BEETHOVEN & LÓPEZ-GAVILÁN
Friday, November 3, 2023 at 7:30 pm Saturday, November 4, 2023 at 7:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Aldo López-Gavilán, piano Milwaukee Symphony Chorus Cheryl Frazes Hill, director LUDWIG VAN BEETHOVEN Overture to Fidelio, Opus 72 ALDO LÓPEZ-GAVILÁN Emporium
Aldo López-Gavilán, piano
INTERMISSION
LUDWIG VAN BEETHOVEN Meeresstille und glückliche Fahrt, Opus 112 [Calm Sea and Prosperous Voyage] Milwaukee Symphony Chorus LUDWIG VAN BEETHOVEN Fantasia in C minor for Piano, Chorus, and Orchestra, Opus 80, “Choral Fantasy” I. Adagio II. Finale: Allegro - Allegretto ma non troppo, quasi andante con moto Aldo López-Gavilán, piano Milwaukee Symphony Chorus
The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. The length of this concert is approximately 1 hour and 50 minutes. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available at mso.org. MILWAUKEE SYMPHONY ORCHESTRA
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Guest Artist Biographies ALDO LÓPEZ-GAVILÁN Aldo López-Gavilán is a Cuban-born virtuoso pianist, composer, arranger, and multiple award-winner known for his exceptional talent and innovative approach to music. Born on 20 December 1979, in Havana, Cuba, he comes from a musical family, with a father, mother, and older brother who are all very accomplished musicians. López-Gavilán’s musical journey began at an early age when he displayed prodigious abilities on the piano. He received formal training at the respected Manuel Saumell and Amadeo Roldán Music Conservatories in Havana, and later at the prestigious Trinity Laban Conservatoire in London, England, where he quickly gained recognition for his exceptional technique and captivating performances. Throughout his career, López-Gavilán has collaborated with renowned artists and orchestras worldwide, showcasing his versatility and musical prowess. His compositions often incorporate complex rhythms, rich harmonies, and improvisational elements, reflecting his Cuban heritage and his deep understanding of various musical traditions. In addition to his virtuosity as a pianist, López-Gavilán is a prolific composer, creating works that encompass a wide range of emotions and themes. His compositions have been performed by prominent orchestras and chamber ensembles, earning him accolades and recognition for his innovative contributions to contemporary music. López-Gavilán’s performances and compositions have transcended cultural boundaries, captivating audiences across the globe. His music not only showcases technical brilliance but also resonates with emotional depth, inviting listeners to embark on a musical journey that is both intellectually stimulating and profoundly moving. As a trailblazer in the world of music, López-Gavilán continues to push artistic boundaries, fusing genres and creating a musical legacy that bridges cultures and celebrates the universal language of music. His ability to communicate complex emotions through his music and his dedication to pushing artistic boundaries make him a true luminary in the modern musical landscape.
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MILWAUKEE SYMPHONY ORCHESTRA
Program notes by Elaine Schmidt LUDWIG VAN BEETHOVEN
Born 17 December 1770; Bonn, Germany Died 26 March 1827; Vienna, Austria
Overture to Fidelio, Opus 72
Composed: 1804 – 1805 (revised for performances in 1806 and 1814) First performance: 20 November 1805; Vienna, Austria Last MSO performance: 18 May 1969; Kenneth Schermerhorn, conductor Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; tenor trombone; bass trombone; timpani; strings Approximate duration: 6 minutes Given Beethoven’s famously mercurial temperament and the consuming anger and frustration he felt over his progressive hearing loss, it takes little imagination to picture livid outbursts when things did not go well. But in fairness, the trials of getting a workable version of Fidelio in front of an appreciative audience were probably worth an outburst or two. In Beethoven’s day, operas were a litmus test of sorts for composers, making or breaking their careers. Any composer hoping to be taken seriously had to write operas — and ones that were deemed successful by the nobility financing them. Haydn and Mozart, in whose footsteps Beethoven was following, had written 26 and 22 operas respectively, with Mozart accomplishing that feat before his untimely death at age 35. Beethoven began his first opera in 1803, at age 33, using a libretto by impresario, composer, and librettist Emanuel Schikaneder, who also wrote the libretto of Mozart’s opera The Magic Flute. Beethoven began working on the project, but could not warm up to the libretto, eventually turning to a French “rescue opera” — so named for the plot device of a main character needing to be rescued from a dire situation. Based on a thready-at-best plot, the opera opened under the name Fidelio in 1805, despite Beethoven having given it the dubious title Leonore, or The Triumph of Married Love. It premiered in Vienna, in German, before an audience of the French soldiers who were occupying the city at the time. Not shockingly, it was not well received. A reworked version of the opera fared somewhat better a year later, but it was not until Beethoven completed a wholesale overhaul of it in 1814, calling himself a martyr to the task, that it achieved success. His hearing significantly diminished by this point, Beethoven conducted with an “assistant” conductor following and conveying his movements to the orchestra and singers. This scene would be repeated, quite famously, 10 years later at the premiere of Beethoven’s Symphony No. 9. Disheartened, angry, and exasperated by his 11 years of toil on Fidelio, Beethoven vowed never to write another opera. It was a vow he kept.
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ALDO LÓPEZ-GAVILÁN
Born 20 December 1979; Havana, Cuba
Emporium
Composed: 2017 First performance: 29 July 2017; Incline Village, Nevada, United States Last MSO performance: MSO Premiere Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; timpani; percussion (bass drum, chimes, cymbals, snare drum, tam-tam, tom-tom, triangle, vibraphone); strings Approximate duration: 32 minutes If you look closely at this evening’s program, you will discover that Cuban pianist and composer Aldo López-Gavilán appears not just as the featured soloist on both halves of the concert, but also as the composer of the piece that opens the evening. And what a piece it is! In fact, when Michael Butterman, conductor of the Boulder [Colorado] Philharmonic Orchestra, heard the Performance Today broadcast of the piece’s premiere from the 2017 Classical Tahoe Festival on his car radio while driving home, he ended up sitting in his driveway listening to it and trying to figure out who the composer was. Butterman, who conducted the second U.S. performance of the work with the BPO, was quoted as describing the piece as “a cornucopia” for its mix of elements “from every possible genre and place [he] could imagine.” He said it contained bits and pieces of Philip Glass, Queen’s “Bohemian Rhapsody,” Prokofiev, and the Downton Abbey theme music, among other things. He also referred to it as “bamboozling” once he studied the mixture of meters and rhythms in the score. López-Gavilán has described his Emporium as “a full piano concerto, with full orchestra and piano solo, and the Classical-era structure of three movements.” He has also explained that it contains classical and jazz elements, along with Cuban and African culture. But the loveliest thing he has said about it is that “it is about love. I have twin daughters and a few years ago, on their birthday, I improvised the main theme of the concerto for them as a birthday present — and they loved it.” His daughters have apparently inherited the aptitude and passion for music that has shaped the previous three generations of their family, having both earned top honors in the first Pequeño Pianista (Little Pianist) category of the first Concurso Latinamericano de Piano competition. If you find yourself entranced by Emporium and need to hear it again, join the club. It has become the most-listened-to piece of López-Gavilán’s Soundcloud page: soundcloud.com/ aldolopezgavilan. It has not yet been commercially recorded.
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LUDWIG VAN BEETHOVEN
Born 17 December 1770; Bonn, Germany Died 26 March 1827; Vienna, Austria
Meeresstille und glückliche Fahrt, Opus 112 [Calm Sea and Prosperous Voyage]
Composed: 1814 – 1815 First performance: 22 December 1815; Vienna, Austria Last MSO performance: MSO Premiere Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; timpani; strings Approximate duration: 8 minutes The English translation of Meeresstille und glückliche Fahrt, the title of Beethoven’s Opus 112 cantata, is “Calm Sea and Prosperous Voyage.” Although that sounds a good deal like the mariner’s toast to a good voyage one hears today, “Fair winds and following seas,” it actually has quite a different meaning. The cantata’s title and text come from two poems written by Johann Wolfgang von Goethe (1749–1832), the famous German poet, playwright, novelist, and critic (and more) whose works countless German composers have set to music. Goethe intended the poems, “Meeresstille” and “Glückliche Fahrt,” as a pair or a set, which is the way they were published in 1795. They are often listed as having been “written by 1795,” because it is not clear when Goethe wrote them. But even if he wrote them in the year of their publication, it means they were written about 40 years before the invention of a steam ship that could traverse open water, as opposed to just a river. In Goethe’s day, calm seas could be disastrous for sea-faring vessels, which depended on wind in their sails for propulsion. Calm seas could ruin perishable cargo and, if the calm lasted too long, being stuck on a calm sea could doom the crew to death by starvation and thirst. Goethe depicted a boatsman’s fear of the “deathly, terrible quiet” of the calm sea in the first poem and his palpable relief and joy when the winds stir again in the second poem. The delicious contrast in emotions between the two poems proved irresistible for both Beethoven and Felix Mendelssohn, whose own setting of the pair of poems as an orchestral concert overture with the same title was first performed in 1828. Mendelssohn was aware of Beethoven’s setting of the two poems, which he acknowledged by using the key Beethoven had used, D major, for his concert overture. Franz Schubert’s 1815 Lied (song), entitled “Meeresstille,” is a setting of just the first poem.
Fantasia in C minor for Piano, Chorus, and Orchestra, Opus 80, “Choral Fantasy”
Composed: 1808 First performance: 22 December 1808; Vienna, Austria Last MSO performance: 18 September 1977; Kenneth Schermerhorn, conductor; Michel Block, piano Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings Approximate duration: 18 minutes Beethoven, like Mozart before him, was a freelance musician in Vienna. He performed as a pianist and conductor, wrote pieces on commission, negotiated the publication of his music, and dedicated pieces to wealthy individuals in hopes of securing their patronage. This was not a stable income, even in a good year, but in 1808, with his hearing in decline and the threat of a second French occupation looming large, Beethoven’s life was particularly tough. Hoping to make a good impression (and a lot of money), he scheduled a benefit concert for MILWAUKEE SYMPHONY ORCHESTRA
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himself — something that was not uncommon at the time. Eager to succeed, Beethoven got a bit carried away in programming the concert. He included the premieres of his fifth and sixth symphonies and his fourth piano concerto (with himself as soloist), some of his own solo piano improvisations, a few solo vocal works, and parts of his Mass in C major. He also wrote a new piece as a grand finale, featuring himself at the piano, joined by the orchestra and chorus: his Choral Fantasy. The concert was four hours long. It was brutally cold in Vienna on the night of the premiere, and the heating system was out at the theater. Members of the orchestra were angry with Beethoven over a tense encounter some days earlier. In addition, the players had so little time to rehearse the new fantasy, which Beethoven had just completed, that they were actually sight-reading parts of it at the performance. At one point, part of the orchestra took a written repeat, while another part of the orchestra did not. Someone shouted out instructions and they pulled back together, only to fall apart again, which forced them to stop and restart. Despite its ragged premiere, this enduring piece shows us innovative Beethoven at his best. If you keep the final movement of his Symphony No. 9 (the “Ode to Joy”) in the back of your mind as you listen to the Choral Fantasy, you will begin to hear hints and snippets of that familiar, great work — a piece he would not begin to work on for another 14 years.
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2023.24 SEASON KEN-DAVID MASUR Music Director Polly and Bill Van Dyke Music Director Chair EDO DE WAART Music Director Laureate RYAN TANI Assistant Conductor CHERYL FRAZES HILL Chorus Director Margaret Hawkins Chorus Director Chair TIMOTHY J. BENSON Assistant Chorus Director FIRST VIOLINS Jinwoo Lee, Concertmaster, Charles and Marie Caestecker Concertmaster Chair Ilana Setapen, First Associate Concertmaster Jeanyi Kim, Associate Concertmaster Alexander Ayers Yuka Kadota Elliot Lee** Ji-Yeon Lee Dylana Leung Allison Lovera Lijia Phang Yuanhui Fiona Zheng SECOND VIOLINS Jennifer Startt, Principal, Andrea and Woodrow Leung Second Violin Chair Timothy Klabunde, Assistant Principal John Bian, Assistant Principal (3rd Chair) Glenn Asch Lisa Johnson Fuller Paul Hauer Hyewon Kim Alejandra Switala** Mary Terranova VIOLAS Robert Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair Georgi Dimitrov, Assistant Principal (2nd chair), Friends of Janet F. Ruggeri Viola Chair Samantha Rodriguez, Assistant Principal (3rd chair)* Alejandro Duque, Acting Assistant Principal (3rd chair) Elizabeth Breslin Nathan Hackett Erin H. Pipal Helen Reich
CELLOS Susan Babini, Principal, Dorothea C. Mayer Cello Chair Nicholas Mariscal, Assistant Principal* Scott Tisdel, Associate Principal Emeritus Madeleine Kabat Shinae Ra Peter Szczepanek Peter J. Thomas Adrien Zitoun BASSES Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair* Andrew Raciti, Associate Principal Nash Tomey, Assistant Principal (3rd chair) Brittany Conrad Teddy Gabrieledes** Peter Hatch* Paris Myers HARP Julia Coronelli, Principal, Walter Schroeder Harp Chair FLUTES Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair Heather Zinninger, Assistant Principal Jennifer Bouton Schaub PICCOLO Jennifer Bouton Schaub OBOES Katherine Young Steele, Principal, Milwaukee Symphony League Oboe Chair Kevin Pearl, Assistant Principal Margaret Butler ENGLISH HORN Margaret Butler, Philip and Beatrice Blank English Horn Chair in memoriam to John Martin CLARINETS Todd Levy, Principal, Franklyn Esenberg Clarinet Chair Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair* Taylor Eiffert* Madison Freed** E-FLAT CLARINET Benjamin Adler*
CONTRABASSOON Beth W. Giacobassi HORNS Matthew Annin, Principal, Krause Family French Horn Chair Krystof Pipal, Associate Principal Dietrich Hemann, Andy Nunemaker French Horn Chair Darcy Hamlin Kelsey Williams** TRUMPETS Matthew Ernst, Principal, Walter L. Robb Family Trumpet Chair David Cohen, Associate Principal, Martin J. Krebs Associate Principal Trumpet Chair Alan Campbell, Fred Fuller Trumpet Chair TROMBONES Megumi Kanda, Principal, Marjorie Tiefenthaler Trombone Chair Kirk Ferguson, Assistant Principal BASS TROMBONE John Thevenet, Richard M. Kimball Bass Trombone Chair TUBA Robyn Black, Principal, John and Judith Simonitsch Tuba Chair TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal PERCUSSION Robert Klieger, Principal Chris Riggs PIANO Melitta S. Pick Endowed Piano Chair PERSONNEL MANAGER Françoise Moquin, Director of Orchestra Personnel LIBRARIANS Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair Matthew Geise, Assistant Librarian & Media Archivist PRODUCTION Tristan Wallace, Technical Manager & Live Audio Supervisor Paolo Scarabel, Stage Technician & Deck Supervisor
BASS CLARINET Taylor Eiffert* Madison Freed** BASSOONS Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi
* Leave of Absence 2023.24 Season ** Acting member of the Milwaukee Symphony Orchestra 2023.24 Season
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