Yale Philharmonia, Jan 23

Yale Philharmonia Yongyan Hu, guest conductor january 23, 2015 Friday at 7:30 pm 路 Woolsey Hall with Aleksandra Romano, mezzo-soprano music by Maurice Ravel Xavier Montsalvatge Claude Debussy

Robert Blocker, Dean

THE PHILHARMONIA ORCHESTRA OF YALE

maurice ravel 1875–1937

La Valse (1920)

xavier montsalvatge 1912–2002

Cinco canciones negras (1945) I. Cuba Dentro de un Piano II. Punto de Habanera (Siglo XVIII) III. Chévere IV. Canción de Cuna Para Dormir a un Negrito V. Canto Negro Aleksandra Romano*, mezzo-soporano Winner of the 2014 Woolsey Competition

ravel

Boléro (1928) Intermission

claude debussy 1862–1918

La Mer (1905) I. De l’aube à midi sur la mer II. Jeux de vagues III. Dialogue du vent et de la mer

*Aleksandra Romano is a member of Washington National Opera’s Domingo-Cafritz Young Artist Program, a program of the John F. Kennedy Center for the Performing Arts.

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.

Texts & Translations

xavier montsalvatge Cinco canciones negras I. Cuba Dentro de un Piano Rafael Alberti

I. Cuba inside a piano

Cuando mi madre llevaba Un sorbete de fresa por sombrero, Y el humo de los barcos aún era Humo de habanero, Mulata vuelta abajera, Mm Cádiz se adormecía Entre fandangos y habaneras, Y un lorito al piano quería hacer de tenor Dime donde está la flor Que el hombre tanto venera.

Mi tío Antonio volvía Con su aire de insurrecto.

La Cabaña y el Príncipe sonaban Por los patios del Puerto.

Ya no brilla la Perla azul del mar De las Antillas.

Ya se apagó, se nos ha muerto.

Me encontré con la bella Trinidad: Cuba se había perdido; Y ahora era verdad, era verdad, No era mentira.

Un cañero huido llegó Cantandolo en guajiras.

La Habana Ya se perdió.

Tuvo la culpa el dinero, Calló, Cayó el cañonero.

Pero después, Pero ¡ah! después, Fue cuando al “Sí” lo hicieron “Yes!”

When my mother would wear A strawberry sorbet for a hat And the smoke from the ships was still Smoke from the cigar, Mulata from Vuelto Abajo, Mm Cádiz went to sleep Between fandangos and habaneras, And a little parrot at the piano tried to sing tenor Tell me where is the flower That the man so intently worships.

My uncle Antonio returned With his air of insurrection.

The Cabaña and El Príncipe resounded Through the patios of the harbor.

Now the blue pearl of the sea of the Antillas does not shine.

Now it went out, it has been killed by us.

I ran into beautiful Trinidad: Cuba had been lost; And now it was true, it was true, It was not a lie.

A fleeing gunboat arrived Singing it in guarjiras.

Havana Had already been lost.

Money was to blame.

Silenced, The gunboat fell.

But it was later, But, ah, it was later, When they took “Si” and turned it into “yes!”

Texts & Translations

II. Punto de Habanera Néstor Luján y Fernández

II. Habanera Strain (18th Century)

La niña criolla pasa con su miriñaque blanco ¡Que blanco!

Hola, crespón de tu es puma ¡Marineros, contemplada!

Va mojadita de lunas Que le hacen su piel mulata.

Niña, no te quejes, Tan solo por esta tarde.

Quisiera mandar al agua.

Que no se escape de pronto De la cárcel de tu falda.

Tu cuerpo encierra esta tarde Rumor de abrirse de dalia.

Niña, no te quejes, Tu cuerpo de fruta está, Dormido in fresco brocado.

Tu cintura vibra fina Con la nobleza de un látigo.

Toda tu piel huele alegre A limonal y a naranjo.

Los marineros te miran Y se te quedan mirando.

La niña criolla pasa con su miriñaque blanco. ¡Que blanco! Mm...

The Creole girl goes by with her white crinoline.

How white!

Hey! The crepe of your foam.

Sailors, take a look!

She walks, moist from the droplets Which are on her dark skin.

Little girl, don’t grieve, All alone this evening.

I’d like to order the water.

Not to escape too soon From the prison of your skirt.

Your body encloses, this evening, The murmur of a dahlia opening.

Little girl, don’t complain, Your body is fruit, Sleeping in the embroidered breeze.

Your waist quivers finely With the nobility of a whip.

All your skin smells happily Of lemon and orange.

The sailors look at you And they keep looking at you.

The Creole girl goes by with her white crinoline. How white! Mm...

Texts & Translations

III. Chévere Nicolás Guillén

III. Chévere

Chévere del navajazo Se vuelve él mismo navaja.

Pica tajadas de luna, más la luna se le acaba; pica tajadas de sombra, más la sombra se le acaba; pica tajadas de canto, más el canto se le acaba.

Y entonces, pica que pica Carne de su negra mala!

Chévere of the knife thrust Turns himself into a penknife.

He cuts slices of the moon, But he runs out of moon; He cuts slices of shadows, But he runs out of shadows; He cuts slices of song, But he runs out of song.

And then, he cuts and cuts The flesh of his bad black woman!

IV. Canción de Cuna Para Dormir a un Negrito Ildefonso Pereda Valdés

IV. Cradle song for a little black boy

Ninghe, ninghe, ninghe, Tan chiquitito, el negrito que no quiere dormir.

Cabeza di coco, grano de café, con lindas motitas, con ojos grandotes como dos ventanas que miran al mar.

Cierra los ojitos, Negrito asustado; El mandinga blanco te puede comer.

Lullay, lullay, lullay, Little tiny one, little black child who doesn’t want to sleep.

Coconut head, coffee bean, With pretty freckles, With eyes wide open like two windows overlooking the sea.

Close your little eyes, Frightened little black boy; The white bogeyman is going to eat you.

¡Ya no eres esclavo!

Y si duermes mucho el señor di casa

You’re not a slave anymore!

And if you sleep a lot, the man of the house promises to by you a suit with buttons for you to be a groom.

Lullay, lullay, lullay, Sleep, little black one, Mm, Coconut head, coffee bean.

Promete comprar traje con botones Para ser un “groom.”

Ninghe, ninghe, ninghe, Duérmete, negrito, Mm, Cabeza di coco, grano di café.

Texts & Translations

V. Canto Negro Nicolás Guillén

V. Black song

¡Yambambó, yambambé!

Repica el congo solongo, repica el negro bien negro, ¡Aoé!

Congo solongo del Songo baila yambó Sobre un pié. ¡Yambambó, yambambé!

Mamatomba serembé cuserembá, el negro canta y se ajuma.

Mamatomba serembé cuserembá, El negro se ajuma y canta.

Mamatomba serembé cuserembá, El negro canta y se va.

Acuememe serembó aé, Yambambó aé Yambambé aó.

Tamba, tamba, tamba, tamba, Tamba del negro que tumba.

Tamba del negro caramba, caramba,

Yambambó, yambambé!

The Congo solongo struts by, The very black man struts by, Aoé!

The Congo solongo from Songo dances yambo on one foot.

Yambambó, yambambé!

Mamatomba serembé cuserembá, The black man sings and gets drunk.

Mamatomba serembé cuserembá, The black man gets drunk and sings.

Mamatomba serembé cuserembá, The black man sings and goes.

Acuememe serembó aé, Yambambó aé Yambambé aó.

Tamba, tamba, tamba, tamba, The black man staggers.

The black man staggers, caramba, caramba

Caramba, que el negro tumba, ¡Yambá, yambó! ¡Yambambé, yambambó, yambambé! ¡Baila yambó sobre un pié!

Caramba, the black man falls, Yambá, yambó!

Yambambé, yambambó, yambambé!

He dances the yambó on one foot!

— Aleksandra Romano

Notes on the Program

maurice ravel La Valse The inception of La Valse came around 1906, when Ravel first thought to compose a musical homage to Johann Strauss. The original work had the tentative title of Wien (Vienna) and was conceived as “a kind of apotheosis of the Viennese waltz.”

Fourteen tumultuous years later, La Valse: Poème chorégraphique was completed. The long compositional process resulted from the subject matter in the context of world events in the 1910s. Ravel fought for France in World War I, and he couldn’t bear the thought of working on a score with “Vienna” in its title. The war had an adverse effect on Ravel’s health, and only when the renowned ballet impresario Sergei Diaghilev proposed a collaboration was Ravel able to complete his neglected work.

World War, toward which Vienna marched in three-quarter time to the music of Johann Strauss. Unlike the Valses nobles et sentimentales, which depict the elegant world of the Schubertian waltz, La valse captures the over-the-top decadence of fin-de-siècle Vienna.

A surrealistic haze shrouds the opening of La Valse, a vague introduction from which fragments of the themes gradually emerge.

In the form typical of the Viennese waltz, several continuous sections follow, each based on a different melody. Later, the shrouded opening figure returns and the different waltz themes develop into grotesque caricatures of themselves. The rhythms and dissonances build up to a nightmarish version of a waltz, seductive dances becoming horrifying cataclysms of sound. At the last possible moment, when the tension is unbearable, the dance is torn When Ravel finally completed the work, asunder by a unison five-note figure that he played its two-piano arrangement for destroys the waltz.

Diaghilev, with Stravinsky, Poulenc, and — Michael Mizrahi long-time friend Misia Sert present.

Diaghilev rejected La Valse, calling it “a masterpiece, but… not a ballet. It’s a portrait of a ballet.” The composer took his score and left the room, and the other composers in the room did not step up to his defense. Only in 1929 was the music from La Valse finally used for a ballet under Ida Rubinstein.

Ballet or not, La Valse contains some of Ravel’s most stunning orchestral imagery.

Ravel’s experiences in the war led him to write a piece that he described as a “fantastic and fatefully inescapable whirlpool.”

The “inescapable whirlpool” was the First

Notes on the Program

xavier montsalvatge Cinco canciones negras Montsalvatge was part of what came to be known as the “lost generation” of artists who struggled for survival in the oppressive regime of Francisco Franco, who came to power in 1939 and ruled Spain until 1975. In the early 1940s, the composer began to develop a style that he called ‘antillanismo’, a Catalán designation of Caribbean music. Although the style is inspired by the composer’s encounters with Cuban music through sailors’ song, it is an instance of musical influence coming full circle. Many of the sailors who traveled to Cuba to work in colonies were Catalonian. They carried their distinct folk music to the islands, where it was further cultivated. As a result, the music that they brought back to Spain bore traces of the Catalán style that had been largely repressed: Franco’s regime had prioritized Spain’s national unity and stomped out any attempts at Catalán independence, whether political or cultural. By looking outward, ironically, Montsalvatge connected with his cultural roots and preserved them in an inhospitable climate.

A sudden outburst by both singer and orchestra underpins the speaker’s anger at the loss of the old ways, and at the Anglicization of Cuban culture. The second canción, “Habanera Rhythm,” is not in the rhythm that its title suggests, but rather in a swaying hemiolic alternation of 6/8 and 3/4 subdivisions of the guajiras, recognizable from such incarnations as Bernstein’s “America” from West Side Story. The text invokes the beauty of a flirtatious young Creole girl from the perspective of an admirer. The singer hums at the end of the song as though lost in amorous daydreaming.

The following canción, “Chévre,” is the most violent, both textually and musically.

It is also distinguished by its triple meter and heavily accented accompaniment.

The text tells of a Chevalier with a knife slicing the moon, the song itself, and, ultimately, a woman. The fourth canción, the most famous of the set, was conceived first and inspired the composition of the other four. A genteel lullaby, it begins with the delicate “Ninghe,” a Congolese word used in lulling children to sleep. The set ends with something of a drinking song, a humorous piece with an inebriated edge.

Even in this jubilant close, there is a resonance of the subjects of race and gender roles. In this song cycle, Montsalvatge and his lyricists invite us to ruminate on serious themes even as we revel in the beauty of the music that explores them.

Montsalvatge’s absorption of French orchestrational style, in the vein of Ravel, is clear from the opening of the first canción: its transparent orchestral textures always leave room for the voice. The song is underpinned by a variant on the Cuban habanera rhythm, within its swaying syncopation; this befits the text, a reminiscence on old — Patrick Campbell Jankowski Cuba, lost to the new cultural influences of Europe and America. A significant moment occurs at the end of the song, when the text states, “they changed the Sí to Yes.”

Notes on the Program

as it seems to want to do. The climax with dramatic trombone glissandi and cymbal crashes relieves this tension, but does so Maurice Ravel referred to his single- chaotically, as though the cantina’s conmovement work Bolero as “orchestral tissue stituency has erupted into a brawl, with without music.” This piece is simultane- flying fists and drunken yells. ously the composer’s most straightforward and streamlined composition for orchestra, Ravel, however, imagined a stage set in yet in many ways is also his most radical. an open field in front of a factory. The He demands both listener and performer mechanical character of the rhythmic osto conceptualize musical transformation in tinato is meant to represent the unaltera new way: not through melodic develop- able repetitions of the factory equipment ment, but rather through timbral and hammering away. A cast of blue collar workers emerges, one by one, from the dynamic development. factory, and begin to engage with one A simple rhythmic ostinato in the snare another, swapping stories of toreadors drum, and a steady, simple bass line, and love triangles. The escalation of the plucked in the violas and cellos, underpin music, matched by increasing instruments, the entire work. Over this, a two-part represents an increasingly populated stage. melodic theme repeats through seventeen Perhaps, as they all are represented by the calculated repetitions, or “variations.” same melodic figure, yet in different inBolero’s life began as a ballet — Ravel’s last strumental colors, Ravel is depicting the — for Ida Rubenstein, and if one imagines simultaneous uniformity and individuality the music as a depiction of choreographic of the workers in a factory. action, its form becomes more clear.

Regardless of the story, the brilliance of Rubinstein and Ravel had differing ideas Ravel’s orchestration tells the tale. Still about the scenario for the dance. In astoundingly modern after nine decades, Rubinstein’s staging, set in a Spanish ta- Bolero shows the almost limitless potential verna, a woman dances evocatively to the for color combinations in the orchestra. iconic bolero rhythm, and to the simple, Like the brightly hued paper cut-outs sinuous melody presented first in the solo that Henri Matisse produced at the end of flute. Men in the bar admire her, and as his life, which demonstrated the possishe dances, their admiration steadily gives bilities inherent in a simple line or shape, way to almost obsessive adolation. The Ravel’s work, also from the last years of excitement of the scene grows. An inherent his compositional career, celebrates the sensual tension grows ever so slowly in transformative possibility of the simple Ravel’s increasingly complex orchestration, musical line. which amounts to a seventeen-minute orchestral crescendo. This is made all the — Patrick Campbell Jankowski more powerful by the steady rhythm, which prevents the music from tumbling forward maurice ravel Boléro

Notes on the Program

claude debussy La Mer

While the three sketches of La Mer should not be heard as programmatic, neither can they be regarded as a purely symphonic discourse, since they abandon conventional theme and development, resisting traditional analysis by manipulating a more cyclical construction and melodic development that relies heavily on color, texture, and nuance. “We must agree,” Debussy writes, “that the beauty of a work of art will always remain a mystery; in other words, we can never be absolutely sure ‘how it is made.’ ”

A lifelong fascination with the sea led Debussy to employ this subject as perhaps his greatest orchestral work, La Mer. Debussy started composing this piece, subtitled “Three Orchestral Sketches,” in 1903; the work premiered in 1905 in Paris. Although La Mer has become a widely popular piece in the orchestral repertoire, its premiere was controversial. Critics were largely unfriendly to Debussy’s new freedom of form, harmony, coloristic orchestration, — Julian Pellicano and defiance of classification.

The three movements of La Mer carry descriptive titles: “From Dawn to Noon on the Sea,” “Play of the Waves,” and “The Dialogue between the Wind and the Sea.” However, Debussy made clear that he did not intend the work to be a programmatic depiction or representation of the sea. He aimed to capture the “invisible sentiments of nature” by asking the rhetorical question: “Does one render the mystery of the forest by recording the high of the trees?”

Despite his aesthetic motivations, Debussy’s music has been invariably linked with “Impressionism,” a label he detested throughout his life. It is clear that Debussy felt closer to Mallarmé and Baudelaire than to the impressionists Monet or Pissarro.

Artist Profiles

Hu Yongyan is the Artistic Director of the EOS Orchestra—China Orchestra Academy at Beijing’s Central Conservatory of Music.

He was recently appointed principal guest conductor of the Rostock Philharmonie in northern Germany.

Born in Shanghai, Mr. Hu is the third generation of his family to follow an artistic career. His grandfather taught him the violin, and his parents both played in the Shanghai Symphony Orchestra. He began his formal studies at China’s prestigious Central Conservatory of Music, after which he studied at Yale University and earned a master’s degree from The Juilliard School.

In 2008, he conducted a combined orchestra from the Yale School of Music and Beijing’s Central Conservatory of Music as part of the Musicathlon, an event in Beijing preceding the 2008 Olympic Games.

Hu Yongyan served as music director and conductor of the Lincoln Symphony Orchestra (Nebraska, 1993–1998) and Duluth Symphony Orchestra (Minnesota, 1995– 2000). After returning to China, he served as music director and principal conductor of the Shanghai Philharmonic Symphony Orchestra. He led the Shanghai Symphony Orchestra on an acclaimed European tour and, as principal conductor of the China National Symphony Orchestra, led its first visit to South Korea and Taiwan.

As a guest conductor, Maestro Hu has appeared with major orchestras in Europe, the United States, and Asia, including the Orchestra National de France, London’s Royal Philharmonic, Hollywood Bowl Orchestra, Lübeck Opera, Hamburg Symphony Orchestra, and orchestras in Singapore, Taiwan, and Hong Kong. Mr. Hu’s television work includes CCTV’s “Cheers for China.” He has also served as music director of the Beijing Modern Music Festival. Mr. Hu has collaborated with such internationally respected artists as Yo-Yo Ma, Itzhak Perlman, Barbara Hendricks, Pinchas Zukerman, Lang Lang, Charlotte Church, Nana Mouskouri, Doc Severinsen, Mark O’Connor and Muraji Kaori.

Artist Profiles

Mezzo-soprano Aleksandra Romano, hailed as representing “the best of the new operatic training and integrated performance,” is currently in her first season of Washington National Opera’s DomingoCafritz Young Artist Program. Her recent performance in Rachel Portman’s The Little Prince was “a warm, exquisite fox, played and sung in dazzling style” according to The Georgetowner.

Ms. Romano joins Washington National Opera in 2014–15 as the Fox in The Little Prince, Sister Mathilde in Dialogues of the Carmelites, and Angelina (cover) in La cenerentola. In summer 2015, Ms. Romano will return to the Glimmerglass Festival to sing Second Lady in The Magic Flute and Marzia (cover) in Vivaldi’s Catone in Utica.

Previous seasons’ highlights include Angelina in La cenerentola (2014), Laura in Iolanta (2014), and Romeo in I Capuleti e i Montecchi (2013), all with Yale Opera; and Rosina in Il barbiere di Sivilia at the Central City Opera family performance (2013). A Mid-Atlantic Regional Finalist and Encouragement Award Winner in the 2014 Metropolitan Opera National Council Auditions, Ms. Romano was also awarded the prestigious Phyllis Curtin Career Entry Prize from Yale School of Music. In summer 2014, Aleksandra covered Kate Pinkerton in Madama Butterfly and Sondra Finchley in An American Tragedy at the Glimmerglass Festival. Ms. Romano is also an alumna of the Wolf Trap Studio (2011, 2012).

A proponent of art song and concert repertoire, Ms. Romano has been seen in solo recital at Yale University and Bard College, and will present a joint recital at the National Opera America Center in the spring of 2015. She has been seen with Voices of Cooperstown, Waterbury Symphony Orchestra, and American Symphony Orchestra. She has received further prizes from Opera Theater CT (First Place, Amici Vocal Competition, 2014), Yale University (Lotte Lenya Scholarship, 2013), the Bard College Concerto Competition (2009, 2010), the Classical Singer University Competition (national semifinalist, 2010), and the Presser Foundation (2009).

The Philharmonia Orchestra of Yale

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.

Student Assistants Timothy Gocklin Heejung Park

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Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Shubert Theater.

The Yale Philharmonia has also performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. In 2008, the orchestra undertook its first tour of Asia 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.

Philharmonia Staff Shinik Hahm Conductor Andrew W. Parker Manager Roberta Senatore Assistant Manager Louis Lohraseb Assistant Conductor Heejung Park Assistant Conductor

Nicholas DeBerardino Allan Hon Matthew Keown Fiona Last Michael Laurello Richard Liverano David Mason Marie Oka Yefim Romanov

Stage Crew Samuel Bobinski John Caughman Patrick Durbin Batmyagmar Erdenebat Yifei Fu Julia Ghica Matthew Keown John Kossler Fiona Last Thomas Park Elisabeth Shafer Terrence Sweeney Georgi Videnov Johnathan Weisgerber

The Philharmonia Orchestra of Yale

1– Principal on La Valse 2– Principal on Cinco canciones negras 3– Principal on Bolero 4–Principal on La Mer Violin I Barbora Kolarova Inyoung Hwang Nathan Lesser Julia Ghica Sarah Arnold Bora Kim Jessica Oddie Ruda Lee Zou Yu Jiazhi Wang Elly Toyoda Jing Yang Yite Xu Sungmi Park Violin II Avi Nagin Shuali Du Ludomil Wojtkowski Celia Zhang Yefim Romanov Ryan Truby Ethan Hoppe Benjamin Hoffman Ye Hyung Chung Melanie Clapies Adelya Nartadjieva Jacob Joyce Viola Julia Clancy David Mason Ryan Davis Hee-Sun Yang Batmyagmar Erdenebat Daniel Stone Yuan Qi Yejin Han Danielle Wiebe

Cello Sohyang Yu Alan Ohkubo Bora Kim Zhilin Wang Chang Pan Yifan Wu Nayeon Kim Allan Hon Jiwon Kang Double Bass Will Robbins Ha Young Jung Luke Stence Samuel Suggs Christopher Lettie Samuel Bobinski Levi Jones Andrea Beyer Flute Christina Hughes 3, 4 Andrew Robson 2 Joanna Wu 1 Oboe Ron Cohen Mann 4 Ross Garton 2, 3 Timothy Gocklin Kemp Jernigan Fiona Last 1 Clarinet Kenta Akaogi 2 Joshua Anderson 1, 3 Kevin Schaffter 4 Bassoon Carl Gardner Marissa Olegario 3 Cornelia Sommer 1, 2 Yen Chen Wu 4 Soprano Saxophone Alexandra Pappas

Tenor Saxophone Michael Hoot Horn Sarah Boxmeyer 4 Chuta Chulavalaivong 3 Reese Farnell Sarah Ford 1 Cody Halquist 2 Craig Hubbard Patrick Jankowski Thomas Park Trumpet Patrick Durbin 4 Mikio Sasaki 1, 3 Carl Stanley Aaron Krumsieg Daniel Venora 2 Trombone Curtis Biggs 1 Omar Dejesus 3, 4 Richard Liverano Elisabeth Shafer 2 Johnathan Weisgerber Tuba John Caughman Percussion Yifei Fu Matthew Keown Milan Kramer Jeffery Stern Terrence Sweeney Georgi Videnov Harp Haley Rhodeside 3, 4 Noël Wan 1, 2 Celeste Louis Lohraseb

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