Gewandhaus Orchestra of Leipzig

Transcription

11-09 Gewandhaus_GP 10/24/14 10:31 AM Page 1
Sunday Afternoon, November 9, 2014, at 5:00
Pre-concert lecture by Scott Burnham at 3:45 in the Stanley H. Kaplan Penthouse
Cathedrals of Sound
Riccardo Chailly, Conductor
BACH Orchestral Suite No. 4 in D major (c. 1720/c. 1731)
Overture
Bourrée I and II
Gavotte
Menuet I and II
Réjouissance
Intermission
BRUCKNER Symphony No. 7 in E major (1881–83)
Allegro moderato
Adagio
Scherzo
Finale
This performance is also part of the Symphonic Masters series of Great Performers.
The White Light Festival is sponsored by Time Warner Inc.
BNY Mellon is a Proud Sponsor of Great Performers.
These programs are supported by the Leon Levy Fund for Symphonic Masters.
Symphonic Masters is made possible in part by endowment support from UBS.
This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.
Avery Fisher Hall
WhiteLightFestival.org
Please make certain all your electronic devices
are switched off.
Additional support is provided by The Fan Fox and
Leslie R. Samuels Foundation, Inc.
Endowment support is provided by the American
Express Cultural Preservation Fund.
Support for Great Performers is provided by
Rita E. and Gustave M. Hauser, The Florence Gould
Foundation, Audrey Love Charitable Foundation,
Ann and Gordon Getty Foundation, Great
Performers Circle, Chairman’s Council, and Friends
of Lincoln Center.
Public support is provided by the New York State
Council on the Arts.
Upcoming Symphonic Masters Event:
Monday Evening, November 10, at 8:00
in Avery Fisher Hall
Riccardo Chailly, Conductor
Nikolaj Znaider, Violin
MENDELSSOHN: The Hebrides (“Fingal’s Cave”)
BEETHOVEN: Violin Concerto in D major
MENDELSSOHN: Symphony No. 5 (“Reformation”)
For tickets, call (212) 721-6500 or visit
LCGreatPerformers.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a Great
Performers brochure.
MetLife is the National Sponsor of Lincoln Center.
Movado is an Official Sponsor of Lincoln Center.
Visit LCGreatPerformers.org for more information
relating to this season’s programs.
United Airlines is the Official Airline of Lincoln
Center.
Join the conversation: #LCGreatPerfs
WABC-TV is the Official Broadcast Partner of
Lincoln Center.
Upcoming White Light Festival Event:
William Hill Estate Winery is the Official Wine of
Lincoln Center.
Artist Catering is provided by Zabar’s and
zabars.com.
The Gewandhaus Orchestra of Leipzig is proudly
supported by Porsche, Official Tour Sponsor, and
DHL, Official Logistics Sponsor.
Tuesday Evening, November 11, at 7:30
in Alice Tully Hall
Winterreise (New York premiere)
William Kentridge, Concept and Video
Matthias Goerne, Baritone
Markus Hinterhäuser, Piano
SCHUBERT: Winterreise
Pre-concert discussion with Christopher H. Gibbs at
6:15 in the Stanley H. Kaplan Penthouse
For tickets, call (212) 721-6500 or visit
WhiteLightFestival.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about program cancellations or to request a White Light
Festival brochure.
Visit WhiteLightFestival.org for more information
relating to the Festival’s programs.
Join the conversation: #LCWhiteLight
We would like to remind you that the sound of coughing and rustling paper might distract the
performers and your fellow audience members.
In consideration of the performing artists and members of the audience, those who must leave
before the end of the performance are asked to do so between pieces. The taking of photographs
and the use of recording equipment are not allowed in the building.
Program Summary
by Paul Schiavo
Musicians and music lovers don’t readily associate the names Johann Sebastian Bach
and Anton Bruckner. Born a century and a half apart, these composers epitomize two
very different periods in the history of Western music and, it would seem, two highly dissimilar artistic outlooks. Bach’s music, especially his orchestral works, typifies the formal
and textural clarity of Baroque-period composition, its concise designs, and, not least, its
easy rapport with vernacular music, particularly in the form of popular dances. Bruckner,
by contrast, is known to us principally for bringing the symphony—a compositional genre
that didn’t yet exist when Bach was working—to its near zenith in terms of scale, sonic
power, and complexity.
But for all these obvious differences between the two composers, there are also some
striking similarities. Both men began their careers as church musicians: Bach in Lutheran
parishes in northeastern Germany, Bruckner in a Catholic monastery in Austria. Like
Bach, Bruckner was a superb organist and wrote his first works for ecclesiastic services.
Significantly, both composers also embraced secular forms of composition. For Bach
these were chiefly the concerto and dance suite; for Bruckner the symphony. While
these works are distinct from the composers’ sacred music, they are not entirely
divorced from it. The contrapuntal textures that are so much a part of Bach’s organ music,
church cantatas, and masses also inform his orchestral compositions. More remarkably,
the rhythms that are an essential part of his dance suites and other secular works also
animate his religious music.
We find, as a result, an ecstatic sense in both strains of Bach’s work. Similarly, Bruckner’s
secular and sacred music share not only a harmonic idiom but also the composer’s penchant for rich aural textures and extensive thematic development. More indefinably,
Bruckner’s symphonies, no less than his settings of liturgical and other sacred texts,
often intimate to sympathetic listeners a deep spirituality. It is telling that Bruckner sometimes adapted music from his church compositions to symphonic settings. His Seventh
Symphony, which we hear this evening, includes a quotation from one of his most important sacred works, his Te Deum, at the climactic point of its second movement.
The two works that form this evening’s program have special connections with the
Gewandhaus Orchestra of Leipzig. Bach fashioned the definitive version of his Orchestral
Suite in D major, BWV 1069, for the Leipzig Collegium Musicum, an ensemble that was
one of the forerunners of the Gewandhaus Orchestra. And on December 30, 1884,
Bruckner’s Seventh Symphony received its first performance when the Gewandhaus
Orchestra performed it under the direction of Arthur Nikisch. In addition, this evening’s
performance commemorates the 25th anniversary of the fall of the Berlin Wall.
—Copyright © 2014 by Paul Schiavo
Notes on the Program
by Paul Schiavo
Orchestral Suite No. 4 in D major,
BWV 1069 (c. 1720/c. 1731)
JOHANN SEBASTIAN BACH
Born March 21, 1685, in Eisenach, Germany
Died July 28, 1750, in Leipzig
Approximate length: 19 minutes
Dance music, most of it in the form of
suites of several movements, forms a
large and important part of Bach’s legacy.
Among his works in this format are the collections of partitas, French Suites, and
English Suites for harpsichord; the partitas
and suites for solo violin, solo lute, and
solo cello; and four suites for orchestra.
The renditions of court and country dances
found in these works were no longer tied
to their original purpose of providing music
for recreational movement. Rather, the particular rhythms and other traits of these
traditional dances had evolved into musical
character pieces whose general qualities
were familiar to composers throughout
Europe. Bach used these dance-derived
character pieces as vehicles for sophisticated invention, retaining the formal structures and typical rhythms of their sources
while transforming them through a high
level of musical ingenuity.
Bach probably wrote the Suite in D major,
BWV 1069, sometime around 1720, the
period that also saw the creation of his
popular Brandenburg Concertos. In 1731
the composer revised the piece for a performance by the Leipzig Collegium
Musicum, a civic orchestra made up of professional musicians and university students. At this time Bach expanded the
work’s instrumentation, adding brass and
percussion to create the most lavishly
scored of his four suites for orchestra. It
calls for three oboes, three trumpets, bassoon, timpani, and string choir. The strong,
bright timbre of this ensemble is well
suited to the music’s extroverted character
and the style sometimes called the
“Festive Baroque.”
A festive character is indeed apparent at
the start of the suite’s overture, where
wind instruments and timpani impart considerable splendor to the proceedings. In
the main body of the movement, Bach sets
a complex contrapuntal discourse to buoyant rhythms, offering a display of what
seems joyous compositional virtuosity.
The first three dances that follow are familiar types. Both the Bourrée and Menuet
are given in double form—that is, with an
initial dance played and later repeated to
frame a second one, which forms a contrasting central episode. (The resulting
design often is referred to schematically as
“A-B-A form.”) Between these movements comes a lively Gavotte, a dance traditionally in quick duple rhythms. The suite
ends with a Réjouissance. The name of
this dance perfectly describes its character, and one can hardly imagine a more fitting sentiment than rejoicing at the close
of this suite.
Symphony No. 7 in E major (1881–83)
ANTON BRUCKNER
Born September 4, 1824, in Ansfelden,
Austria
Died October 11, 1896, in Vienna
Approximate length: 65 minutes
Anton Bruckner’s Seventh Symphony
occupies a singularly important place in the
output of this composer. With it Bruckner
finally achieved widespread recognition,
and it has remained probably the most
popular of his nine symphonic works.
Bruckner completed the Seventh Symphony in September 1883, after two years
of intermittent work. He was nearly 60
at this time, and his efforts to establish
himself as an important musician in Vienna,
where he had moved nearly two decades
earlier, had thus far produced mostly a
chronicle of frustration and disappointment. Bruckner utterly lacked the temperament required to advance his cause in the
difficult, highly political world of Viennese
music. Born into humble circumstances in
provincial Upper Austria, he retained
throughout his life the modesty, diffidence,
dowdy dress, and naiveté of a villager.
Bruckner’s humble bearing and rustic manner offered an easy target for ridicule by
the sophisticates of the Austrian capital,
and his enemies mocked him mercilessly.
But the composer’s personal foibles alone
would not have provoked the hostility his
music encountered. For this, Bruckner
would have had to pose a serious and substantial challenge to the musical order of
the day. And that is exactly what his symphonies did. The tremendous scope of
those works, their grandiose gestures and
their far-ranging harmonies were unprecedented in symphonic composition. And like
most unprecedented musical developments, they elicited bewilderment and
derision when they first appeared.
The attack was led by Eduard Hanslick, the
powerful critic of the Vienna Neue freie
Presse, who saw in Bruckner “a sort of
tonal Satan,” a man who “composes like a
drunkard.” Other musicians, including some
who might have helped the composer, were
scarcely less vituperative. Bruckner had his
admirers, some of whom came valiantly to
his defense. “It is no common mortal who
speaks to us in this music,” wrote the critic
Ludwig Speidel after hearing Bruckner’s
Second Symphony. “Here is a composer
whose very shoe-laces his numerous enemies are not fit to tie.” Unfortunately, most
of these partisans on Bruckner’s behalf had
little or no power in Vienna’s musical establishment. As a result, the composer’s symphonies received few performances
through the early 1880s, and these often
were poorly prepared and badly received.
It was only through sheer fortitude and faith
in his artistic precepts that Bruckner continued to compose, and slowly his works began
to earn for him some degree of respect. The
turning point came with the premiere of the
Seventh Symphony, given in Leipzig in 1884.
The reaction to Bruckner at this time was
typified by a local critic, who rhetorically
inquired: “Having heard his music…we
asked ourselves in amazement, ‘How is it
possible that he could remain so long
unknown to us?’” Hermann Levi, an outstanding conductor, said of the work: “It is
the most significant symphonic work since
1827 [Beethoven’s last year].” These comments, and others like them, marked the first
wave of a rising tide of acclaim for the composer, one that swelled for the rest of his life.
The Seventh Symphony adheres to the classical four-movement format, but Bruckner
reapportions the weight of the constituent
movements in a most original manner. The
heart of the work is its second movement, a
long and deeply felt Adagio. It was composed as a memorial to Richard Wagner,
who died while Bruckner was writing the
symphony. Wagner had been one of
Bruckner’s principal supporters, and a tribute
to the composer of Parsifal, Tristan und
Isolde, and the Ring cycle may be heard in
both the solemn tone of the music and in the
use of a quartet of “Wagner tubas,” horn-like
instruments pitched somewhat above regular tubas and trombones, which are prominent from the opening measures. In
approaching the climax of the movement,
trombones present a theme from Bruckner’s
own Te Deum, a quotation entirely appropriate to the music’s elegiac character.
This threnody is prepared by a broad first
movement that begins with a soaring
theme announced by the cellos under a
hushed tremolo accompaniment in the violins. (That sort of sonic background was a
favorite device of Bruckner’s, one that we
also find at the start of his Symphonies
No. 4, 5, and 9.) Several subsidiary themes
offer contrasting character and instrumental
color while providing further material from
which Bruckner develops the movement.
episode, with pastoral lyricism. The Finale
concludes the symphony on a note of joy.
Unlike the expansive statements of the
first half of the symphony, the final two
movements are concisely constructed. The
Scherzo relieves the somber atmosphere
of the preceding Adagio with earthy
playfulness and, in its contrasting central
Paul Schiavo serves as program annotator
for the St. Louis and Seattle Symphonies,
and writes frequently for concerts at
Lincoln Center.
—Copyright © 2014 by Paul Schiavo
h
Illumination
Holy Sonnet XV
by John Donne
Wilt thou love God, as he thee? then digest,
My soul, this wholesome meditation,
How God the Spirit, by Angels waited on
In heaven, doth make his Temple in thy breast.
The Father having begot a Son most blest,
And still begetting, (for he ne’er begun)
Hath deigned to choose thee by adoption,
Co-heir t’ his glory, and Sabbath’s endless rest.
And as a robbed man, which by search doth find
His stol’n stuff sold, must lose or buy ’t again:
The Son of glory came down, and was slain,
Us whom he’d made, and Satan stol’n, to unbind.
’Twas much, that man was made like God before,
But, that God should be made like man, much more.
For poetry comments and suggestions, please write
to [email protected].
JENS GERBER
Meet the Artists
Riccardo Chailly
Born in Milan, Riccardo Chailly has conducted all of the world’s most renowned
orchestras and taken the podium at its most
illustrious opera houses. He has long been
a regular guest at prestigious festivals such
as the Salzburg and Lucerne Festivals, and
the BBC Proms in London. Mr. Chailly’s first
artistic encounter with the Gewandhaus
Orchestra of Leipzig was an appearance at
the Salzburg Festival in 1986. He became
its music director in 2005.
In 2010, Mr. Chailly conducted the Vienna
Philharmonic at the Salzburg Festival and
made guest appearances with the Bavarian
Radio Symphony Orchestra. In 2012, he
returned to Berlin for concerts with the
Philharmonic. From 1983 until 1986, Mr.
Chailly was principal guest conductor of the
London Philharmonic Orchestra and, from
1982 to 1989, chief conductor of the Berlin
Radio Symphony Orchestra. He has also
served as music director of the Teatro
Comunale Bologna (1986–93) and enjoyed
a highly celebrated 16-year tenure as chief
conductor of the Royal Concertgebouw
Orchestra in Amsterdam (1988–2004). Mr.
Chailly concurrently led the Orchestra
Sinfonica di Milano Giuseppe Verdi in Milan
(1999–2005).
Mr. Chailly was awarded the title of Grande
Ufficiale della Repubblica Italiana in 1994,
and was appointed Cavaliere di Gran Croce
of the Republic of Italy in 1998. In 1996 he
was awarded honorary membership of the
Royal Academy of Music in London.
The French Minister of Culture, Frédéric
Mitterrand, bestowed him the title of Officier
de L’Ordre des Arts et des Lettre in 2011.
Mr. Chailly has been under exclusive contract to the record label Decca for more
than 30 years. His discography comprises
in excess of 150 CDs, including ten operas,
many of which have received the industry’s
most prestigious awards, including the
Edison Prize and the Gramophone Award,
the Diapason d’Or, Académie Charles-Cros
Award, and Japan’s Unga Konotomo Award,
as well as many Grammy nominations. Mr.
Chailly was awarded the coveted Jahrespreis der Deutschen Schallplattenkritik
(German Record Critics’ Award) in 2005.
The Gewandhaus Orchestra of Leipzig
(Gewandhausorchester) is the oldest civic
symphony orchestra in the world. It was
founded in 1743 on the initiative of a group
comprising both nobility and regular citizens
to perform for the newly formed concert
society Das Große Concert. On taking residence in the trading house of the city’s textile merchants—the Gewandhaus—the
orchestra assumed the name Gewandhausorchester. The many celebrated music directors who have led the ensemble over the
centuries include Johann Adam Hiller, Felix
Mendelssohn-Bartholdy, Arthur Nikisch, and
Kurt Masur. Riccardo Chailly’s tenure commenced in 2005.
The orchestra’s unique sound and extraordinary diversity of repertoire are presented
in more than 200 performances each year.
The group performs weekly concerts in the
Gewandhaus, serves as the orchestra in
the Leipzig Opera, and joins the Thomanerchor each week in the performance of
Bach cantatas in the Thomaskirche. In addition to these core activities, the
Gewandhaus Orchestra of Leipzig has
toured the world regularly since 1916. Its
work is documented in a wealth of CD and
DVD recordings, as well as radio and television broadcasts.
The orchestra continues to attract the
world’s most highly celebrated composers,
conductors, and soloists. The Leipzigers
performed a cycle of Beethoven’s nine
symphonies during the composer’s lifetime
(1825–26), as well as the first-ever complete cycle of Bruckner’s symphonic oeuvre
(1919–20). The Gewandhaus Orchestra has
premiered a number of works that the
wider music world counts amongst its
most beloved: Wagner’s Prelude to Die
Meistersinger von Nürnberg, Beethoven’s
Fifth Piano Concerto (“Emperor”), and
Brahms’s Violin Concerto and Deutsches
Requiem, to name just a few. Today, the
orchestra continues to commission and
perform new compositions each season.
White Light Festival
I could compare my music to white light,
which contains all colors. Only a prism can
divide the colors and make them appear;
this prism could be the spirit of the listener.
—Arvo Pärt. Celebrating its fifth anniversary, the White Light Festival is Lincoln
Center’s annual exploration of music
and art’s power to reveal the many dimensions of our interior lives. International in
scope, the multidisciplinary festival offers
a broad spectrum of the world’s leading
instrumentalists, vocalists, ensembles,
choreographers, dance companies, and
directors complemented by conversations
with artists and scholars and post-performance White Light Lounges.
Lincoln Center’s Great Performers
Initiated in 1965, Lincoln Center’s Great
Performers series offers classical and contemporary music performances from the
world’s outstanding symphony orchestras,
vocalists, chamber ensembles, and recitalists. One of the most significant music presentation series in the world, Great
Performers runs from October through
June with offerings in Lincoln Center’s
Avery Fisher Hall, Alice Tully Hall, Walter
Reade Theater, and other performance
spaces around New York City. From symphonic masterworks, lieder recitals, and
Sunday morning coffee concerts to films
and groundbreaking productions specially
commissioned by Lincoln Center, Great
Performers offers a rich spectrum of programming throughout the season.
Lincoln Center for the Performing
Arts, Inc.
Lincoln Center for the Performing Arts
(LCPA) serves three primary roles: presenter of artistic programming, national leader
in arts and education and community relations, and manager of the Lincoln Center
campus. A presenter of more than 3,000
free and ticketed events, performances,
tours, and educational activities annually,
LCPA offers 15 programs, series, and festivals, including American Songbook, Great
Performers, Lincoln Center Festival,
Lincoln Center Out of Doors, Midsummer
Night Swing, the Mostly Mozart Festival,
and the White Light Festival, as well as the
Emmy Award–winning Live From Lincoln
Center, which airs nationally on PBS. As
manager of the Lincoln Center campus,
LCPA provides support and services for
the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a
$1.2 billion campus renovation, completed
in October 2012.
GERT MOTHES
Violin I
Sebastian Breuninger,
Principal
Andreas Seidel,
Assistant Principal
Yun-Jin Cho,
Assistant Principal
Sara Astore
Elisabeth Dingstad
Jürgen Dase
Susanne Hallmann
Regine Korneli
Liane Unger
Brita Zühlke
Dorothea Vogel
Gunnar Harms
Johanna Berndt
Chiara Astore
Kivanc Tire
Mari Iimura
Catherine Myerscough
Violin II
Peter Gerlach, Principal
Miho Tomiyasu-Palma
Marques,
Assistant Principal
Markus Pinquart
Jennifer Banks
Rudolf Conrad
Dietrich Reinhold
Kathrin Pantzier
Bernadette Wundrak
Lars Peter Leser
Tobias Haupt
Katharina Schumann
Karl Heinrich Niebuhr
Lydia Dobler
Nemanja Bugarcic
Anna Kuhlmann
Annemarie Gäbler
Camille Vasseur
Viola
Yu Sun, Principal
David Lau,
Assistant Principal
Peter Borck
Ruth Bernewitz
Heiner Stolle
Henry Schneider
Katharina Dargel
Matthias Weise
Immo Schaar
Anne WiechmannMilatz
Ivan Bezpalov
Anton Jivaev
Tahlia Petrosian
Sophia Kirst
Cello
Christian Giger,
Principal
Léonard Frey-Maibach,
Assistant Principal
Uwe Stahlbaum
Matthias Schreiber
Hendrik Zwiener
Heiko Schumann
Christian Erben
Kristin Elwan
Henriette-Luise
Neubert
Axel von Huene
Michael Peternek
Nicolas Defranoux
Bass
Rainer Hucke, Principal
Rainhard Leuscher,
Assistant Principal
Bernd Meier,
Assistant Principal
Waldemar Schwiertz
Tobias Martin
Christoph Krüger
Eberhard Spree
Christoph Winkler
Jorge Villar Paredes
Benjamin Kraner
Flute
Stephanie Winker,
Principal
Anna Garzuly-Wahlgren,
Principal
Johanna Schlag
Oboe
Thomas Hipper,
Principal
Henrik Wahlgren,
Principal
Uwe Kleinsorge
Simon Sommerhalder
Clarinet
Thomas Ziesch,
Principal
Peter Schurrock,
Principal
Edgar Heßke
Volker Hemken
Bassoon
Thomas Reinhardt,
Principal
David Petersen,
Principal
Albert Kegel
Eckehard Kupke,
Contrabassoon
Horn
Clemens Röger,
Principal
Bernhard Krug,
Principal
Christian Kretschmar
Jochen Pleß
Juliane Grepling
Jürgen Merkert
Tobias Schnirring
Wolfram Straßer
Trumpet
Lukas Beno, Principal
Jonathan Müller,
Principal
Peter Wettemann,
Assistant Principal
Karl-Heinz Georgi
Ulf Lehmann
Johann Clemens
Trombone
Jörg Richter, Principal
Otmar Strobel, Principal
Dirk Lehmann
Tino Mönks, Bass
Trombone
Tuba
David Cribb
Timpani
Mathias Müller
Tom Greenleaves
Percussion
Gerhard Hundt
Johann-Georg
Baumgärtel
Harpsichord
Michaela Hasselt
Gewandhaus Administration
Prof. Andreas Schulz, Director
Marco Eckertz, Orchestra Manager
Lothar Petrausch, Stage Manager
Holger Berger, Stage Crew
Martin Günter, Stage Crew
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Acting Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Claudia Norman, Producer, Public Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Nasrene Haj, House Seat Coordinator
Utsuki Otsuka, Production Assistant
Reshena Liao, House Program Intern
Gewandhaus Orchestra of Leipzig’s U.S. Tour Management:
Columbia Artists Management LLC
Tim Fox/Alison Ahart Williams
www.cami.com
Learn More, Take the Tour
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guide to New York City, for two
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and off its stages, led by guides with
an encyclopedic knowledge of
Visitors get a concert preview at rehearsal
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Theater
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of more than 15 people get a discount.

Gewandhaus Orchestra of Leipzig

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