11/16/2023, Midori and Festival String Lucerne | Candler Concert Series

MIDORI and FESTIVAL STRINGS LUCERNE

Daniel Dodds, Leader and Artistic Director

Thursday, November 16, 2023 | 8 p.m.

CANDLER CONCERT SERIES

This concert is presented by the Schwartz Center for Performing Arts and is made possible by a generous gift from the late Flora Glenn Candler, a friend and patron of music at Emory University.

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Design and Photography Credits Cover Photos: Festival Strings Lucerne photo © Fabrice Umiglia | Midori photo by Timothy Greenfield-Sanders Cover Design: Nick Surbey | Program Design: Lisa Baron

CONCERT SERIES

CANDLER 2023 | 2024

Midori and Festival Strings Lucerne Daniel Dodds, leader and artistic director Thursday, November 16, 2023, 8:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

Program Pastorale d’été, H. 31

Arthur Honegger (1892–1955)

Caprice IV, “Es muss sein!,” op. 72, No. 4

Richard Dubugnon (b. 1968)

Violin Concerto in D Minor, WoO 23 I. In kräftigem, nicht zu schnellem Tempo II. Langsam III. Lebhaft, doch nicht schnell

Robert Schumann (1810–1856)

Midori, violin

Intermission Romance in F Major, op. 50

Ludwig van Beethoven (1770–1827) Midori, violin

Symphony No. 7 in A Major, op. 92 I. Poco sostenuto—Vivace II. Allegretto III. Presto IV. Allegro con brio

Beethoven

The United States tour of Festival Strings Lucerne is sponsored by the Swiss Arts Council Pro Helvetia.

**PROGRAM SUBJECT TO CHANGE** Sheldon Artists LLC | sheldonartists.com

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Program Notes Pastorale d’été, H. 31 (1920) “Le Havre was a town with no musical culture, where Bach was almost as unknown as I was,” Arthur Honegger said later of the town where he was born in 1892 to Swiss parents. After studying music in Zurich and Paris, which he insisted upon despite his parents’ misgivings (they would have preferred to see their son pursue a more commercial path), he joined Les Six, a collective led by multifaceted artist and surrealist Jean Cocteau. He could not fully subscribe, however, to the anti-Romantic attitude of this group, and therefore also wrote scores in post-Romantic and impressionist styles.

An example of this is the short symphonic poem for orchestra Pastorale d’été with its calm, almost meditative ambiance, over which the composer superimposed the first line of the poem Aube (Dawn) from the collection Illuminations by Arthur Rimbaud: J’ai embrassé l’aube d’été’ (I have embraced the summer dawn). Pastorale was written in August 1920 in Wengen, an Alpine village at the foot of the Eiger, Mönch, and Jungfrau mountains, where Honegger spent his holidays—a restful source of inspiration.

Nature being awoken from its slumber on a summer’s morning is captured in impressionistic sounds by a chamber orchestra featuring simple woodwinds and horn. The instrumentation and voicing are unadorned, as are the folk melodies, which are also characterized by repetition, while the structure remains straightforward (an A–B–A form), yet moving in its simplicity.

There is less repetition of the fast-paced, yet peaceful opening section and a brief epilogue that fades away into pianissimo.

The piece premiered at the Salle Gaveau in Paris, under the direction of Vladimir Golschmann, with Honegger winning the Prix Verley on February 17, 1921—a prize awarded by the audience in recognition of the best of four works.

Caprice IV, “Es muss sein!,” op. 72, No. 4 (2017) The title of the last movement of Ludwig van Beethoven’s last string quartet, 0p. 135, is Der schwer gefasste Entschluss. At the bottom of the first page Beethoven entered two short musical motifs: a Grave in the bass clef with the question “Muss es sein?” (‘Must it be?’) in F minor, and next to it an Allegro in the treble clef with the upbeat response “Es muss sein! Es 5

muss sein!” (“It must be! It must be!”) in F major. But it was not known if this was an explanation of the title or rather a commentary. There has been much debate over these short notations, and it would appear that the composer struggled with the last movement. It was also posited as a reaction to a simple request for money from the housekeeper (the latter turned out to have been imagined by the biographer Anton Schindler).

The Swiss composer Richard Dubugnon, who began his musical career late in life but was awarded top prizes at the Paris Conservatoire not long after, chose these two motifs as the centerpiece for his Caprice IV for orchestra. He uses these motifs like Lego bricks, assembled in various colors and sizes, turned and twisted in all directions—in other words composed in the original sense of the word. Various changes of harmony and tempo underlay the texture, the orchestration, and the timbre, thus allowing the double motif to become an idée fixe, or a delusion.

This Caprice takes the form of a series of sequences. In the introduction, Grave and Allegro bars alternate as questions and answers in two different harmonies, as in Beethoven’s original work.

Then the actual Capriccio begins; light, virtuoso music full of verve, in which the question motif ascends violently in semiquavers (first in the strings) and is answered by the wind instruments descending quickly, climaxing in a powerful B-flat major chord. As the following passage develops, Dubugnon again takes inspiration from the third movement of Beethoven’s Fifth Symphony, with the oboes’ third motif.

In ever new variations, the motifs develop further, overlap, and flow into the expressive center of the whole, an Adagio con sentimento. This middle section is reminiscent of Richard Strauss’s Metamorphoses thanks to its soloistic instrumentation and glorified character. Gradually, the tempo and virtuosity of the Caprice return, and another section puts the double bass and contrabassoon center stage in the form of a scripted improvisatory cadenza. Dubugnon made a point of including a solo for his own instrument, the double bass, in each of his works. Then the question “Muss es sein?” (“Must it be?”) is asked again in a variety of pitches, colors, moods, and tempos, at times hesitantly, at times insistently, at times with uncertainty, and at times determinedly, until it is finally answered with a confident double refrain of “Es muss sein!” (“It must be!”).

Violin Concerto in D Minor, WoO 23 (1853) Robert Schumann’s last orchestral work was a violin concerto, which he wrote while increasingly afflicted by mental illness. Dismissed by some as the work of a madman, this profound opus was appreciated greatly by others, including Clara Schumann and Johannes Brahms. The young 6

Joseph Joachim had written to Schumann in a letter dated June 2, 1853, to remark, “May Beethoven’s example inspire you to bring to light a work from your extensive repertoire for the poor violin players, who, apart from chamber music, lack anything that is uplifting for their instrument!”

Schumann then wrote the Fantasy for Violin and Orchestra, op. 131 and in September began to work on a violin concerto that he had previously started. In the household diary, in which all events were meticulously recorded, the entry “Completed concerto for violin” is dated October 1, 1853. The orchestration and piano score were finished quickly, the premiere was planned for October 27, and Joachim received the score to learn. But then there were disagreements with the concert committee, which demanded a performance of Beethoven’s Violin Concerto.

In January 1854, Joachim rehearsed the work with the Hannoversche Hofkapelle, but it was never performed. Shortly afterwards Schumann attempted suicide by jumping into the Rhine and spent the next two years until his death in a psychiatric asylum in Endenich. In order to protect Schumann and, in particular, any assessment of his later works from criticisms and misjudgments, Clara decided not to publish the concerto until after his death. The sheet music remained in Joachim’s possession and was transferred to the Prussian State Library after his death—under the condition that it remain under lock and key until the 100th anniversary of Schumann’s death. In 1933, however, Joachim’s nieces succeeded in persuading the library to release the manuscript despite legal intervention by Schumann’s daughter Eugenie. After more than 80 years, Schott publishers in Mainz published a new violin concerto, which was lauded by Yehudi Menuhin as the “historically missing link in the violin repertoire” and as a “bridge between the concertos of Beethoven and Brahms.”

National Socialist cultural policy immediately used the piece for a propaganda event held at the Deutsche Oper Berlin with Georg Kulenkampff performing it on November 26, 1937, with the Berlin Philharmonic conducted by Karl Böhm. The solo part, which was too low, was edited and became even more splendid and radiant in a higher octave. Menuhin then gave the first performance of the original version in New York in February 1938.

The first movement displays great unity. A powerful first theme is juxtaposed against a lyrical secondary theme. The violin shines with virtuoso figurations and is elevated luminously above the orchestra. The second movement, opening with a syncopated refined cello solo, allows the solo violin to sing in a low register, exchanging intimacies with the orchestra. A short accelerando leads attacca to the final movement, which, 7

like a rondo, introduces a rustic dance theme in ornamented couplets, something akin to the polonaise—an upbeat final dance.

None of the movements includes a cadenza; the virtuosity is in the background. The intimate, deeply lyrical moment dominates, which is reflected gloriously in Schumann’s own words regarding his later works, “My music increasingly appears to me to be so wonderfully intricate, despite its simplicity. So full of language from the heart. Everything is intertwined. Intractable on many levels.”

Romance in F Major, op. 50 (1798) Perhaps in preparation for his Violin Concerto, Ludwig van Beethoven had written two classical violin romances a few years before. These were instrumental works without a precedent, with nothing known about their origins. The Romance in F Major, op. 50 was written first—in or around 1798—and performed by Ignaz Schuppanzigh at an academy in Vienna on November 5, 1798. Speculation that it was planned as the slow movement of an uncompleted violin concerto was never proven. It takes the form of a rondo (A–B–A–C–A) whose lyrical theme (A) is performed first by the solo violin (with accompaniment), and then the full orchestra. A staccato rhythmic motif leads on to the next section in each case, but its character is preserved. In the B section, the solo melody emerges more daringly through leaps, runs, and arpeggios, and in the minor-keyed C section, the staccato rhythm and triplet runs create a gypsy-like ambiance. The last

Photo © Fabrice Umiglia

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repetition of the A section is followed by a brief coda that brings the short concerto movement to a peaceful close.

In the manuscript, Beethoven gave the title “Romance” to both works. However, he proffered one piece titled “Solo for violin with accompaniment” to publishers Breitkopf & Härtel in 1803, while his brother Karl spoke to other publishers about “Two Adagios for violin with complete instrumental accompaniment.” They were, nonetheless, printed in 1803 by Hoffmeister & Kühnel in Leipzig (op.40) and 1805 by the Vienna Kunst-und Industriekontor (op. 50) as “Romances.”

Symphony No. 7 in A Major, op. 92 (1812) Ludwig van Beethoven still wanted to dedicate his Symphony No. 3 (“Eroica”) to Napoleon, but then changed his mind when the latter proclaimed himself emperor. The composer subsequently used music to fight this tyrant—and all tyranny—and took a clear stand with works such as the Coriolan Overture, Symphony No. 5, Egmont Overture, and Wellington’s Victory (also known as the Battle Symphony or the Battle of Vittoria)—commemorating the victory of the English against Napoleon’s troops in northern Spain, as well as the Symphony No. 7. While Napoleon was preparing his Russian war, Beethoven was working on the seventh symphony (1811–1812). When Napoleon crossed the Neman River on June 24, 1812, Beethoven had already completed the composition and dated the autograph “1812 Overture, 13 April.”

“The Festival Strings Lucerne—which, despite its title includes the full complement of winds and timpani—respond with precision and warmth under the direction of their leader Daniel Dodds, while Beethoven’s two delectable Romances, opp. 40 and 50, are delivered with equal elegance and intimacy in a well-balanced recorded acoustic.”

—BBC Music Magazine

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Beethoven was at the peak of his fame and enjoyed a cheerful period of his life despite his increasing loss of hearing. In 1810, he met Antonie Brentano and soon became deeply attached to her—one might assume that she was the recipient of the famous letter to the “Immortal Beloved.”

One partiture copy bears a handwritten dedication to her even though the official dedicatee was in fact the banker and patron of the arts Moritz Graf von Fries.

Musically, Symphony No. 7 is dominated by the principle of rhythm with Romain Rolland even calling it an “orgy of rhythm.” In the introduction to the first movement, a dance-inspired beat slowly crystallizes, which then manifests itself in the first bars of the Vivace, characterizing the whole movement. The second movement is based entirely on the rhythmic model of a funeral march (long–short–short), contrasting expressively with the opening. As an Allegretto, however, it is more of a scream dance, a pavane even, if the tempo indication is to be taken seriously, but it is nonetheless solemn. The striking six–four chord that opens and ends the movement is a contravention of the rules.

The five-part Scherzo (A–B–A–B–A) returns to lively strong colors, then storms off, finding peaceful resting points in the two trio sections with their stunning wind melodies, but ends with abrupt orchestral blows.

Robert Schumann commented that one could literally “see the composer throwing away his pen.” After a blaring debut, the final movement is propelled wildly forward, stringing disconnected sections together, barely able to contain its own energy.

The premiere took place on December 8, 1813, as part of a benefit concert for the war-wounded widows and orphans of the imperial army in the ballroom of the University of Vienna. Beethoven himself was on stage having assembled, together with the organizer J. N. Mälzel (the inventor of the metronome), a number of renowned musicians in the orchestra, among them Spohr, Hummel, Meyerbeer, Salieri, and Ignaz Schuppanzigh. The reviews were glittering, “Ref. considers this symphony, after listening to it twice, [. . .] to be the most melodious, pleasing and comprehensible of all B.’s symphonies. [. . .] The Andante (A minor) was repeated every time, much to the delight of music aficionados and laymen alike” (taken from the Allgemeine musikalische Zeitung on January 26, 1814, in Leipzig).

Subsequently, the seventh symphony was repeatedly performed together with the Wellington’s Victory, as a pair of symphonies depicting battle (op. 91) and victory (op. 92). It was a radiant victory, a positive and joyous symphony, perhaps Beethoven’s brightest and most exuberant ever.

—Program notes by Eva Gruhn

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Midori, violin

Midori is a visionary artist, activist, and educator who explores and builds connections between music and the human experience. In the four decades since her debut with the New York Philharmonic at age 11, the “simply magical” (Houston Chronicle) violinist has performed with many of the world’s most prestigious orchestras and has collaborated with world-renowned musicians including Leonard Bernstein, Yo-Yo Ma, and many others. Midori is the newly appointed artistic director of Ravinia Steans Music Institute’s Piano and Strings program and oversees the program beginning in summer 2024.

Midori celebrated her 40th anniversary last season with Warner Classics’ release of the complete Beethoven sonatas for piano and violin with pianist Jean-Yves Thibaudet. She began the current season with a summer appearance at the Santander International Festival, followed by fall tours of Europe and North America with Festival Strings Lucerne performing Schumann’s Violin Concerto in D Minor and Beethoven’s Romance No. 2, the latter of which she recorded with the Swiss Chamber Orchestra for an album of Beethoven released on Warner Classics in 2020. Other 2023–2024 season highlights include performing Bernstein’s Serenade with the National Repertory Orchestra under Michael Stern, WDR Symphony in Germany under Constantinos Carydis, and Sofia Philharmonic in Bulgaria. She plays Dvořák’s Violin Concerto in A Minor with the Iris Collective and Orchestra Lumos, also under Stern’s baton, 11

and with the Prague Philharmonia under Eugene Tzigane; she also performs a recital at the Long Center in Austin, Texas. In 2024 Midori gives two performances of the 2019 Violin Concerto An die Unsterbliche Geliebte (“To the Immortal Beloved”), written for her by Detlev Glanert: in January with the NDR Radiophilharmonie under Andrew Manze, and in February with the Borusan Istanbul Philharmonic Orchestra, a cocommissioner of the work.

“Midori’s is still the singular sound familiar from her long affiliation with the virtuosic standards: big, focused, strongly projected, uncannily smooth and consistent bowing across a broadband spectrum of volume and color.”

—Washington Post

Deeply committed to furthering humanitarian and educational goals, Midori has founded several non-profit organizations—the New York Citybased Midori & Friends and Japan-based MUSIC SHARING both celebrated 30th anniversaries in 2022–2023. For the Orchestra Residencies Program (ORP), which supports youth orchestras, Midori commissioned a new work from composer Derek Bermel to be performed virtually during the COVID lockdown, and ORP recently worked with the Afghan Youth Orchestra (in exile in Portugal). Midori’s Partners in Performance (PiP) helps to bring chamber music to smaller communities in the United States. In recognition of her work as an artist and humanitarian, she serves as a United Nations Messenger of Peace and was named a Kennedy Center Honoree in 2021.

Born in Osaka in 1971, she began her violin studies with her mother, Setsu Goto, at an early age. In 1982, conductor Zubin Mehta invited the then 11-year-old Midori to perform with the New York Philharmonic in the orchestra’s annual New Year’s Eve concert, where the foundation was laid for her subsequent career. Midori is the Dorothy Richard Starling Chair in Violin Studies at the Curtis Institute of Music in Philadelphia.

She is the recipient of honorary doctorates from Smith College, Yale University, Longy School of Music, and Shenandoah University. She plays the 1734 Guarnerius del Gesù ‘ex-Huberman’ and uses four bows—two by Dominique Peccatte, one by François Peccatte, and one by Paul Siefried.

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Festival Strings Lucerne

Festival Strings Lucerne was founded in 1956, quickly establishing itself among the most distinguished chamber orchestras in Europe and around the world. The orchestra made its debuts at Lucerne Festival in 1956, at Salzburg Festival in 1957, in Wien and Paris in 1958, in New York in 1959, in London in 1961, in Mexico City in 1963, in Tokyo in 1971, in Sydney in 1977, and in Hong Kong in 1978.

The orchestra offers a wide-ranging repertoire in its own concert series at the KKL Luzern and as guest ensemble at Lucerne Festival, while regularly appearing at such European leading concert halls as Elbphilharmonie Hamburg, Philharmonie Berlin, Amsterdam’s Het Concertgebouw, and the Vienna Musikverein. Festival Strings Lucerne, currently led by the violinist Daniel Dodds, was established as a string orchestra with harpsichord by the Viennese violin legend Wolfgang Schneiderhan and the Swiss conductor and violinist Rudolf Baumgartner. From the start, the ensemble has been committed to developing the noble glow and warmth of the Austro-Hungarian string sound tradition. Dodds, who was appointed artistic director in 2012, leads the orchestra from the concertmaster’s chair, continuing the example set by Baumgartner. Dodds has particularly extended the scope of the ensemble, adding instruments as required, to facilitate performances of midsize symphonic repertoire.

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The orchestra, whose repertoire ranges from Baroque music to the contemporary, has premiered more than 100 works by such composers as Jean Francaix, Frank Martin, Bohuslav Martinů, Sandor Veress, Iannis Xenakis, Krzystof Penderecki, and Rudolf Kelterborn. The ensemble has recently collaborated with such leading musicians as Daniil Trifonov, Khatia Buniatishvili, Hélène Grimaud, Rudolf Buchbinder, Maria João Pires, Mischa Maisky, Renaud and Gautier Capuçon, and Midori.

“The performance of the Festival Strings Lucerne under Daniel Dodds evinced high string culture, sensitive and subtle interpretation, and homogeneous sound.

Musical aesthetics at their best.”

—Schwarzwälder Bote

Festival Strings Lucerne has a long history of distinguished recordings, exclusively released by Deutsche Grammophon until 1973, then by Decca, Eurodisc, Denon, Pentatone, and Warner Classics (Midori plays Beethoven). Sony Classical has released the newest albums Haffner Serenade featuring works by Wolfgang A. Mozart and his same-age contemporary Vincenzo Righini (2022) or chart-stormer FEMMES accompanying cellist Raphaela Gromes who dedicated the album to woman composers from the 12th century up to our times.

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Daniel Dodds, leader and artistic director

Daniel Dodds is a violinist and pedagogue who has served as artistic director of the Festival Strings Lucerne since 2012, adding to his duties as first concertmaster of the ensemble—a post he assumed in 2000.

Dodds, who is of Australian-Chinese ancestry, has performed as a soloist under such conductors as Zubin Mehta, Vladimir Ashkenazy, and Oksana Lyniv in collaboration with orchestras including the Festival Strings Lucerne, Lucerne Symphony Orchestra, Orchestra della Svizzera Italiana, Melbourne Symphony Orchestra, and the Australian World Orchestra.

Dodds completed his violin studies with Gunars Larsens, his predecessor as concertmaster of the Festival Strings Lucerne, as well as with Keiko Wataya in Utrecht, Holland. He has also participated in master classes with Rudolf Baumgartner, Franco Gulli, and Nathan Milstein. Besides his performance schedule, Dodds currently teaches at the Musikhochschule of Lucerne. Both his work with the Festival Strings Lucerne and his critically acclaimed solo recordings, the album Time Transcending (Oehms) and the 2022 released Mozart Haffner Serenade supplemented with a world premiere recording of Vincenzo Righini’s Capriccio from his 1803 opera Gerusalemme liberata (Sony), display his deep commitment to music of varying styles, spanning centuries. He plays the Stradivarius Hammerle-Baumgartner from 1717, on loan from the Festival Strings Lucerne Foundation.

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Festival Strings Lucerne Daniel Dodds, leader and artistic director First Violin Daniel Dodds, concertmaster Aronghua Griffiths, associate concertmaster Thomas Schrott Regula Dodds Miriam Müller Yacin El Bay Claudio Mondini Anna Pecora

Second Violin Erika Schutter, principal Izabela Iwanowska Jonas Moosmann Inès Morin Nadia Strijbos Daniel Frankenberg

Viola Dominik Fischer, principal Marlène Züsli-Spahr Valentine Ruffieux Mira Miranta Ursula Sarnthein

Cello Alexander Kionke, principal Jonas Iten, principal Anne-Christine Vandewalle Sebastian Uszynski

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Double Bass Stephan Werner, principal Richard Dubugnon

Flute Johanna Dömötör, principal Isabell Weymann

Oboe Lorentz Réty, principal Roman Schmid

Clarinet Dimitri Ashkenazy, principal Miquel Ramos Salvadó, principal

Bassoon Maria José García Zamora, principal Thomas Ritschel

Horn Natalino Ricciardo, principal Sebastian Schindler

Trumpet Wolfram Lauel, principal Jonathan Bucka

Timpani Alexander Schröder

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Festival Strings Lucerne Management Hans-Christoph Mauruschat, Managing Director Teodora Calis-Ducariu, Assistant Managing Director Milena Bonaventura, Assistant Orchestra Manager

North American Representation for Midori Kirshbaum Associates | kirshbaumassociates.com

Tour Direction Sheldon Artists LLC R. Douglas Sheldon, Managing Partner

Karen Kloster, Tour Coordinator Jonathan Wintringham, Manager and Marketing Suzanne Neely, Manager and Administration Ryan Brideau, Executive Assistant and Administrator Renee O’Banks, Tour Manager James Putnam, Backstage Manager Maestro! Tour Management, Air and Hotels info@sheldonartists.com | sheldonartists.com

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Schwartz Center Staff Rachael Brightwell, Managing Director Terry Adams, Box Office Coordinator Lisa Baron, Communications Specialist Kathryn Colegrove, Associate Director for Programming and Outreach Lewis Fuller, Associate Director for Production and Operations Jennifer Kimball, Assistant Stage Manager Jeffrey Lenhard, Operations Assistant Brenda Porter, House Manager Caroline Renner, Program Coordinator Alan Strange, Box Office Manager Nicholas Surbey, Senior Graphic Designer Alexandria Sweatt, Marketing Assistant Mark Teague, Stage Manager Matt Williamson, Senior Multimedia Developer The Schwartz Center for Performing Arts offers a variety of jazz, classical, and crossover music each season. Visit schwartz.emory.edu for more event details and up-to-date information.

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Photo © Bo Huang

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schwartz.emory.edu 404.727.5050