Schuldt Conducts Schumann – Season 22/23 – Programme note

SCHULDT CONDUCTS SCHUMANN 10 – 11 Nov 2022

SCO.ORG.UK

PROGRAMME

Season 2022/23

SCHULDT CONDUCTS SCHUMANN Thursday 10 November, 7.30pm The Queen’s Hall, Edinburgh Friday 11 November, 7.30pm City Halls, Glasgow Schumann Overture, Scherzo & Finale Anderson Cello Concerto ‘Litanies’ (Scottish Premiere) Interval of 20 minutes

Schumann Symphony No 3 ‘Rhenish’

Clemens Schuldt

© Kaupo Kikkas

© Marco Borggreve

Clemens Schuldt Conductor Alban Gerhardt Cello

Alban Gerhardt

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W H AT YO U ARE ABOUT TO HEAR Schumann (1810-1856) Overture, Scherzo & Finale Op 52 (1841)

Anderson (b.1967) Cello Concerto ‘Litanies’ Scottish Premiere (2018 - 2019)

Schumann (1810-1856) Symphony No 3 ‘Rhenish’ Op 97 (1850) Lebhaft Scherzo: Sehr mäßig Nicht schnell Feierlich Lebhaft

––––– In many ways, Robert Schumann seems the very epitome of the Romantic artist: passionate, full of imagination and sometimes fantastical ideas, and with a potential for creativity that seemed to flow from him at a sometimes alarmingly prolific rate. Just think of his ‘song year’ of 1840, which produced more than 120 romantic vocal works aimed at his beloved Clara Wieck in the run-up to their marriage in September that year, or indeed his ‘chamber year’ two years later, during which he produced several substantial chamber works including the Piano Quartet and Quintet.

And yet, despite all the charm, beauty and bracing originality of Schumann’s music, it’s also shot through with a sense of enormous fragility and vulnerability, as though it’s so deeply personal that it could fracture into pieces at any moment. It’s a sense that’s no doubt informed by our knowledge of the composer’s own delicate state: he was beset by serious, disabling issues of mental health throughout his tragically short creative life, problems that would eventually push him to a suicide attempt and later incarceration in a psychiatric institution at Endenich, near Bonn.

His Overture, Scherzo and Finale that opens tonight’s concert, however, comes from a far happier time – indeed, from just a year after Robert and Clara’s long-awaited marriage. After so much resistance from Clara’s father, who had effectively forbidden their relationship (Robert responded with legal proceedings, eventually marrying Clara the day before her 21st birthday, when she wouldn’t have needed her father’s permission anyway),

And yet, despite all the charm, beauty and bracing originality of Schumann’s music, it’s also shot through with a sense of enormous fragility and vulnerability, as though it’s so deeply personal that it could fracture into pieces at any moment.

Robert Schumann

their union no doubt spurred the composer into celebratory creativity. In quick succession he produced tonight’s opening

unusual, compact trilogy of pieces full of charm, drama and emotion.

work, two symphonies (now numbered 1 and 4), and the Phantasie for piano and orchestra that would later become the first movement of his Piano Concerto.

At one stage, Schumann even referred to the Overture, Scherzo and Finale as his ‘Symphony No 2’, and (perhaps more convincingly) as a ‘Sinfonietta’. Its three movements do effectively form a symphony (albeit a somewhat lightweight one) without a slow movement, though he offered the piece to his Leipzig publisher Hofmeister as an orchestral suite, stressing that its individual movements could be played separately if desired. Nonetheless, he’d devised their styles and characters – as well as thematic links between them – so

The dark, dramatic slow introduction that kicks off the opening Overture contrasts a yearning violin theme with a more aggressive outburst from the cellos, basses and bassoons, and when Schumann’s brighter, faster main music bursts in, its dashing opening theme clearly looks back to that rather gruff opening. Schumann’s Scherzo is based around a driving, dotted, dum-di-dum rhythm that he maintains virtually throughout, and which informs the movement’s gently galloping main theme, interrupted by hunting calls from the horns.

Those unstoppable rhythms suddenly drop away during the movement’s more lyrical central trio section, which returns to bring the movement to its conclusion. The dazzling, tarantella-like Finale contains

that they clearly belonged together as an

some of the fastest music that Schumann

Julian Anderson

As I was composing the work, an event of both personal and musical significance influenced the course of the music.

In July 2018, the eminent composer and conductor Oliver Knussen died.

ever wrote, with flickering colours in its inventive scoring and no shortage of contrapuntal ingenuity in its central

solutions to the problem of renewing the concerto. In the first, the solutions were partly of a spatial/theatrical nature:

development section.

the violinist is offstage, then to the side of the orchestra, then in normal soloist position, and finally turns their back on the audience. Such solutions are not possible for either a piano or a cello – they are not portable instruments. In the piano concerto, the concerto form was exploded into a diverse set of six different movements, each with a different virtual ‘location’: the metaphor was one of an imaginary journey.

There’s plenty of lyricism, too, in the music of London-born composer Julian Anderson, though his language is firmly of our own times. He’s one of the UK’s most accomplished and respected composers, and has held senior positions at the Royal College of Music, Harvard University and the Guildhall School of Music and Drama.

He writes about his cello concerto Litanies, receiving its Scottish premiere: "Litanies is the third concerto I have composed since 2015 – it was preceded by In lieblicher Bläue for violin and orchestra (2014-15) and The Imaginary Museum for piano and orchestra (2016-17). These

In Litanies the traditional three-movement concerto form is confronted. Moreover, the sequence of the three movements is also the traditional fast-slow-fast. The three movements are played continuously, however, and there are many cross-

three pieces attempt three different

references between them, so the effect is

more pronounced – hence the title. Litanies is my contribution to the so-called ‘style incantatoire’, a complex tradition which involves a wide variety of composers from Debussy to the present.

Oliver Knussen

The cello solo part was composed for the wonderful Alban Gerhardt. As is suitable for such a soloist, the solo part is of great virtuosity, featuring many different types of playing and strong contrasts in mood and character. For the second half of Litanies, the fourth string is retuned down from C to B flat. This is especially noticeable in the centre of the slow movement – and hence of the whole work – where the soloist has a ‘one-note cadenza’ on that low fourth string and its harmonics.

Litanies lasts about 26 minutes. It is dedicated to Alban Gerhardt."

deliberately ambiguous. The work could be heard as a single large movement in many contrasting sections, or as three clearly

We jump forward nine years in Schumann’s life for tonight’s closing work, written between 2 November and 9 December

defined movements. As in my other two concertos, the relationship between soloist and orchestra keeps changing. Sometimes the soloist is almost unaccompanied, as at the opening; sometimes the soloist accompanies the orchestra; and at other times, the orchestra accompanies the soloist, or even confronts the soloist; or the orchestra takes over by itself.

1850. Earlier that year, in September, the composer had moved with Clara and their children to Düsseldorf, situated on the Rhine, where he’d been asked to take over the position of Municipal Music Director. It was a worrying period: the last time the family had relocated (five years earlier, from Leipzig to Dresden), the strain had been so intense that it caused an almost complete physical and mental breakdown in fragile Robert.

As I was composing the work, an event of both personal and musical significance influenced the course of the music. In July 2018, the eminent composer and conductor Oliver Knussen died. I had known Knussen personally for more than 35 years. The slow central movement became a sustained threnody for him, and to some extent the

But things in Düsseldorf looked far more positive (at least at first). Schumann found the people of the city and its surrounding regions to be welcoming, generous, and genuinely enthusiastic about his arrival – even if the endless round of dinners, concerts and balls to which he was

incantatory character of the music became

invited, though flattering, was somewhat

Cologne Cathedral in 1855

exhausting. Rather than the whirl of social engagements, however, what particularly captivated the composer was a visit he

oratorio in that time. If one is capable of doing anything at all, one must be capable of doing it quickly – the quicker the better,

made in late September to Cologne, and specifically to its recently completed Cathedral (whose construction had begun in 1248).

in fact. The flow of one’s thoughts and ideas is more natural and more authentic than lengthy deliberation.’

And it was all these sights, sounds and experiences that Schumann sought to capture in his Symphony No 3: the nickname ‘Rhenish’ wasn’t Schumann’s own, but he made it clear that it was the Rhine region that had nonetheless inspired the work. And if five weeks seems a surprisingly short time in which to create such an expansive, exuberant piece, Schumann himself didn’t see anything strange about it. He wrote to a friend: ‘I cannot see that there is anything remarkable about composing a symphony

The ‘Rhenish’ Symphony proved one of the rare triumphs of Schumann’s later career: its premiere in Düsseldorf on 6 February 1851 was so successful that the piece was quickly reprogrammed for the following month. The first movement’s confident, majestic opening theme – later sung out by the horns – encapsulates the Symphony’s sense of outgoing positivity, even if its brief second theme, heard in the woodwind, is rather more melancholy. After a darker, stormier central development section, the horns return, now joined by trumpets, to announce the main melody’s return with a

in a month. Handel wrote a complete

sense of boundless energy.

Rather than the whirl of social engagements, however, what particularly captivated the composer was a visit he made in late September to Cologne, and specifically to its recently completed Cathedral (whose construction had begun in 1248).

Schumann originally called his second movement ‘Morning on the Rhine’, and there’s a definite watery sense to its

Düsseldorf. He grew increasingly frustrated with the informality of the city’s concerts (not to mention the

gently rocking opening theme in the violas, cellos and bassoons, which leads into a bucolic country dance. After the third movement’s poignant song without words, Schumann lets us into his profound spiritual experiences in Cologne Cathedral in the visionary fourth movement, which he originally headed ‘In the character of an accompaniment to a solemn ceremony’, and whose slowmoving march is heralded by a sombre trio of trombones. He returns to the energy and unshakeable optimism of his opening movement, however, in his energetic, light-footed finale.

unaccounted absences of players from his orchestra), and his wife got into a row with the local authorities about payment for a piano performance. Worse, there were steadily growing criticisms of Schumann’s abilities as a conductor, and he was finally asked to resign in October 1852. All of these turbulent events played mercilessly on the composer’s already fragile mental state, to the extent that (in a tragic irony) the very river that supplied the nickname for his sunniest symphony was also the location of his suicide attempt in 1854. He was never to recover, and died at the private psychiatric hospital in Endenich two years later, aged just 46.

And if you like a happy ending, stop reading here: that sense of optimism didn’t last long for Schumann in

© David Kettle

Conductor CLEMENS SCHULDT

––––– Clemens Schuldt is one of the most exciting young conductors emerging from Germany today, and is the Principal Conductor of the Münchener Kammerorchester. He is widely praised for his innovative interpretations of classical and romantic Germanic repertoire, often using his creativity to include lesser-known and contemporary repertoire in his programmes. Highlights of this season with the Münchener Kammerorchester include a recording of Márton Illés’ Violin Concerto with Patricia Kopatchinskaja, a collaboration with Jazzrausch Bigband, and appearances at Dresdner Musikfestspiele as well as Festspiele Herrenchiemsee. Further soloists he works with include Nikita Boriso-Glebsky, Vilde Frang, Ilya Gringolts, Steven Isserlis, Mischa Maisky, Baiba Skride, Kian Soltani, Christian Tetzlaff and Alisa Weilerstein.

The 2021/22 season saw Clemens Schuldt make his debuts with the BBC Symphony Orchestra, Copenhagen Philharmonic, Orquestra Sinfónica do Porto Casa da Música, Konzerthausorchester Berlin and Staatskapelle Weimar. He also made his Canadian debut with the Orchestre Symphonique de Québec.

For full biography please visit sco.org.uk

Cello ALBAN GERHARDT

––––– Having launched his career with the Berliner Philharmoniker and Semyon Bychkov in 1991, Alban Gerhardt has since gained recognition as one of the most versatile cellists, highly regarded for his performances, from solo Bach through the classical and romantic canon to collaborations with several contemporary composers.

For over thirty years, he has made a unique impact on audiences worldwide with his intense musicality, compelling stage presence and insatiable artistic curiosity. His gift for shedding fresh light on familiar scores, along with his appetite for investigating new repertoire from centuries past and present, truly set him apart from his peers.

Notable orchestra collaborations include Concertgebouw Amsterdam, London Philharmonic, all of the British and German radio orchestras, Berliner Philharmoniker, Tonhalle-Orchester Zürich, Orchestre National de France as well as the Cleveland, Philadelphia, Boston and Chicago symphony orchestras, under conductors such as Kurt Masur, Christoph von Dohnányi, Christian Thielemann, Christoph Eschenbach, Michael Tilson Thomas, Esa-Pekka Salonen, Vladimir Jurowski, Kirill Petrenko and Andris Nelsons.

Gerhardt is passionate about sharing his discoveries with audiences far beyond the traditional concert hall: outreach projects undertaken in Europe and the US have involved performances and workshops, not only in schools and hospitals, but also pioneering sessions in public spaces and young offender institutions.

For full biography please visit sco.org.uk

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CONCERTS

SEASON 22/23

SCHULDT CONDUCTS SCHUMANN

MUSIQUE AMÉRIQUE

LES ILLUMINATIONS

Kindly supported by SCO American

15-17 Mar, 7.30pm

10-11 Nov, 7.30pm

Development Fund

St Andrews | Edinburgh | Glasgow

Edinburgh | Glasgow

12-13 Jan, 7.30pm Edinburgh | Glasgow

HANDEL: MUSIC FOR THE ROYALS

AN EVENING WITH FRANÇOIS LELEUX

Our Edinburgh concert is kindly supported by

Kindly supported by Donald and Louise MacDonald

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