Royal Philharmonic Orchestra PROGRAM | Saturday, January 25, 2020

Photo by Chris Christodoulou

Photo by Cheryl Mazak

Royal Philharmonic Orchestra Pinchas Zukerman, conductor and violin SATURDAY, JANUARY 25, 2020 • 8PM Jackson Hall, UC Davis Sponsored by

Individual support provided by Grace and John Rosenquist James H. Bigelow

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We should take a moment to acknowledge the land on which we are gathered.

For thousands of years, this land has been the home of Patwin people.

Today, there are three federally recognized Patwin tribes: Cachil DeHe Band of Wintun Indians of the Colusa Indian Community, Kletsel Dehe Wintun Nation, and Yocha Dehe Wintun Nation.

The Patwin people have remained committed to the stewardship of this land over many centuries. It has been cherished and protected, as elders have instructed the young through generations.

We are honored and grateful to be here today on their traditional lands. https://diversity.ucdavis.edu

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PROGRAM

Royal Philharmonic Orchestra Pinchas Zukerman, conductor and violin

Hebrides Overture (Fingal’s Cave), Op. 26

Felix Mendelssohn (1809–1847)

Violin Concerto No. 1 in G Minor, Op. 26 Vorspiel: Allegro moderato Adagio Finale: Allegro energico

Max Bruch (1838–1920)

INTERMISSION

Symphony No. 1 in C Minor, Op. 68 Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Allegro non troppo ma con brio

Johannes Brahms (1833–1897)

Program is Subject to Change.

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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PROGRAM NOTES

Hebrides Overture (Fingal’s Cave), Op. 26 (1830) FELIX MENDELSSOHN (Born February 3, 1809 in Hamburg Died November 4, 1847 in Leipzig) Mozart’s deftly articulated, perfectly proportioned music was in part responsible for molding the early style of Felix Mendelssohn, the most precociously gifted composer the world has ever known. Not even Mozart could have laid claim to having produced burning masterpieces while still in his mid teens.

By this time Mendelssohn had already reached compositional maturity alongside his other achievements as a double-prodigy on the violin and piano, an exceptional athlete (a particularly strong swimmer), a highly gifted poet, multi-linguist and watercolorist, and an inspired philosopher more than capable of holding his own with learned Berlin University professors. He excelled at virtually anything which could hold his attention for long enough, although it was music which above all activated his creative imagination.

If Mendelssohn was in the possession of a talent which was almost inexhaustible in terms of its promise and potential, he lacked the inner determination to develop his powers to their fullest extent. He was a sensitive man who was ultimately destroyed byhis constant and caring attempts to counterbalance his extraordinary gifts with the need for a small number of intimate relationships away from the exhausting demands of being an idolised musical celebrity. As he once put it: “The thoughts which are expressed to me by music that I love are not too indefinite to be put into words, but on the contrary, too definite.”

Of Mendelssohn’s several concert overtures it is the Hebrides (Fingal’s Cave) of 1830 that is the most regularly performed today—indeed, there are many who hold this to be his finest work of all. Returning to a sketch he had made the previous year while on a trip to the Hebrides Islands, the composer’s imagination works at full stretch throughout, unmistakably evoking the breath-taking spaciousness and the deceptive power of the rolling surf with

almost tactile precision and accuracy. The subdued ending is a masterstroke of poetic imagination. As part of the same vacation, Mendelssohn also made a trip to Wales which he found altogether less inspiring, describing its national music as “the most horrendous, vulgar, out-of-tune trash.”

The effect of this magical work on its listeners can be gauged by Wagner’s excited reaction: “Fingal’s Cave is one of the most beautiful pieces we possess.

Wonderful imagination and delicate feeling are here presented with consummate art. Note the extraordinary beauty of the passage where the oboes rise above the other instruments with a plaintive wail, like the wind over the sea.” Mendelssohn was just twenty-one years old.

Violin Concerto No. 1 in G Minor, Op. 26 MAX BRUCH (1838-1920) (Born January 6, 1838 in Cologne Died October 2, 1847 in Berlin) “It’s a damned difficult thing to do,” Max Bruch once despaired. “Between 1864 and 1868 I rewrote my G Minor violin concerto at least half a dozen times!”

Even after the much-revised first version had been premiered in 1866, he sought the expert opinion of both Ferdinand David (who had played a vital role in helping to shape Mendelssohn’s E Minor Concerto) and David’s most celebrated pupil, Joseph Joachim, to whom Bruch’s Concerto is dedicated in fond appreciation.

Joachim’s input proved so fundamental that Bruch completely rewrote the opening two movements, incorporating many of the great violinist’s amendments along the way. Most crucial of these was the suggestion he should dovetail the opening movement into the central Adagio. Bruch then spent a further two years refining his ideas, including three passages in the Finale that were variously rethought or junked altogether. Working up to the wire before finally submitting the Concerto for publication, Bruch’s autograph score is littered with last-minute excisions, alterations and changes in page numbers.

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The sad irony was that having produced a virtually infallible masterwork, Bruch never quite rekindled its incandescent genius during the 52 years of creative life remaining to him. A letter sent to his family from Italy in 1903 reveals the composer at the end of his tether. Describing his frustration at student violinists hovering in wait on street corners, attempting to assail him with their rendition of his Concerto, he despairs “Devil take the whole lot of them!” As if to rub salt into his wounds, he impulsively accepted a one-off payment for his magnum opus from his publisher. As a result, the Concerto that brought him international fame and was played constantly the world over earned him not a single penny in royalties.

Such is the impassioned intensity of Bruch’s writing that the outer movements create the excited illusion of scorching solo virtuosity, yet in truth it is one of the most playable of all the great violin concertos.

Furthermore, although the explosive nature of the orchestral tuttis in all three movements possess an almost (Richard) Straussian opulence, a glance at the score reveals relatively modest forces virtually identical to those for the Beethoven Violin Concerto, except for the addition of two French horns.

Orchestra conducted by Felix Otto Dessoff first launched into that angst-ridden opening at the work’s premiere on November 4, 1876, was one that the 43-year-old Brahms had been consciously putting off for over two decades.

The problem of composing a symphony that would bear comparison with Beethoven’s unrivalled achievements in the field had been uppermost in Brahms’ mind since his first encounter with Robert Schumann in September 1853. The older composer immediately put the cat among the pigeons by enthusiastically hailing Brahms as the ‘natural heir and successor to Beethoven’, as well as describing his early piano sonatas as ‘veiled symphonies’. Schumann’s wife, Clara, then unintentionally poured oil on the fire declaring that Brahms would ‘find the first true field for his genius when he begins to write for orchestra’.

These generous declarations of faith were to haunt Brahms throughout his creative life. Even as the First Symphony was nearing completion, he confided in the conductor Hermann Levi: “I will never write a symphony. You have no idea what it is like to hear a giant [i.e. Beethoven] constantly marching behind you.”

Symphony No. 1 in C Minor, Op. 68 (1876) JOHANNES BRAHMS (1833–1897) (Born May 7, 1833 in Hamburg Died April 3, 1897 in Vienna)

Brahms’ first declared attempt at symphonic writing was the planned conversion of an existing two-piano sonata in 1854. This never got much beyond the drawing board, however, the ideas being ultimately re-shaped into the Sturm und Drang (Storm and Stress) contours of the First Piano Concerto. Likewise the First Serenade (1857–58), whose overt tunefulness and easygoing nature quickly dashed any symphonic pretensions Brahms had initially harbored. The crushingly high standards the young composer imposed on himself effectively drove any further mention of symphonic composition underground.

Yet, work did continue and during 1862, Brahms began sifting through some ideas that would eventually emerge some 14 (!) years later in the form of the glorious C Minor Symphony.

Johannes Brahms’ symphonic debut was the most stunning in musical history. From its searing opening pages—a storm-tossed musical landscape, underpinned by relentless timpani strokes—to the brass-saturated apotheosis of the final coda, the listener is carried irresistibly along by the First Symphony’s awesome sense of inevitability. Yet, this most comprehensive of musical victories was hard won. Indeed, the moment that the Karlsruhe

The most important creative work was done after Brahms had finally taken up permanent residence in Vienna in 1869. For several years, he continuedto work meticulously through his ideas, reshaping and redesigning them until every single note had been accorded its logical place in Brahms’ perfectly balanced soundscape. In the event, so complete was Brahms’ success that his new symphony was popularly branded ‘Beethoven’s Tenth’. The connection is made

The first movement opens with an introduction punctuated by two short meditations from the soloist before the music surges away with the greatest intensity. The deeply touching slow movement builds gradually towards a blazing orchestral climax that was recalled in homage by Richard Strauss at the ‘Summit’ of his Alpine Symphony, leaving the exhilarating finale to round off the concerto with an unquenchable flow of impassioned high spirits.

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explicit by the fourth movement’s main chorale theme, which Brahms appears to have consciously modelled on the famous Ode to Joy from Beethoven’s Ninth Symphony. When questioned about it at the time, Brahms typically snapped back impatiently: “Any donkey can see that!”

Sadly, not everyone took to Brahms’ at times ruggedly intellectual style. After directing a performance in Munich in 1878, Hermann Levi recalled: “I have never been through anything more painful. Total silence greeted the first movement and persistent hissing broke out after the second and third. After the concert there was a move afoot to compel the Academy to publish all its programs at the beginning of the season so that in the event ofa Brahms symphony being presented, one could decline to subscribe!” Posterity has understandably been somewhat kinder in its judgement and this magnificent work is now generally recognized as seminal in the history of symphonic form.

The first movement’s volatile landscape is immediately signaled by an introduction of the greatest intensity that contains all the essential thematic elements to be employed thereafter. As the movement progresses, these ideas are transformed into a breath-taking array of contrasting shapes and colors and, although their common source may not always be immediately apparent, the music is continually propelled along

by the tremendous sense of their belonging together.

Schoenberg picked up on the processes involved by aptly describing the technique as ‘developing variation’.

The second and third movements inhabit an entirely different world; indeed their relative brevity and melodic grace led Levi to suggest that they were ‘more suitable for a serenade or a suite than a symphony on this scale’. Yet, on reflection, it is difficult to imagine what alternative Brahms had, given the all-encompassing majesty of the outer movements. One interesting feature of the Allegretto is the opening clarinet melody, which, halfway through, proceeds with the first phrase again, only with all the original musical intervals turned upside down.

The finale opens with one of the most extended of all symphonic introductions, its decidedly brooding atmosphere ultimately soothed by the calming influence of a solo French horn. The main Allegro section starts quietly in the strings with the famous chorale melody loosely based on the Ode to Joy theme, which triumphantly re-emerges just before the final uplifting peroration. © Julian Haylock

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ABOUT THE ARTISTS

Royal Philharmonic Orchestra For more than seven decades the Royal Philharmonic Orchestra (RPO) has been at the forefront of musicmaking in the U.K. Its home base since 2004 at London’s Cadogan Hall serves as a springboard for seven principal residencies as well as more than fortyfive concerts per year in long-term partnership venues across the country, often in areas where access to live orchestral music is very limited. With a wider reach than any other U.K. large ensemble, the RPO has truly become Britain’s national orchestra.

Throughout the regional program, plus regular performances at Cadogan Hall, Southbank Centre’s Royal Festival Hall and a hugely popular series at the Royal Albert Hall,and international touring engagements, the RPO remains committed to working with the finest conductors. In July 2018, the RPO announced Vasily Petrenko as the Orchestra’s new Music Director, assuming the title of Music Director Designate in August 2020 prior to commencing the full role in August 2021. He joins the RPO’s roster of titled conductors, which includes Pinchas Zukerman (Principal Guest Conductor), Alexander Shelley (Principal Associate Conductor) and Grzegorz Nowak (Permanent Associate Conductor).

In 2018, RPO Resound, the Orchestra’s community and education program, celebrated its twenty-fifth anniversary. Throughout its history it has thrived on taking music into the heart of the regions that the Orchestra serves, working with a variety of participants in a range of settings including working with young people, the homeless and recovering stroke patients.

Although the RPO embraces twenty-first-century opportunities, including appearances with pop stars and on video game, film and television soundtracks, its artistic priority remains paramount: the making of great music at the highest level for the widest possible audience. As the RPO proudly looks to its future, its versatility and high standards mark it out as one of today’s most open-minded, forward-thinking symphony orchestras.

For more information, please visit:www.rpo.co.uk Registered Charity No. 244533

Pinchas Zukerman Conductor and Violin With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today’s most sought after and versatile musicians, violin and viola soloist, conductor, and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums for which he gained two Grammy awards and 21 nominations.

Highlights of the 2019–20 season include tours with the Vienna Philharmonic and Royal Philharmonic Orchestra, as well as guest appearances with the Boston, Dallas and Prague Symphonies, Berlin Staatskapelle and Israel Philharmonic Orchestra. In his fifth season as Artist-in-Residence of the Adelaide Symphony Orchestra, he tours with the ensemble to China and Korea, and recently premiered Avner Dorman’s Double Concerto for Violin and Cello, written for Zukerman and cellist Amanda Forsyth.

Subsequent performances of the important new work take place at Tanglewood with the Boston Symphony, Ottawa with the National Arts Centre Orchestra, where Zukerman serves as Conductor Emeritus, and with the Israel Philharmonic. In chamber music, he travels with the Zukerman Trio for performances throughout North and South America, Europe and Asia, and joins longtime friend and collaborator Daniel Barenboim for a cycle of the complete Beethoven Sonatas for Violin and Piano, presented in a threeconcert series in Berlin.

A devoted teacher and champion of young musicians, he has served as chair of the Pinchas Zukerman Performance Program at the Manhattan School of Music for over 25 years, and has taught at prominent institutions throughout the United Kingdom, Israel, China and Canada, among others. As a mentor he has inspired generations of young musicians who have achieved prominence in performing, teaching, and leading roles with music festivals around the globe.

Mr. Zukerman has received honorary doctorates from Brown University, Queen’s University in Kingston, Ontario, and the University of Calgary, as well as the National Medal of Arts from President Ronald Reagan.

He is a recipient of the Isaac Stern Award for Artistic Excellence in Classical Music.

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Royal Philharmonic Orchestra Pinchas Zukerman, conductor and violin

FIRST VIOLINS Duncan Riddell Tamás András Sulki Yu Shana Douglas Eriko Nagayama Andrew Klee Kay Chappell Anthony Protheroe Erik Chapman Sophie Mather Esther Kim Marciana Buta Patrycja Mynarska Imogen East SECOND VIOLINS Andrew Storey David O’Leary Jennifer Christie Charlotte Ansbergs Peter Graham Stephen Payne Manuel Porta Charles Nolan Sali-Wyn Ryan Colin Callow Nicola Hutchings Sheila Law VIOLAS Abigail Fenna Liz Varlow Ugne Tiškuté Chian Lim Jonathan Hallett Triona Milne Clive Howard Felix Tanner Helen Picknett Zoe Matthews

CELLOS Richard Harwood Jonathan Ayling Roberto Sorrentino Jean-Baptiste Toselli William Heggart Rachel van der Tang Naomi Watts Anna Stuart DOUBLE BASSES David Stark David Gordon Benjamin Cunningham Ben Wolstenholme Mark O’Leary David FC Johnson FLUTES Joanna Marsh Harry Winstanley PICCOLO Helen Keen

BASSOONS Joshua Wilson Helen Storey CONTRA BASSOON Fraser Gordon FRENCH HORNS Austin Larson Finlay Bain Philip Woods Jonathan Bareham Richard Ashton TRUMPETS James Fountain Adam Wright TROMBONES Matthew Knight Rupert Whitehead BASS TROMBONE Josh Cirtina

OBOES John Roberts Timothy Watts

TIMPANI Matt Perry

CLARINETS Benjamin Mellefont Katy Ayling

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STAFF LISTING Managing Director James Williams Deputy Managing Director Huw Davies Concerts Director Louise Badger Tours Manager Dawn Day Tours Assistant Charlotte Fry Orchestra Manager Kathy Balmain Stage and Transport Manager Steve Brown Stage Manager Esther Robinson Assistant Stage Manager Dan Johnson

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°In Memoriam

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James H. Bigelow Karen Broido Chan Family Fund Sandra Togashi Chong and Chris Chong John and Lois Crowe Richard and Joy Dorf

Mary B. Horton Barbara K. Jackson° Dean and Karen Karnopp Debbie Mah and Brent Felker Diane Marie Makley Rosalie Vanderhoef Verena Leu Young

Tim and Linda McKenna Thomas R. McMorrow Karen Merick and Clark Smith Joe and Linda Merva Cynthia Meyers Beryl Michaels and John Bach Leslie Michaels and Susan Katt Maureen Miller and Mary Johnson Sue and Rex Miller Vicki and Paul Moering James Moorfield Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Diane Muller Robert Nevraumont and Donna Curley Nevraumont Kim T. Nguyen R. Noda Jay and Catherine Norvell Jeri and Clifford Ohmart Allyson Oide* Jim and Sharon Oltjen Andrew and Sharon* Opfell Mary Jo Ormiston* John and Nancy Owen Mike and Carlene Ozonoff Thomas Pavlakovich and Kathryn Demakopoulos Pete Peterson The Plante Family Jane Plocher Bonnie A. Plummer Harriet Prato Otto and Lynn Raabe Lawrence and Norma Rappaport Olga Raveling Catherine Ann Reed Fred and Martha Rehrman* Maxine and Bill Reichert David and Judy Reuben Ralph Riggs* Russ and Barbara Ristine Jeannette and David Robertson Denise Rocha Jeep and Heather Roemer Ron and Mary Rogers Maurine Rollins Carol and John Rominger Richard and Evelyne Rominger Warren Roos Janet F. Roser, Ph.D. Cathy and David Rowen* Cynthia Jo Ruff* Paul and Ida Ruffin Joy and Richard Sakai* Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack

Patsy Schiff Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jeanie Sherwood Jennifer Sierras Jo Anne S. Silber Teresa Simi Robert Snider and Jak Jarasjakkrawhal Jean Snyder Nancy Snyder William and Jeannie Spangler* Curtis and Judy Spencer Tim and Julie Stephens Judith and Richard Stern Daria and Mark Stoner Deb and Jeff Stromberg George and June Suzuki Bob Sykes Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal Julie Theriault, PA-C Virginia Thigpen Henry and Sally Tollette Victoria and Robert Tousignant Justine Turner* Ute Turner* Sandra Uhrhammer* Ramon and Karen Urbano Ann-Catrin Van In Memory of Lewis Vance and Philip Acton Barker Marian and Paul Ver Wey Richard Vorpe and Evelyn Matteucci Craig Vreeken and Lee Miller Kim and James Waits In Memory of Carl Eugene Walden Andrew and Vivian Walker Don and Rhonda Weltz* Doug West Martha S. West Robert and Leslie Westergaard* Nancy and Richard White* Sharon and Steve Wilson Janet G. Winterer Suey Wong* Jessica Woods Jean Wu Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Chelle Yetman Phillip and Iva Yoshimura Phyllis and Darrel Zerger* Marlis and Jack Ziegler Linda and Lou Ziskind Dr. Mark and Wendy Zlotlow And 23 donors who prefer to remain anonymous

Legacy Circle

Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.

Wayne and Jacque Bartholomew Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Nancy DuBois° Jolán Friedhoff and Don Roth Anne Gray

Benjamin and Lynette Hart L. J. Herrig° Mary B. Horton Margaret Hoyt Barbara K . Jackson° Roy and Edith Kanoff° Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary°

Ruth R. Mehlhaff ° Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal° and Carol Sconyers Joe and Betty° Tupin Lynn Upchurch And one donor who prefers to remain anonymous

If you have already named the Mondavi Center in your own estate plans, we thank you.

We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, director of development, 530.754.5420 or npetrisko@ucdavis.edu.

Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. * Friends of Mondavi Center

MONDAVI CENTER 2019 –20 |

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†Mondavi Center Advisory Board Member

°In Memoriam

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| call 916.563.2250 • 888.563.2250

MONDAVI CENTER 2019 –20 |

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