St. Louis Symphony Program - Nov. 2 and 3, 2012

7/31/2019 St. Louis Symphony Program - Nov. 2 and 3, 2012

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CONCERT PROGRAMNovember 2-3, 2012

John Storgrds, conductor

Yem Bronman, piano

BACH Fuga (Ricercata) a 6 voci, No. 2 rom Musical Ofering, (1685-1750) BWV 1079 (1747/1934-35) arr. Webern

(1883-1945)

SCHUMANN Symphony No. 4 in D minor, op. 120 (1841, rev. 1851)(1810-1856)

Ziemlich langsam; LebhatRomanze: Ziemlich langsamScherzo: LebhatLangsam; Lebhat

INTERMISSION

BRAHMS Piano Concerto No. 2 in B-fat major, op. 83 (1881)(1833-1897)

Allegro non troppoAllegro appassionatoAndanteAllegretto grazioso

Yem Bronman, piano


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ACKNOWLEDGMENTS

John Storgrds is the Stanley J. Goodman Guest Artist.

Yem Bronfman is the Ann and Paul Lux Guest Artist.

The concert of Friday, November 2, is underwritten in part by a generous giftfrom Mrs. Bettie L. Gershman.

The concert of Saturday, November 3, is underwritten in part by a generousgift from Mr. and Mrs. Jay G. Henges Jr.

These concerts are presented by The Thomas A. Kooyumjian Family

Foundation.

Pre-Concert Conversations are presented by Washington UniversityPhysicians.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of MosbyBuilding Arts and are located at the Customer Service table in the foyer.


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FROM THE STAGESt. Louis Symphony violinist Jooyeon Kong on the

music o Robert Schumann: You know how you havefriends who are crazy, but in the most wonderfulway? Thats Schumann. He was somewhat manic,probably bi-polar, and you can see this reected inhis compositions. He reaches these ecstatic highs,but then pulls back from them really quickly. Asmusicians we are trying to convey these extremes ofemotion, and so we need to shift gears very quicklyas well. His music can be exhausting to perform.

When Schumann was 18 he wrote, My heartpounds sickeningly and I turn pale ... I often feel asif I were dead ... I seem to be losing my mind. But during a period of intense,fruitful composition, he wrote, I am so fresh in soul and spirit that life gushesand bubbles around me in a thousand springs. This shows the wide poles ofemotion within which he lived.

But he was also learned. He studied and knew the works of Haydn andBeethoven. But these are much more structured composers. What makesSchumann unique to me is how he weaves his extremes of emotion into astructure. This is what makes it so beautiful.

To me, it is somewhat liberating playing his music. Its a perfect excuseto lose your mindand get it back.

HEIKKI TUULI

Guest conductor John Storgrds can bring the intensity necessary or Schumann.

Robert Schumann


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TIMELINKS

1747BACHFuga (Ricercata) a 6 voci,No. 2 rom MusicalOfering, BWV 1079

Handel composesoratorio Solomon

1851SCHUMANNSymphony No. 4in D minor, op. 120Schumanns SymphonyNo. 3, Rhenish,

premieres in Dusseldor

1881BRAHMSPiano Concerto No. 2in B-fat major, op. 83Impressionist artists suchas Monet, Renoir, andRodin at work in France

1934-35WEBERNarr. Fuga (Ricercata) a 6voci, No. 2 rom MusicalOfering, BWV 1079Nazis stage coup inVienna

Since the 19th century, German and Austrian

composers have been the heirs of an imposingmusical tradition. J. S. Bach had taught a reverencefor contrapuntal musicthat is, music createdfrom precisely woven strands of melody combinedto create a whole seemingly larger than the sum ofits individual parts. Bach always restricted himselfto a handful of themes and melodic motifs, whichgave his music a strong sense of formal unity, nomatter how intricate his contrapuntal discourse.

This formalism greatly impressed his successorsamong German-speaking composers. Later, themusic of Haydn, Mozart, and especially Beethovenestablished a deep commitment to the classicalforms of symphony and concerto, which remainedthe primary vehicles for orchestral compositionthroughout the 19th century and beyond.

Pulling against the weight of this tradition, as

it were, was the impulse to innovate, an impulseinherent in any artistic endeavor. The tensionbetween these two currentskeenly felt traditionand, on the other hand, a desire to expand musicalhorizons and explore new possibilitiesis animplicit theme of the three compositions we hearthis evening. Robert Schumanns Symphony No.4 brings to its venerable genre new procedures forimparting formal unity. Specically, Schumann

bridges the traditional four symphonicmovements to form an unbroken span of musicand further links them with thematic recurrences.Johannes Brahms, in his Piano Concerto No. 2,expands the usual concerto design from threemovements to four, thereby creating a work ofsymphonic dimensions.

But the most striking confrontation betweentradition and innovation that we hear this eveningis embodied in the work that opens our program.Anton Weberns extraordinary orchestration ofthe great six-strand fugue from Bachs MusicalOfferingviews that piece, and the motivic play itentails, through a 20th-century lens. In this work,old and new meet to remarkable effect.

TRADITION AND INNOVATIONBY PAUL SCHIAVO


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JOHAN SEBASTIAN BACH/ANTON WEBERNFuga (Ricercata) a 6 voci, No. 2 rom Musical Ofering,BWV 1079

A PROPHET ROOTED IN THE PAST Anton Webernhas long been recognized as one of the mostinuential composers of the 20th century. It wasWebern, after all, who devised especially artfulprocedures for ordering 12-note tone rows, orseries, and who implied that such processesmight be applied to other parameters of music:rhythm, timbre, and volume. For this, Webernwas lionized by the post-World War II avant-garde, who adopted his methods as the basis ofa new sort of composition that they hoped wouldfree them completely from the traditions of theClassical and Romantic eras. It was Webern, too,who developed an aesthetic of spare, crystallinetextures and compression of ideas into their mostconcise, essential form, something that also madea deep impression on the generation of composers

that emerged in Europe and the United States inthe middle years of the last century.Yet for all the radical implications of his

music, Weberns work had deep roots in thepast, as he himself often insisted. Despite his youthful interest in composition,Webern pursued university study in musicology. His special interest was thepolyphonic music of the Renaissance, and his doctoral dissertation was anedition of the elaborate Choralis Constantinus, by the Netherlands composerHeinrich Isaac. From his studies, Webern gained a knowledge and love of

the intricate contrapuntal writing of pre-Classical music, and this becamean important inuence on his own work. Webern turned increasingly tothe use of canons and other contrapuntal articesespecially in his maturecompositionselevating counterpoint to a place of importance it had notknown since the death of J. S. Bach nearly two centuries earlier.

Weberns fascination with contrapuntal procedure also is evident in theorchestration he made in 1934-35 of the great six-voice fugue, or Ricercata,from Bachs Musical Offering, a work completed in 1747. This transcription

sheds an especially revealing light on the link the composer felt between hisown musical world and that of the past. Faithfully adhering to the notes ofBachs score, Weberns instrumentation nevertheless transforms the fugue intoa succession of thematic fragments, each with its own expressive signicance,a practice Webern frequently employed in his own music. It is as if Webern ispassing Bachs music through a prism and refracting into brief motifs, eachwith its individual tone color, the elements that make up the polyphonic wholeof the composition.

Bach

Webern


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HEARING BACH WITH NEW EARS Webernsintent in this was not merely coloristic, however,and anything but haphazard. In a letter to theconductor Hermann Scherchen, he insisted thatmy orchestration attempts to reveal the motivic

coherence [of Bachs fugue], to highlight theinner symmetries that make up the larger whole.

In attempting to grasp Weberns conception,we might consider what he wrote of Isaacs musicin the introduction to his dissertation:

Here we experience the wonderful effect ofpolyphonic art ... in which the voices proceedalongside each other in complete equality;

nevertheless, as an individual voice beginsto gain in importance ... it comes to the fore.Then as that voice recedes, another starts tobecome more prominent. ... Added to this isthe keenest observation of tone colorings inthe various registers.

These same words describe the soundof Weberns orchestration of the Ricercata.

But unlike his edition of Isaacs work, whichwas accurate and scholarly, this transcriptionrepresents a highly creative artistic synthesisand an extension of Weberns own composingactivity. Erwin Stein, a sympathetic critic who,like Webern, studied with Arnold Schoenberg,was among the rst to realize this. In 1935 hepublished an article in the Christian ScienceMonitor entitled Bach Via Anton Webern,which concluded:

It is apparent to everyone who knowsWeberns music that the tonal concepthe employs for Bachs music is entirelyhis own. It is amazing that two things,stylistically so far removed, should blendinto a perfect artistic whole. We are, it istrue, concerned here with a totally new

interpretation of Bach. For those, however,who understand and admire Bach, it willbe an experience, for once, to hear himthrough the ears of a Webern.

BACH/WEBERNBornEisenach, March 21, 1685/Vienna, December 3, 1883

DiedLeipzig, July 28, 1750/Mittersill, Austria,September 15, 1945

First PerormanceBach composed the workor Frederick II ollowinga meeting in Potsdam onMay 7, 1747/London, April 15,1935, in a broadcast concert;Webern conducted the BBC

Symphony OrchestraSTL Symphony PremiereOctober 17, 1964, Eleazar DeCarvalho conducting

Most RecentSTL Symphony PerormanceOctober 14, 1998, HansVonk conducting on tourin Vienna

ScoringfuteoboeEnglish hornclarinetbass clarinetbassoonhorntrumpettrombone

timpaniharpstrings

Perormance Timeapproximately 8 minutes


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ROBERT SCHUMANNSymphony No. 4 in D minor, op. 120

NOT A WHIT BEHIND The 30-year-old RobertSchumann scarcely had completed his First

Symphony when he set to work on a second,in the spring of 1841. On May 31 of that year,Clara Schumann, the composers wife, reportedto her diary: Yesterday Robert began anothersymphony. ... I have seen none of it, but I observeRoberts enthusiasm and hear D minor soundingwildly from a distance.

The rst performance of this D-minorSymphony, on December 6, 1841, saw no repeatof the triumph of its predecessor, which had beencheered at its premiere earlier that year.

A decade later, Schumann returned to thepiece, revising the orchestration and other details.In this form the work did proved successful.

A NEW SYMPHONIC FORM The symphony openswith an introduction in slow tempo built from a

falling and rising melodic line. Soon we hear theinitial stirring of what proves to be the principaltheme of the rst movement proper. This erymelody dominates the movement to such a degreethat we are well under way before any secondaryideas appear.

The Romanze second movement beginswith a plaintive oboe melody that dissolves intothe falling and rising gure that opened the

symphony. A orid theme for solo violin providesa lyrical contrast, and the return to the movementsinitial material rounds it into a clear A-B-A design.

The ensuing scherzo reveals still more of thethematic connections that bind the symphony.Its powerful opening idea presents a mirrorimage of the falling-rising line of the previous twomovements, whereas the central section is based

on the violin solo of the Romanze.Schumanns transition to the nale isstrikingly similar to that in Beethovens FifthSymphony. Fragments of the rst movementsprincipal theme emerge, punctuated bysolemn chords in the brass. The music gathersmomentum and at last breaks into a triumphantAllegro built largely on the vigorous chordalmotif from the opening movement.

BornZwickau, Saxony, June 8, 1810

DiedEndenich, near Bonn,June 29, 1856

First PerormanceLeipzig, December 6, 1841,Ferdinand David conductedthe amed LeipzigGewandhaus Orchestra;Schumann revised the

piece extensively in 1851;the resulting new versiono the work was rst heardon December 30, 1852,in Dsseldor, with thecomposer directing theperormance by that cityscivic orchestra

STL Symphony PremiereJanuary 7, 1910, Max Zachconducting

Most RecentSTL Symphony PerormanceMay 6, 2007, MichaelChristie conducting

Scoring2 futes2 oboes2 clarinets

2 bassoons4 horns2 trumpets3trombonestimpanistrings

Perormance Timeapproximately 28 minutes


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JOHANNES BRAHMSPiano Concerto No. 2 in B-fat major, op. 83

GERMAN MUSIC CONCEIVED IN ITALY In thesummer of 1881, Brahms wrote to his longtime

friend and correspondent Elizabeth vonHerzogenberg: I dont mind telling you that Ihave written a tiny little piano concerto with atiny little wisp of a scherzo. Such self-effacingremarks were well known to Brahmss friendsand could reliably be taken to mean precisely theopposite of what they purported to convey. Inthis case, the tiny little work was one of nearlymonumental scale, Brahmss Piano Concerto No.2 in B-at major, op. 83.

Brahms probably conceived this pieceduring a trip to Italy in 1878, for he madepreliminary sketches of the music upon hisreturn to Vienna. Laying these aside for threeyears, during which time the composition of hisViolin Concerto brought valuable experiencewith the problems of juxtaposing soloist and

orchestra, the composer returned to the workand completed it immediately following a secondItalian sojourn. The proximity of Brahmss visitsto Italy with his work on the Piano Concerto No.2, together with the melodiousness of certainpassages, has prompted some commentatorsto nd a certain Mediterranean warmth in thepiece. Such projection, however, is a dubiousexercise with Brahms. There is nothing really

Italian about this concerto, and we can note thatBrahmss Symphony No. 2 conveys a similarsort of relaxed lyricism, although it was writtenbefore the composer ever set foot south of theAlps. On the other hand, the Piano Concerto No.2 entails many moments marked by Brahmsscharacteristic German ring, starting with thehorn call of the opening measure.

A CONCERTO OF EPIC SCALE The concerto isstriking in the grandeur of its proportions.Its length, scope of ideas, and great variety ofmoods and colors give the impression of an epicwork, and the unusual inclusion of a scherzomovement expands its dimensions to those ofa symphony. It is not true, however, that this issimply a symphony with piano accompaniment,

Born

Hamburg, May 7, 1833DiedVienna, April 3, 1897

First PerormanceBudapest, November 9, 1881,Hans von Blow conducted,and Brahms played the solopart

STL Symphony Premiere

November 12, 1915, HaroldBauer was soloist, with MaxZach conducting

Most RecentSTL Symphony PerormanceMay 6, 2006, Emanuel Axwas soloist, with DavidRobertson conducting

Scoring

solo piano2 futes2 oboes2 clarinets2 bassoons4 horns2 trumpetstimpanistrings

Perormance Time

approximately 46 minutes


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as early critics of the piece claimed. Indeed, the solo instrument establishes itsimportance from the start, echoing the opening call of the French horn.

The horn-call motif generates much of the material from which Brahmsbuilds the rst movement. The composer subjects this gure to constantvariation, and there seems to be no limit to the uses he nds for its rst

three notes. Following an extended passage for the solo piano, a second,more restless, theme is presented by the violins. Several subsidiary melodiesalso arise as the music unfolds. It is, though, the recurrence of the openingmotif that accounts for much of the movements strong character. There isno cadenza. Its absence underscores Brahmss serious, classical approach toform and his afnity with Beethoven, who had expressly forbidden such a solopassage in his Emperor Concerto. Evidently Brahms was similarly unwillingto jeopardize the architectural balance of this movement for a brief and quite

possibly extraneous display of virtuosity.Brahmss inclusion of a scherzo as the second movement is an unorthodoxaddition to the usual three-movement concerto design. This portion of thecomposition unfolds in several clearly articulated sections, and its centralepisode conveys a rustic quality that marks the movement as a descendant ofBeethovens symphonic scherzos.

By contrast, the ensuing Andante reveals a world of fragile beauty. Itsopening, with a lyrical cello solo, is one of the most tender passages Brahmsleft us. The entrance of the piano proves uncommonly delicate, and the uid

rhythms in its ensuing soliloquy produce a Chopin like dreaminess. Duringthe central development episode the music grows restless and impassioned,but soothed by sustained harmonies in the clarinets, it soon becomes calmagain, allowing the movement to end as it began, in tranquil reverie.

The nale presents probably the most carefree movement in any ofBrahmss major works. Even the minor key episode suggests not sorrow butthe sultry Hungarian gypsy music the composer had known since boyhood.The soloists passagework is dazzling, but this never amounts to an extraneousdisplay of virtuosity. Rather, the brilliant keyboard music always serves todevelop Brahmss musical ideas in perfectly spun phrases.

Program notes 2012 by Paul Schiavo


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JOHN STORGRDSSTANLEY J. GOODMAN GUEST ARTIST

Chief Conductor of the Helsinki PhilharmonicOrchestra and Principal Guest Conductor of

BBC Philharmonic Orchestra, Finnish artist JohnStorgrds has a dual career as a conductor andviolin virtuoso and is widely recognized for hiscreative air for programming and his commitmentto contemporary music. He additionally holds thetitle of Artistic Director of the Chamber Orchestra ofLapland, with which he programs some of Europesmost imaginative concerts north of the Arctic Circle.

Storgrds appears with such orchestras asthe Bavarian Radio Orchestra, NDR Hamburg,Bamberg Symphony, City of BirminghamSymphony, Orchestra Philharmonique de RadioFrance, Netherlands Radio, and the BBC Symphonyas well as all of the major Scandinavian orchestras.Further aeld, he has conducted the Sydney,Melbourne, and New Zealand symphonies.

Following a 2012 summer tour with the

Helsinki Philharmonic and a return to the BBCProms with the BBC Philharmonic, Storgrdsbegins the 2012-13 season in Helsinkis prestigiousnew Music Centre with a new commission of theSymphony No. 8 by Per Norgaard, a work he alsoperforms with the Danish National Symphonyand the BBC Symphony. He also returns towork with the WDR Cologne, Scottish ChamberOrchestra, Stockholm Philharmonic, and theBBC, Gothenburg, and Stavanger symphonies.

Storgrds made his North American debutwith the St. Paul Chamber Orchestra during the2005-06 season and debuted with the CincinnatiSymphony in April 2011. During the 2012-13season, he returns to the Cincinnati and Houstonsymphonies and the St. Paul Chamber Orchestraand debuts with the Detroit and Indianapolis

symphonies as well as with the National ArtsCentre Orchestra in Ottawa.Storgrds was concertmaster of the Swedish

Radio Symphony Orchestra during Esa-PekkaSalonens tenure and subsequently studiedconducting with Jorma Panula and Eri Klas. Hereceived the Finnish State Prize for Music in 2002.

John Storgrds makes hisSt. Louis Symphony debut

with these concerts.

MARCO

BORGGREVE


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A BRIEF EXPLANATION

You dont need to know what andante means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but its always fun to know stuff. For

example, what is BWV?BWV:Bach WerkeVerzeichnis, the name of the ofcial index to all of Bachs works;J.S. Bach wrote so many of them, it helped to arrange them into some sort oforder, and thats what Wolgang Schmieder did, completing the project in 1950,for which we are all in his debt; the number following BWV is the cataloguenumber; the BWV is a themeatic index, the full name being ThematischSystematisches Verzeichnis der musikalischenWerke von Johann Sebastian Bach

COUNTERPOINT:CHRISTIAN WOEHR EXPLAINS IT ALL FOR YOUActing Associate Principal Viola Chris Woehr was in his backyard on atemperate autumn afternoon with a hammer in his hand doing some repairs,when he agreed to take on the challenge of explaining counterpoint. Woehris also a composer, so provides some insights from within the mechanismof music-making.

I did my own self-taught course in counterpoint when I was rst writingmusic at 10. My rst stuff was viola duets, dozens and dozens of them, all incanon (one part chasing itself). It was only years later that I learned what I hadbeen training myself to do: counterpoint, in a real-life musical setting, not as atextbook exercise.

Basically, you write one line against another, you have musicians playingdifferent rhythms at the same time, but you make it all sound as a whole. Bachcould work all this out in his head. I have a theory that the human brain canonly take in three parts at one time. It takes an incredible composer to stretchthat outa Mozart, a Richard Strauss, and of course, a J. S. Bach.

These days when writing, I put it in the computer before putting it onpaper, because my head doesnt have the sheer processing power that allowedMozart and Bach to hear large new scores by simply looking at them, but thecomputer actually plays the score back for me. As I do it more and more it

begins to work better and better, so that some of my more complex texturesand counterpoint really cookrst time! At this point I call my laptop my metalbrain, and give it a grateful pat.

There is very complex and extensive theory that has been written aboutcounterpoint, but that is analyzing what the composer has already done. ForMozart and Bach, and now occasionally even for me, what comes out seemsinevitable, as the most elegant and possibly even the only true solution!


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YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here is suggested sourcematerial with which to continue your explorations.

Trisha Brown,M. O.Access via Google or Youtube:Trisha Brown M.O.Another way to realize Bachs musicit through dance, Browns companyperforms M. O. (for Musician Offering) andthe choreographer provides commentaryon youtube

John Daverio, Crossing Paths: Schubert,Schumann, and BrahmsOxord University PressIntense artistic relationships explored,including Robert and Clara Schumannand their young prodigy JohannesBrahms

Jan Swaford,Johannes BrahmsKnopThe essential biography, and a good read

Read the program notes online atstlsymphony.org/planyourvisit/programnotes

Keep up with the backstage life of the St. Louis Symphony, as chronicled bySymphony staffer Eddie Silva, via stlsymphony.org/blog

The St. Louis Symphony is on


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CORPORATE DONOR SPOTLIGHTTHE THOMAS A. KOOYUMJIAN FAMILY FOUNDATION

An Interview with Tony Kooyumjian, President

The St. Louis Symphony receives generous sponsorship support from TheThomas A. Kooyumjian Family Foundation and its related businesses, Augustaand Montelle wineries in Augusta, Missouri. In addition to serving as presidentof the Foundation, Tony Kooyumjian is a third generation vineyard owner,continuing a tradition of winemaking in the scenic Missouri River Valley thatdates back to the 1800s.

What makes Augusta and Montelle wineries unique?We take great pride in carrying on the wine culture of Missouriwe grow grapeson 150-year-old vineyards that were actually founded by the rst winemaker inAugusta. Our philosophy is to farm our vineyards with a respect for our history,land, and the environment. As a result, our premium estate-bottled wines arefresh, fragrant, and well-balanced, but most of all, express the uniqueness ofour vineyards and connection to the soil. Attention to detail has enabled us toproduce wines consistently recognized nationally, as well as internationally, foruniqueness and superior quality.

Sitting up more than 500 feet above the Missouri River, Montelle alsohas one of the most dramatic views of any winery in the state of Missouri

the perfect place to enjoy sunset dining, which we offer Friday and Saturdaynights in May through the end of September. We were also delighted to host afree community performance by a string trio from the St. Louis Symphony atMontelle on Friday, June 8.

What are The Thomas A. Kooyumjian Family Foundations areas o interest?In addition to arts and culture, the foundation mainly funds Armenian causesin the Chicago area (where my father Thomas A. Kooyumjian lived) as well asArmenia itself, through the Armenian General Benevolent Union. Weve recently

supported cultural programs that connect Chicago youth with their Armenianheritage as well as tree planting in areas of Armenia affected by deforestation.

Why does the The Thomas A. Kooyumjian Family Foundation support theSTL Symphony?My family always had classical music playing in our home during my childhood,so I grew up with that exposure. When I moved to St. Louis as an adult, I knewthe reputation of the St. Louis Symphony and immediately began attendingconcertsmy wife Cindy and I are long-time subscribers. My father was veryfond of ne music, and I know he would be happy with the foundationssupport of the Symphonynot just the exceptional artistic quality but alsoeducation and community programs that enrich the lives of thousands of arearesidents each year.

Given our commitment to the history and future of Missouri winemaking,its also tting that we support the St. Louis Symphony (the second-oldestorchestra in the United States) as an organization dedicated to honoring itsheritage and exploring new directions that will keep the music playing forgenerations to come.

Documents

St. Louis Symphony Program - Nov. 2 and 3, 2012