Yale Philharmonia: Mahler 5

april 1, 2011

yale philharmonia Woolsey Hall Friday at 8 pm Peter Oundjian guest conductor with Tyler Simpson bass-baritone music by Gustav Mahler BedĹ™ ich Smetana Richard Strauss

Robert Blocker, Dean

april 1, 2011

yale philharmonia

bedŘich smetana 1824–1884

Šárka from Má Vlast, JB 1:112

richard strauss 1864–1949

Notturno from Zwei Großere Gesänge, Op. 44 Tyler Simpson, bass-baritone Holly Piccoli, violin Intermission

gustav mahler 1860–1911

Symphony No. 5 I. Trauermarsch II. Stürmisch bewegt, mit größter Vehemenz III. Scherzo IV. Adagietto V. Rondo-Finale

As a courtesy to others, please silence all cell phones and devices.

Photography and recording of any kind are strictly prohibited. Please do not leave the hall during musical selections. Thank you.

text and translation Richard Dehmel: Notturno

Hoch hing der Mond; das Schneegefild Lag bleich und öde um uns her, Wie meine Seele bleich und leer, Denn neben mir, so stumm und wild, So stumm und kalt wie meine Not, Als wollt’ er weichen nimmermehr, Saß starr und wartete der Tod. Da kam es her wie einst so mild, So müd’ und sacht aus ferner Nacht, So kummerschwer kam seiner Geige Hauch daher Und vor mir stand sein stilles Bild.

High hangs the moon; the snowy field Lay bleak and empty around us, Like my soul, bleak and empty, Then, next to me, so silent and savage, As mute and cold as my misery, As if he would never again leave, Sat rigidly and waited – Death.

Then it came nearer: As once before – so calm, So weary and gentle out of the faraway night, So grief-laden came his violin’s breath nearer And, before me, stood his motionless image.

Der mich umflochten wie ein Band, Daß meine Blüte nicht zerfiel Und daß mein Herz die Sehnsucht fand, Die große Sehnscuht ohne Ziel: Da stand er nun im öden Land Und stand so trüb’ und feierlich Und sah auf noch grüßte mich, Nur seine Töne ließ er irr’n Und weinen durch die kühle Flur, Und mir entgegen starrte nur aus seiner Stirn, Als wär’s ein Auge hohl und fahl, Der tiefen Wunde dunkles Mal.

He, who entwined me like a ribbon, That my blossom would not wilt And that my heart would find desire, That great desire without a purpose: There he stood in this desolate land And he stood so sadly and solemnly And did not look up nor greet me, Only his song he let wander and weep Through the cold fields, And from his forehead stared at me – Like an eye hollow and pallid – The deep wound of a dark scar.

Und trüber quoll das trübe Lied Und quoll so heiß, und wuchs und schwoll, So heiß und voll, Wie Leben, das nach Liebe glüht, Wie Liebe, die nach Leben schreit, Nach ungenossner Seligkeit, So wehevoll, so wühlend quoll Das strömende Lied und flutete, Und leise, leise blutete und strömte Mit in’s bleiche Schneefeld rot und fahl Der tiefen Wunde dunkles Mal.

And more gloomily poured out that gloomy song, And poured so fervently, and grew, and swelled, So fervently and fully, As life, that burns for love, As love, that cries for life For unreached happiness, So woefully, so urgently flooded The streaming song and flooded, And gently, gently bled and streamed With it into the bleak, snowy field, red and pallid, The deep wound of a dark scar.

Und müder glitt die müde Hand, Und vor mir stand ein bleicher Tag, Ein ferner, bleicher Jugendtag, Da starr im Sand zerfallen seine Blüte lag, Da seine Sehnsucht sich vergaß, In ihrer Schwermut Übermaß, Und ihrer Traurigkeiten müd’ zum Ziele schritt; Und laut aufschrie das weinende Lied, Das wühlende und flutete, Und seiner Saiten Klage schritt, Und seine Stirne blutete Und weinte mit in meine starre Seelennot, Als sollt’ ich hören ein Gebot, Als müßt’ ich jubeln, daß ich litt,

And slower glided the weary hand, And before me stood a bleak day, A distant, bleak day of youth, There, stiff in the sand, his withered blossom lay, There his desire was forgotten In its all-encompassing melancholy, And weary from sorrow, went to its end; And loudly cried out the weeping song, That aching song, that flowed out, And his strings’ lament marched, And his forehead bled And wept with me in my soul’s paralyzed agony, As though I should hear a command, As though I must rejoice in that which I suffered,

Als möcht’ er fühlen was ich litt, Mitfühlen alles Leidens Schuld Und alles Lebens warme Huld; Und weinend, blutend wandt’ er sich Ins bleiche Dunkel und verblich.

Und bebend hört’ ich mir entgehn, Entfliehn sein Lied. Und wie so zart, So zitternd ward der langen Töne fernes Flehn; Da fühlt’ ich kalt ein Rauschen wehn Und grauenschwer die Luft sich rühren um mich her, Und wollte bebend nun ihn sehn,

As though he wished to feel what I suffered, To feel with me all of suffering’s shame And all of life’s warm graciousness; And weeping, bleeding, he turned To the pale darkness and faded away.

And then I heard, escaping, Fleeing from me – his song. And so tender, So tremulous were the long tones of distant prayers; Then I felt a cold, a rustling, And, full of horror, the air stirred around me, And trembling I wished to see him there,

Ihn lauschen sehn, der wartend saß bei meiner Not, Und wandte mich: da lag es kahl, Das bleiche Feld, und fern und fahl Entwich in’s Dunkel auch der Tod. Hoch hing der Mond, und mild und müd’ Hinschwand es in die leere Nacht, Das flehende Lied, und schwand und schied, Des toten Freundes flehendes Lied.

To see him listening, he who sat waiting in my misery, And I turned around: There it lay, The bleak field, bare and pale, Escaped into darkness along with Death.

High hung the moon, and gently, wearily, It vanished into the empty night, That imploring song, it vanished and departed, My dead friends’ pleading song.

bedŘich smetana Šárka from Má Vlast, JB 1:112

Bedřich Smetana » 1824–1884

On September 7, 1874, Bedřich Smetana, the foremost composer of the Czech nation and the recently appointed director of the Royal Provincial Czech Theatre in Prague, unexpectedly resigned his post.

The reason: sudden and near-total deafness. But the ringing in his ears seemed not to discourage Smetana, who used his newfound free time to finish the first two works of his epic cycle Má Vlast in the fall of 1874. Má Vlast (usually translated as “My Country,” but more precisely meaning “homeland”) is a set of six symphonic poems that depict various elements of the Czech countryside and culture. The first two, Vyšehrad and Vltava (The Moldau) depict a rocky promontory in Prague with mythic associations and the river that runs through Prague, respectively. The third, Šárka, is named after a legendary female warrior of ancient Czech tales. Šárka was a central figure in the ancient Czech legend of the Maidens’ War. Enraged by the infidelity of her lover, she tied herself to a tree as bait. The knight Ctirad and his soldiers were sent to crush the maidens’ rebellion, but upon rescuing Šárka, Ctirad fell in love with her. Once released, Šárka served drugged mead to the besotted knight and his companions. With the men asleep, she sounded a hunting horn—the signal for the other warrior maidens to come murder the sleeping soldiers.

Smetana follows this program rather closely in his ten-minute work, beginning with an intense passage that depicts Šárka’s anger. Soon, Ctirad and his men approach, and before long, we hear the strains of the beautiful violin tune that signifies the knight’s newfound love for the warrior maiden. The jaunty passage that follows depicts the intoxication of Ctirad’s men, and as the music quiets to nothing they fall asleep. At the quietest moment, we hear Šárka’s hunting horn calling her maidens. Soon the opening orchestral fury returns, as the sleeping soldiers are destroyed by a host of vengeful women.

richard strauss Notturno from Zwei Großere Gesänge, Op. 44

Richard Strauss » 1864–1949

The compositions of Richard Strauss straddle the turn of the twentieth century in an interesting way. Before 1900, he had largely made his name with lavishly orchestrated symphonic poems such as Don Juan, Also sprach Zarathustra, and Don Quixote. Although he didn’t completely abandon the tone poem after 1900, Strauss turned to opera in the new century, having a huge success with his third opera, Salome, in 1905. Elektra and Der Rosenkavalier followed soon after, and Strauss ultimately composed over fifteen operas.

Such is the primacy of both tone poems and operas in Strauss’s oeuvre that his other works are often overlooked. (The Yale Philharmonia has not been guilty of this oversight, however, performing two great late works this season – the Oboe Concerto and the DuettConcertino – along with Don Juan.) One such overlooked work is the enigmatic orchestral lied Notturno. Written in 1899, the fourteenminute work foreshadows Strauss’s shift of interest towards opera.

Indeed, after completing his second opera Feuersnot in 1901, Strauss did not return to writing lieder until 1918.

The song’s text, a poem by Richard Dehmel, tells of an encounter with Death in a snowy nocturnal landscape. Joshua Kosman, music critic of the San Francisco Chronicle, remarked, “This is a voyage into the darkly mystical world of the subconscious, where elusive connections form and then dissolve; and Strauss, whose eloquence is almost always directed to the glittery surfaces of life, responds with powerful sensitivity.” One brilliant touch is the use of a solo violin to represent the character of Death. Entering on a floating, muted pitch, the violin soloist follows the baritone incessantly, commenting on and reminding him of his ultimate fate.

gustav mahler Symphony No. 5

Gustav Mahler » 1860–1911

At the outset of the twentieth century, Gustav Mahler was director of the Vienna Hofoper and the Vienna Philharmonic. Although these two appointments took nearly all of his time and creative energy, he still found time for composition, mainly in the summers. In April of 1901, he resigned his post with the Philharmonic amid difficult relationships with the players and management. That summer, Mahler returned to his composition hut on the southern shore of the Wörthersee lake in Carinthia. Here he began the series of compositions—three of the Kindertotenlieder, four of the Rückert-Lieder, and part of the Fifth Symphony—that scholars have categorized as the beginning of Mahler’s “middle period.”

The changes in his musical style—a greater emphasis on absolute music, new studies of the polyphony of Bach, and less reliance on themes from the Des Knaben Wunderhorn collection of poetry that had informed so many of Mahler’s works to this point—were accompanied by several notable developments in Mahler’s personal life.

The most important of these was his marriage, on March 9, 1902, to Alma Schindler. The union shocked even Mahler’s closest friends, many of whom found out about the engagement from newspaper reports. Despite the controversy, there is no question that Mahler loved his new bride passionately. He claimed to have sent the exquisite Adagietto of the Fifth Symphony to her as a love letter.

Whether this is true or not, this “song without words” for strings and harp has since gained independent status as Mahler’s most famous composition.

One of the major factors that distinguishes Mahler’s Fifth Symphony from his first four is the lack of an extramusical program to guide the interpretation of the work. Instead, Mahler leaves us to ponder the tumultuous emotional arc of this massive opus on our own.

Beginning with a funeral march in C-sharp minor that lurches

gustav mahler Symphony No. 5

(continued)

between depressive angst, wistful remembrance, and violent, passionate grief, Mahler establishes a pattern of extreme contrasts that will continue throughout the work. The second movement marries stormy anger with a powerfully exultant climax before ultimately melting into nothingness.

The gigantic Scherzo at the center of the symphony is a clever combination of two dance forms—the Ländler, a rustic country dance, contrasted with the sophisticated city waltz. The aforementioned Adagietto acts as a prelude to the ebullient Rondo-Finale, which shows the impact of Mahler’s intense study of Bach more clearly than any of his works to this point. After several extended contrapuntal episodes, the music surges to an unbridled choralelike climax in D major, before a wild coda that unleashes the full extent of Mahler’s orchestral virtuosity.

All program notes by Jordan Kuspa

artist profiles

A dynamic presence in the orchestral world, Peter Oundjian continues to make his mark as one of today’s most exciting faces on the conducing scene. A tribute to his many years as a world-class chamber musician, Oundjian is renowned for his probing musicality, spirit of collaboration, and engaging personality, which has earned him accolades from musicians and critics alike.

peter oundjian principal guest conductor

Peter Oundjian’s strong bond with the musicians and community of Toronto continues through his fifth season as music director of the Toronto Symphony Orchestra. Through his communicative gifts on and off the podium, Oundjian’s concerts draw strong audiences as he explores, in each season, the breadth and depth of orchestral repertoire and teams with world-renowned soloists. At the beginning of his tenure in Toronto, Oundjian created the annual and hugely successful Mozart Festival, as well as the New Creations Festival. He was also at the centre of a documentary with the Toronto Symphony Orchestra entitled Five Days in September: The Rebirth of an Orchestra, which has won numerous awards at international film festivals and was released on DVD. His most recent release with the orchestra is a recording of Shostakovich’s Symphony No. 7.

In addition to his post in Toronto, Peter Oundjian continues to serve as principal guest conductor and artistic advisor to the Detroit Symphony Orchestra, helping create and launch an innovative multidisciplinary festival in June 2007. He has also played a major role at the Caramoor International Music Festival in New York for over a decade, currently serving as artistic advisor and principal conductor.

He was recently appointed as the music director of the Royal Scottish Philharmonic Orchestra.

Born in Toronto, Peter Oundjian was educated in England, where he studied the violin with Manoug Parikian. Subsequently, he attended the Royal College of Music in London, where he was awarded the Gold Medal for most distinguished student and the Stoutzker Prize for excellence in violin playing. He completed his violin training at the Juilliard School in New York, where he studied with Ivan Galamian, Itzhak Perlman, and Dorothy DeLay. He was the first violinist of the renowned Tokyo String Quartet for fourteen years.

Mr. Oundjian is in now in his twenty-sixth year as a visiting professor at the Yale School of Music.

artist profiles

tyler simpson bass-baritone

Bass-baritone Tyler Simpson is a compelling artist who has proven capable of transporting audiences with an easy command of sensitive musicianship and committed dramatic portrayals. A native of the small town of Sabetha, Kansas, Tyler is a dedicated interpreter of musical drama, having performed in over 70 different productions of opera, musical theater, and classical concert repertoire.

In May, he received his Master of Music degree in opera performance from the Yale School of Music, where he studied with Richard Cross. Last year at Yale Opera, Mr. Simpson appeared as Figaro in Le nozze di Figaro, Escamillo in Peter Brook’s adaptation of Carmen, and the Emperor of China in Le Rossignol. Last summer, he joined the Hawai’i Performing Arts Festival to revisit the role of Escamillo.

This season, Tyler joined the roster of the Metropolitan Opera, performing in Don Carlo and Le Comte Ory, and covering roles in Simon Boccanegra, La Traviata, and The Magic Flute. He will make his debut at Fort Worth Opera in May as Ferrando in Il Trovatore.

Mr. Simpson eagerly continues his exploration of symphonic repertoire, singing the Fauré Requiem with the Orchestra of the Southern Finger Lakes. He has previously performed in Dvořák’s Stabat Mater with Capella Cantorum, in Beethoven’s Symphony No. 9 with the Waterbury Symphony, and as Raphael in Haydn’s The Creation. For two consecutive seasons Tyler was an apprentice artist at Santa Fe Opera, where he covered the roles of Don Alfonso in Così fan tutte, Antonio in Le nozze di Figaro, and Sailing Master Flint and Lieutenant Ratcliffe in Billy Budd. He previously performed as an apprentice artist with the Lyric Opera of Kansas City, where appeared in ten productions over five seasons during his tenure. Tyler received his bachelor’s degree from the University of Kansas, where he studied with Dr. John Stephens.

artist profiles

shinik hahm conductor

A dynamic and innovative conductor, Shinik Hahm is the newly appointed chief conductor of the kbs (Korean Broadcasting System) Symphony Orchestra. Concurrently, he is a professor of conducting at the Yale School of Music, where he leads the Yale Philharmonia.

Recently, Maestro Hahm led the kbs Symphony on tour with concerts at the General Assembly of the United Nations, Carnegie Hall, and the Kennedy Center. His debut with the Nordwestdeutsche Philharmonie at Amsterdam’s Concertgebouw resulted in an immediate reengagement for the 2010 season. Hahm’s extensive work in China includes collaborations with the China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Shenzhen Symphony, and Shanghai Opera. He was recently named an honorary professor of Hwa Gong University in China.

In 2006 Hahm successfully completed his tenure as the artistic director and principal conductor of the Daejeon (Korea) Philharmonic Orchestra, with which he toured the U.S. and Japan. Hahm served as music director of the Abilene Philharmonic Orchestra from 1993 to 2003 and was profiled on ABC’s World News Tonight for his role in rejuvenating the Abilene community. His leadership has been similarly vital to the Tuscaloosa Symphony, where he has been music director for ten years.

Similarly inspirational to young musicians, Hahm has led the Philharmonia Orchestra of Yale at Carnegie Hall and in Boston, Seoul, Beijing, and Shanghai. His Yale students have won top prizes in prestigious conducting competitions. Hahm has won the Gregor Fitelberg Competition for Conductors, the Walter Hagen Conducting Prize from the Eastman School of Music, and the Shepherd Society Award from Rice University. In 1995 Maestro Hahm was decorated by the Korean government with the Arts and Culture Medal.

philharmonia orchestra of yale

Shinik Hahm Conductor

Adrian Slywotzky Assistant Conductor

Krista Johnson Managing Director

Roberta Senatore Librarian and Production Assistant

Violin 1

Cello

Hyerin Kim, concertmaster Alexander Read Geoffrey Herd Sun Kyung Ban Youngsun Kim Tammy Wang Laura Keller Edward Tan Hyun Sun Sul Ka Chun Gary Ngan Nayeon Kim Naria Kim Tao Zhang Renata Steve Farkhad Khudyev

Violin 2

Holly Piccoli, principal Edson Scheid Seok Jung Lee Soo Ryun Baek Jiwon Kwark Jiin Yang David Radzynski Joo Hye Lim Sung Mao Liang Piotr Filochowski Igor Pikayzen Hyewon Kim Liesl Schoenberger

Viola

Eleanor James, principal Eve Tang Amina Tebini Min Jung Chun On You Kim Timothy Lacrosse Eren Tuncer Kristin Chai Edwin Kaplan Hyun Jung Lee Colin Meinecke

Mo Mo, principal Jinhee Park Shannon Hayden Weipeng Lu Neena Deb-Sen Shinae Kim Yoon Hee Ko James Kim Jung min Han Philo Lee Sung Chan Chang Jurrian van der Zanden

Bass

Aleksey Klyushnik, principal Eric Fischer Paul Nemeth Gregory Robbins NaHee Song Nicholas Jones Michael Levin

Flute and Piccolo

Rosa Jang 1, 2, 3* Cho-Long Kang 1 (piccolo), 2, 3 Ginevra Petrucci 2*, 3 (piccolo) Peng Zhou 1*, 3 (piccolo)

Oboe

Yang Jiao Assistant Conductor

Horn

Christopher Jackson 3 Jessica Lascoe 1, 3 Andrew Mee 3* Jamin Morden 1*, 3 Ian Petruzzi 3 (assistant) Elizabeth Upton 1, 3 Mimi Zhang 1, 3

Trumpet

Paul Florek 3 Paul Futer 3 Ryan Olsen 1 Kyle Sherman 3* Andreas Stoltzfus 1* David Wharton 3

Trombone

Brittany Lasch 1*, 2 Brian Reese 3* Ruben Rodriguez 1, 2* Matthew Russo 3

Bass Trombone Benjamin Firer 3 Craig Watson 1, 2

Tuba

Landres Bryant 1, 3

Alexandra Detyniecki 1, 3 Emily Holum 3 (English horn) Rebecca Kim 1*, 2* Joseph Peters 3* Jeffrey Reinhardt 2 Kaitlin Taylor 2 (English horn)

Timpani

Clarinet

Yun-Chu Candy Chiu Michael Compitello John Corkill Leonardo Gorosito Ian Rosenbaum Adam Rosenblatt

Soo Jin Huh 1, 2*, 3 In Hyung Hwang 1*, 2 Wai Lau 3* Sara Wollmacher 2 (bass clarinet), 3 (E-flat clarinet, bass clarinet)

Bassoon

SaMona Bryant 1*, 2*, 3 (contrabassoon) Jennifer Hostler 2 (contrabassoon), 3 Meryl Summers 1, 2, 3*

Yun-Chu Candy Chiu 1

Harp

Maura Valenti 3

Percussion

1 – Performer in Smetana 2 – Performer in Strauss 3 – Performer in Mahler * – Principal Player

philharmonia orchestra of yale

Assistant Joseph Peters Music Librarians Yeseul Ann Wai Lau Holly Piccoli Liesl Schoenberger Kaitlin Taylor Elizabeth Upton Sara Wollmacher Stage Crew Landres Bryant Paul Futer Michael Levin Brian Reese Ruben Rodriguez Hermelindo Ruiz Andreas Stoltzfus Craig Watson David Wharton

The Philharmonia Orchestra of Yale is one of America’s foremost music school ensembles. The largest performing group at the Yale School of Music, the Philharmonia offers superb training in orchestral playing and repertoire. Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Schubert Performing Arts Center. In addition to its New Haven appearances, the Philharmonia Orchestra of Yale has performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. The Philharmonia undertook its first tour of Asia in 2008, with acclaimed performances in the Seoul Arts Center, the Forbidden City Concert Hall and National Center for the Performing Arts (Beijing), and the Shanghai Grand Theatre.

The beginnings of the Yale Philharmonia can be traced to 1894, when an orchestra was organized under the leadership of the School’s first dean, Horatio Parker. The orchestra became known as the Philharmonia Orchestra of Yale in 1973, with the appointment of Otto-Werner Mueller as resident conductor and William Steinberg, then music director of the Pittsburgh Symphony, as Sanford Professor of Music. Brazilian conductor Eleazar di Carvalho became music director in 1987, and Gunther Herbig joined the conducting staff as guest conductor and director of the Affiliate Artists Conductors program in 1990. Lawrence Leighton Smith, music director of the Louisville Symphony Orchestra, conducted the Philharmonia for a decade, and upon his retirement in 2004, Shinik Hahm was appointed music director.

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