him the last major contributor to the great German Romantic tradition of Lieder.
For better or for worse, Strauss married a soprano. Pauline de Ahna Strauss was born into a military family and
* * *
seems herself to have inherited the personality of a drill sergeant. The stolid and easy-going composer learned to deal with his fiery and impetuous wife, and somehow the odd couple managed to remain devoted to each other to the very end of an occasionally stormy but essentially successful marriage of 54 years. Richard died first (in selfdefense?) but always maintained that no one could sing his songs as well as Pauline. Having toured as a pianist for her for many years, there is no doubt that Strauss learned much about writing for voice from her and was strongly influenced as a composer by the image of her voice.
With all these connections, it was certainly fitting that Strauss’s own swan song, composed in 1948 at the age of 84 but not published until after his death, should have been some of his most beautiful writing for soprano voice. As biographer Michael Kennedy has put it, Strauss ended his career “with all the flair for bringing down the curtain at the right moment which distinguished his sense of theatre.”
The Four Last Songs must now be numbered among Strauss’s most beloved works and have served as vehicles for some of our greatest divas, ranging from such fabled names as Kirsten Flagstad and Elizabeth Schwarzkopf to singers of our own day, such as Jessye Norman, Kiri Te Kanawa, and Renée Fleming.
The subject at hand is the progression from the vitality of youth as expressed in the opening poem Frühling (Spring), moving toward the end of life. The first three poems are by Strauss’s contemporary Hermann Hesse (1877-1962), the final song, Im Abendroth (At Sunset), by the Romantic poet Joseph Eichendorff (1788-1867). Death is viewed not in despair, however, but with mellow reflectiveness. Autumnal and valedictory though the tone may be, one senses that it is a look backward at life richly lived, with a sense of ripeness and fulfillment. Pauline’s presence is deeply felt, as for example, in Im Abendrot, which, though now forming the end of the set, was actually the first of the set to be written. Strauss had been deeply moved by the poem and was
struck by the way the description of an aging couple seemed to fit the composer and his wife perfectly.
Musically, Strauss uses the language of postRomanticism in a way that seems to suspend time. Although the rhythm of the music seems to move slowly, Strauss uses constantly shifting harmonies and keys with enormous inventiveness while the voice soars over the orchestra. In addition to the marvelously skillful vocal writing may be mentioned the beautiful violin solo in Beim Schlafengehen, illustrating the “unfettered soul floating freely,” and the horn solo at the end of September, which reminds us again, as in so many passages of Strauss, that his father had been one of the great horn players of his time. Finally, at the end of Im Abendrot, after we have heard the trilling of larks, we hear the question, “Is this death?” At this point Strauss quotes a theme from his early tone poem Death and Transfiguration, in which nearly 60 years earlier he had described the death of an idealistic artist. The artist had come full circle. * * *
Symphonic Dances, op. 45 Sergei Rachmaninoff (1873-1943)
Like many other members of the Russian upper classes, Sergei Rachmaninoff left Russia after the 1917 Revolution, never to return. He was then a world figure in his mid-forties and had already written most of the works on which his reputation rests today , including the Second Symphony and the Second and Third Piano Concertos. He would live the last quarter of a century of his life as a homesick émigré, mostly in Switzerland and the United States, and would complete only six more works.
The reasons for this reticence as a composer are not hard to understand. To begin with, having left possessions behind in Russia, he realized that he could support his family much more easily as a performer than as a composer. As one of the great pianists of his time as well as a fine
conductor, his career as a touring artist was spectacularly successful but inevitably limited time for composition.
At least as important, however, to his future as a composer was his special place in the musical life of the times. Rachmaninoff’s public persona often projected an air of melancholy, prompting his fellow Russian émigré Igor Stravinsky to call him “Six and a half feet of Russian misery.” (He was a tall, rather gaunt figure.) Like many members of the aristocratic, so-called “White Russian,” diaspora, he would retain a life-long deep nostalgia for the brilliantly rich high culture of Imperial Russia, the culture that produced the colorful, lushly Romantic, and deeply emotional music of composers such as Tchaikovsky, Borodin, and RimskyKorsakov. Rachmaninoff would remain a stylistic archconservative, causing him to be viewed as the last great representative of this great Russian tradition of late Romanticism. Given the enormous gap between his musical sympathies and the radically new trends that were sweeping through sophisticated musical circles outside Russia, it is not surprising that his output declined in quantity. He disliked even the music of Debussy, let alone the more extreme experiments of composers like Stravinsky and Schoenberg.
Rachmaninoff did enjoy a late flowering, however, in the last decade of his life. In this so-called Indian Summer period, he absorbed to a certain degree some of the new techniques of the time, while still preserving his familiar late Romantic idiom. The result was works such as his Third Symphony and the very popular Rhapsody on a Theme of Paganini. The Symphonic Dances, written in 1940, were his final completed work and the only one written entirely in the United States. Although it can be seen as his most “advanced” work, it is still very much Romantic music with a mild dose of twentieth century dissonance and rhythmic irregularity.
Symphonic Dances were first written under the working title Fantastic Dances in a version for two pianos. (Rachmaninoff enjoyed playing this version with his neighbor
and fellow Russian émigré Vladimir Horowitz.) As the title suggests, the work was originally conceived as ballet music, and Rachmaninoff went so far as to approach the distinguished choreographer Michel Fokine, who had choreographed several of Stravinsky’s ballets as well as a work by Rachmaninoff himself, about the possibility of making a ballet out of the score. Unfortunately, Fokine died before the project could begin and the first performance rights were offered as a symphonic work to the Philadelphia Orchestra, the composer’s favorite orchestra and the one with which he had the closest connection throughout his life in the United States. The successful premiere took place in Philadelphia in January of 1941.
In his original conception, Rachmaninoff had entitled the three movements according to three symbolic stages of life, but he later dropped the titles. The first movement, originally entitled “Noon,” is strongly rhythmical with hints of the sardonic style of the modernist Prokofiev. The lyrical middle section offers contrast in mood as well as color, featuring the striking novelty of an extended saxophone solo. After a return of the opening material comes a brief coda in which Rachmaninoff lets us into a very private part of his emotional life. Here he quotes a theme from his First Symphony, written some 45 years earlier, whose public failure had deeply traumatized the young composer, bringing him to a nervous breakdown. This beautiful theme, incidentally, was based on ideas from Russian church music, a tradition that was always close to the composer’s heart.
The second movement, which is very much in the tradition of the valse triste (“sad waltz”), was originally named “Twilight.” Skillful orchestration and imaginative harmonies lend a magically sinister tone to the movement.
The final movement, originally called “Midnight,” begins with a brief slow introduction but soon breaks into an Allegro vivace which features strongly syncopated dance rhythms. The contrasting slower middle section presents some of Rachmaninoff’s famous lush melodic writing and leads directly back into the Allegro vivace tempo. Here
Rachmaninoff introduces one of his signature themes, the famous lugubrious Dies Irae (Day of Wrath) from the medieval Requiem Mass which had been used for macabre effect by Romantic composers such as Liszt and Berlioz, and which appears in a number of Rachmaninoff’s own works. Although it has occasionally been suggested that the composer had an obsession with death, here he seems determined not to allow gloom to triumph. At a key point near the end of the work he wrote the word Alliluya in the score. Although long considered a mystery, it is now clear that the marking signifies that Rachmaninoff has borrowed music from his All Night Vigil, a liturgical choral work from 1915 which is widely considered to be one of the most beautiful examples of Russian Orthodox church music. Considering that it is highly probable that Rachmaninoff knew that this would be his final work, and that at the very end of the work he wrote “I thank thee, Lord,” it is certainly not fanciful to think that this was a symbol of life triumphing over death. The composer died two years after the premiere of Symphonic Dances, just one month after becoming a citizen of the United States.
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Jerry Latherow
Helen Lindow
In Honor of Jeanne Sigman
Joan Longmire
Sarah Luedtke
Miriam Anderson Lytle
Karen & Dan Maki
Aaron Marsh
Anonymous
Marc Mellits
Jane C. Miller
Dr. Michael H. Montgomery & Rev. Peggy McClanahan
Barbara M. Mueller
Ms. Paula Mytych
Mr. & Mrs. Pat Nelson
Linda O'Gara
Clare M. Ollayos, D.C.
Roy & Sandra Olson
Carolyn O'Neal
Meg & George Peirce
Hilda B. Price
Maureen A. Resheske
Hans Peter Riehle
Anonymous
Nancy Rust
Gerald & Daria Sapp
Gregg & Anita Steamer
David A. Schroeder
Richard Schwemm
Mr. & Mrs. Ronald Sersen
Jeanne Shagg
Curt Siegel
John Simko
Bonita S. Skapyak
Joe Slezinger
In Memory of Vera Locknar
Jim & Susan Spengler
John Steffen and Kerin Kelly
Charles & Susan Storey
Sivu Suppiah
Mary E. Tabatt
Greg Tipps
David & Nancy Tonge
Stephen D. Tousey
Sue & Bill Toussaint
Kathleen F. Tull
Serge & Constance Uccetta
Steve Wasilowski
Paul & Janice Weber
Elyse K. Williamson
Margaret Zawadzki
Anonymous-3
