St. Louis Symphony Extra - April 25, 2015

8/9/2019 St. Louis Symphony Extra - April 25, 2015

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CONCERT PROGRAMApril 25-26, 2015

David Robertson, conductorEmanuel Ax, pianoEmily Ho, violinNicolae Bica, violinMorris Jacob, violaAnne Fagerburg, cello

ELGAR Introduction and Allegro, op. 47 (1905) (1857-1934)

Emily Ho, violin Nicolae Bica, violin Morris Jacob, viola Anne Fagerburg, cello

DETLEV GLANERT Frenesia (U.S. Premiere) (2013) (b. 1960)

INTERMISSION

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

Allegro non troppo Allegro appassionato Andante Allegretto grazioso

Emanuel Ax, piano


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FROM THE STAGEMorris Jacob, viola, and Anne Fagerburg, cello, on Elgar’s Introduction and Allegro, op. 47

Morris: “It’s really beautiful, and kind of strange, as it’s written for solo quartetand strings, but the quartet is in unison with the orchestra. It’s Elgar at hisbest. He writes so well for strings, with beautiful, intimate moments, some ofwhich are just majestic.”

Anne: “Mo gets the best solo opportunity of all of us. I’m only out front forabout two measures. But as Mo said, we’re usually playing in unison oroctaves, so we sound like a mini-string orchestra. We have to play so perfectly

in tune with one another. But I’ve been playing next to this man for 25 years,so that won’t be so difcult.”

Anne Fagerburg


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The Victorian aesthete Walter Pater dened the

Romantic character in art as “the addition ofstrangeness to beauty.” It’s an appealing descrip-tion, if a slippery one. When we understandRomanticism as a concept rather than a historicalmovement, Romantics (or proto-Romantics, orpost-Romantics) start popping up everywhere. Toconfound matters further, beauty is both subjec-tive and culturally contingent, as is strangeness.

What seemed strange, even shocking, to listeners200 years ago—Beethoven’s radical expansionof Classical structure in his “Eroica” Symphony,for instance—barely registers as unusual to21st-century ears. Not so long ago, dissonanceand other deviations from Western standardsof tonality were guaranteed to épater le bourgeois “shock the middle class”; today you’ll nd theseonce-freakish features in car commercials and

Kanye West singles. Strangeness is a form ofnovelty, and novelty gets old.

Romanticism dominated 19th-century Western culture, and it never quite disap-peared. Its insistence on the primacy of subjec-tive perception and its paradoxical yearning totranscend the limits of individual experienceare ingrained in us. Romantic notions dictateour concept of identity, of authentic expression.In the cult of the individual, is apostasy evenpossible? Modernism wasn’t so much a rejec-tion of Romanticism as a response to it, its inevi-table corollary. Strangeness and beauty stayedput. This program presents three works—onefrom the late 19th century, one from the early20th century, and one from last year—that offerthree distinct takes on Romanticism. Brahms’s

Second (and nal) Piano Concerto fuses Classi-cism and Romanticism. Elgar’s Introduction and Allegro is both a neo-Baroque concerto grossoand a late-Romantic rhapsody. Glanert’s Frenesia,a co-commission by the St. Louis Symphony, isa symphonic reply (part tribute, part critique) toRichard Strauss’s Ein Heldenleben. Throughoutthe program, strange beauties abound.

ROMANTIC PROJECTIONSBY RENÉ SPENCER SALLER

TIMELINKS

1881BRAHMSPiano Concerto No. 2 in

B-flat major, op. 83Thomas Edison andAlexander GrahamBell form a telephonecompany

1905ELGAR Introduction and Allegro,op. 47

Albert Einstein introducestheory of relativity

2013DETLEV GLANERTFrenesia

Cardinal Jorge MarioBergoglio of Argentinaelected Pope, takes papalname Pope Francis


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Born June 2, 1857, in Broadheath,near Worcester, England

DiedFebruary 23, 1934, Worcester

First PerformanceMarch 8, 1905, at Queen’s Hallin Edinburgh, the composerconducting the newlyformed London SymphonyOrchestra

STL Symphony PremiereFebruary 3, 1945, with Harry

Farbman, violin; Irvin Rosen,violin; Herbert Van den Burg,viola; and Max Steindel, cello;Stanley Chapple conductingat Kiel Auditorium

Most Recent STL SymphonyPerformanceMay 20, 1994, Leonard Slatkinconducting

Scoringstring quartetstring orchestra

Performance Timeapproximately 14 minutes

EDWARD ELGAR Introduction and Allegro, op. 47

SMILING WITH A SIGH On the program for the1905 premiere of Introduction and Allegro,

Edward Elgar included an epigraph from Shake-speare’s strange and beautiful romance Cymbe- line. Space does not permit a full synopsis ofthis convoluted tragicomedy about a cross-dressing, death-faking princess and her variousdisguised companions, but it doesn’t matter. Theexcerpted lines—delivered by the heroine’s long-lost brother, who doesn’t realize that the guy hends so ambiguously attractive is not only femalebut also his sister—tell us what we need to know:

Nobly he yokes A smiling with a sigh, as if the sigh Was that it was, for not being such a smile;The smile mocking the sigh, that it would y From so divine a temple, to commix With winds that sailors rail at.

Shakespeare reveled in paradox, theconjoining of apparent antitheses. Elgar didtoo, but in a different idiom. He wrote Introduc-tion and Allegro at the suggestion of his friend August Jaeger (“Nimrod” in the Enigma Varia- tions). To cap off an upcoming all-Elgar concert, Jaeger recommended “a brilliant quick stringscherzo ... a real bring-down-the-house torrent

of a thing such as Bach could write.” The objec-tive was to showcase the newly formed LondonSymphony Orchestra’s string section, somethingthat Elgar, an excellent violinist himself, was well-equipped to do. The form he devised resembledthe Baroque concerto grosso, wherein a smallergroup of instruments is set off against a largerensemble (in this case, a string quartet and stringorchestra). But instead of a fusty period piece, he

produced something distinctly Elgarian: propul-sive as a symphony and intimate as chambermusic. Introduction and Allegro has no shortageof supercharged passion, but the smiling sighcuts through all the same.

The Introduction begins in G minor,plunging downward in a fanfare of double-stops. A solo violin replies, tenderly at rst. The quartetswoops up with a new motive. Then, a solo viola


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sings the most captivating melody yet, the oneeveryone always hums later. (Elgar claimed itwas inspired by a distant “half-remembered” voice that he heard during a vacation in Wales.) After an extravagantly expressive interlude, the

Allegro starts in G major. The opening fanfare,resurrected and set free, evolves into what Elgarcalled “a devil of a fugue”: a kaleidoscopic recon-guration in the home key. The work is at onceRomantic and Baroque, ecstatic and exact. Likethe Bard of Avon, Elgar loved the mongrels best.

DETLEV GLANERTFrenesia

A HEROIC FRENZY When Detlev Glanert wasasked to compose something in honor of RichardStrauss’s 150th birthday, his thoughts turned, asany German composer’s might, to Ein Heldenleben(A Hero’s Life). Strauss’s sprawling symphonicpoem, an obvious nod to Beethoven’s Eroica, is

a paradigm of German High Romanticism. Overapproximately 45 minutes, Strauss crammed inat least thirty quotations from his own oeuvre,along with musical caricatures of his ighty wifeand his irksome critics. (The critics recognizedthemselves immediately and denounced himfor his “monstrous egotism”; he took a prankishglee in hitting every bull’s eye.) Although Straussmaintained, somewhat coyly, that the autobio-graphical angle was “only partly true” and thatthe work’s subject was “a more general andfree ideal of great and manly heroism,” no onebelieved him. But aside from the wounded critics,no one really held it against him either. Acts ofmonstrous egotism were more or less mandatoryfor the Romantics.

In our irony-glutted, post-everything era,

it’s no longer possible to assert oneself likethat. Frenesia (“frenzy” in Italian) invokes theStraussian hero without entirely embracing him. Although Glanert admires Strauss’s last greattone poem too much to mock it, he recognizesthat it was a product of its time. Frenesia is the“anti-Heldenleben,” he explains, “because thepiece is against the traditional Romantic view

BornSeptember 6, 1960, inHamburg

First Performance January 23, 2014, Xian Zhangconducted the RoyalConcertgebouw Orchestra inAmsterdam

STL Symphony PremiereThese concerts

Scoring4 flutes2 piccolos

2 oboesEnglish horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns3 trumpets3 trombonestuba

timpanipercussion2 harpscelestastrings


I k o F r e e s e D R A M A


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of grand heroism, which I think is no longerpossible after historic events leading to 1945.”

Inspired by Strauss’s muscular sensuality,Glanert found a way to honor his predecessorwithout emulating him. “The physicality of the

music tells us something about the situation ofthe people living in Strauss’s own time,” he writes.“I wanted to try a similar approach in my neworchestral work—using my own sound world, ofcourse, and in a way that doesn’t imitate or quoteStrauss’s gestures, but develops them further.That’s why Frenesia is a portrait of the modernhuman being, with his physicality, his nervous

system, muscles and movements.”This modern portrait comprises a wide-ranging array of instruments, from Wagneriananvils to beatnik bongos, from the fathomlessrumble of the contrabassoon to the hectic shriekof the piccolo. Blaring brass and machine-gundrums accost jittery marimbas; the dark rattle ofthe temple block offsets the sugarplum chime ofthe celesta. A whirling waltz falls apart, casting off

syncopated shards. Silences encroach. Frenesia ends with an anticlimax: a tiny tic of a gure,mechanical as a music box, reminds us of thedistance. As Glanert recently told an interviewerfrom the Australian Broadcasting Corporation,“It gives a shock—we are back in our time, and wehear it still as an echo from another time. Every-thing is gone, but the music is echoing itself.”

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

BEYOND VIRTUOSITY More than twenty yearselapsed between Johannes Brahms’s First andSecond Piano Concertos. A chronic perfec-tionist, Brahms had spent ve years writing

draft after draft of his First Piano Concerto, andhe felt cautiously hopeful about the rst perfor-mances. After a mildly disappointing receptionin Hanover, the ofcial premiere in Leipzig wasan outright disaster. Although he played well,everyone, even the conductor, hated the music.The 25-year-old composer tried to take it instride, writing to a friend that “the failure hasmade no impression whatever on me.... After all,

BornMay 7, 1833, in Hamburg

DiedApril 3, 1897, in Vienna

First PerformanceNovember 9, 1881, inBudapest, the composerwas the solo artist, with theNational Theater Orchestra,Hans von Bülow conducting

STL Symphony PremiereNovember 12, 1915, HaroldBauer was soloist, with Max

Zach conducting at theOdeon Theater

Most Recent STL SymphonyPerformanceNovember 3, 2012, YefimBronfman was soloist, with John Storgårds conducting

Scoring2 flutes

piccolo2 oboes2 clarinets2 bassoons4 horns2 trumpetstimpanistrings



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I’m only experimenting and feeling my way as yet.” But the hissing of audiencemembers and the savage reviews left him shaken, and his work habits greweven more painstaking and self-critical. In a letter to his close friend Joseph Joachim, he vowed, “A second will sound different.”

By the time Piano Concerto No. 2 was nished, Brahms was 48 and a

seasoned orchestrator, having recently completed his Symphony No. 2. He hadworked on his Second Concerto on and off for three years and sardonicallyreferred to it as a “heavy cross” and a “long terror.” In a July 1881 letter tohis friend Elisabeth von Herzogenberg, his trademark irony was even morepronounced than usual: “I don’t mind telling you that I have written a tiny, tinypiano concerto with a tiny, tiny wisp of a scherzo.”

He was surely vindicated, if unsurprised, when his Second Piano Concertoelicited rapturous applause everywhere except in Leipzig, that die-hard

Wagner town. Brahms had stopped practicing the piano regularly and was nolonger a virtuoso—even his loyal partisans noticed the marked decline in hisplaying ability—but somehow, in several performances, he managed to pulloff the Second Concerto, never mind its many technical challenges. Stretchingout for nearly 50 minutes, with four movements instead of the standard three,the concerto demands an almost superhuman endurance. The rst two move-ments bristle with double-note runs and thorny chords. The third movement istender and ravishing, an intimate duet between cello and piano. As the pianistStephen Hough puts it, the Second Concerto seems “like a massive chamber

work, where the musical ideas are an exchange rather than a confrontation.” As conventionally understood, concertos are supposed to be vehicles for

virtuosos. The Violin Concerto that Brahms had written for Joachim was, atleast in the minds of showboating soloists, “too symphonic,” and his SecondPiano Concerto was even more so. Despite its difculty and its resemblanceto Beethoven’s “Emperor” Concerto, the B-at Concerto isn’t about heroicdisplays of prowess. Brahms gave some of his best melodies to the other instru-ments: the radiant solo horn in the opening movement, the plangent celloand soft clarinets in the Andante. Played properly, the concerto requires greatsensitivity on the part of the soloist, who often augments the orchestral colorsinstead of thundering over them.

Brahms dedicated the Second Concerto to his old Hamburg pianoteacher, Eduard Marxsen. When he rst began studying with Marxsen, the10-year-old Brahms seemed headed for a career as a touring prodigy, butMarxsen saw in his pupil something beyond virtuosity. He taught Brahms tolisten, to feel, to improvise. He took a good performer and helped him becomea great composer.

Program notes © 2015 by René Spencer Saller


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A passionate and compelling communicatorwith an extensive orchestral and operatic reper-

toire, American conductor David Robertson hasforged close relationships with major orches-tras around the world. In fall 2014, Robertsonlaunched his 10th season as Music Director ofthe 135-year-old St. Louis Symphony. In January2014, Robertson assumed the post of ChiefConductor and Artistic Director of the SydneySymphony Orchestra in Australia.

To celebrate his decade-long tenure with theSt. Louis Symphony in 2014-15, Robertson hasshowcased 50 of the orchestra’s musicians in soloor solo ensemble performances throughout theseason. Other highlights include an upcomingconcert performance of Verdi’s Aida featuring video enhancements by S. Katy Tucker, and lastMarch, the Symphony’s successful return toCarnegie Hall. Zachary Wolfe wrote in the New

York Times that “the orchestra reveled in warm,luxurious yet sharply alert sound.” In 2013-14, Robertson led the St. Louis

Symphony in a Carnegie Hall performance ofBritten’s Peter Grimes on the Britten centennialthat Anthony Tommasini, in the New York Times,selected as one of the most memorable concertsof the year. In spring 2014 Nonesuch Recordsreleased a recording of the orchestra’s perfor-

mances of two works by John Adams: City Noir and the Saxophone Concerto, which receivedthe Grammy® Award for Best Orchestral Perfor-mance, in February 2015.

Robertson is a frequent guest conductorwith major orchestras and opera houses aroundthe world. In his inaugural year with the SydneySymphony Orchestra, he led the ensemble

in a seven-city tour of China in June 2014.He also led the summer 2014 U.S. tour of theNational Youth Orchestra of the United Statesof America, a project of Carnegie Hall’s WeillMusic Institute, in major venues across the U.S.In fall 2014, David Robertson conducted theMetropolitan Opera premiere of John Adams’sThe Death of Klinghoffer .

David Robertson conductsthe season finale, Verdi’s Aida, on May 7 and 9.


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Emanuel Ax marks his40th-anniversary seasonperforming with the St.

Louis Symphony with thisweekend’s concerts, andhis fourth performanceof the Brahms 2 with theSymphony, his second withDavid Robertson.

M a u r i c e J e r r y B e z n o s

EMANUEL AXANN AND LEE LIBERMAN GUEST ARTIST

Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he

was a young boy. His studies at the JuilliardSchool were supported by the sponsorship ofthe Epstein Scholarship Program of the BoysClubs of America, and he subsequently won the Young Concert Artists Award. Additionally, heattended Columbia University where he majoredin French. Ax captured public attention in 1974 when he won the rst Arthur Rubinstein Inter-national Piano Competition in Tel Aviv. In 1975he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize.

Two major projects are part of the second halfof his 2014-15 season, the rst being a two week“Celebrate the Piano” festival with the TorontoSymphony curated by Ax. With many pianistsperforming, including himself, the festival

explores the many facets of the instrument. Thesecond is a European tour with the PhiladelphiaOrchestra and Yannick Nézet-Séguin, beginningwith a joint appearance in Carnegie Hall.

A Sony Classical exclusive recording artistsince 1987, recent releases include MendelssohnTrios with Yo-Yo Ma and Itzhak Perlman, Strauss’sEnoch Arden narrated by Patrick Stewart, anddiscs of two-piano music by Brahms and Rach-

maninoff with Yem Bronfman.In recent years, Ax has turned his attention

toward the music of 20th-century composers,premiering works by John Adams, ChristopherRouse, Krzysztof Penderecki, Bright Sheng, andMelinda Wagner. Ax is also devoted to chambermusic, and has worked regularly with suchartists as Young Uck Kim, Cho-Liang Lin, Yo-Yo

Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, andthe late Isaac Stern.Emanuel Ax resides in New York City with

his wife, pianist Yoko Nozaki. They have twochildren together, Joseph and Sarah. For moreinformation about Ax’s career, please visitEmanuelAx.com.

First Performance with St.Louis SymphonyFebruary 29, 1976, Chopin’s

Piano Concerto No. 2 inF minor, op. 21, GerhardtZimmermann conducting

First Subscription ConcertDecember 14, 1978,Beethoven’s Piano ConcertoNo. 2 in B-flat major, op. 19,Zdeněk Mácal conducting

Most Recent PerformanceSeptember 28, 2012, Chopin’sPiano Concerto No. 2in F minor, op. 21, DavidRobertson conducting


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Morris Jacob was a memberof an electrified Symphonyquartet performing GeorgeCrumb’s Black Angels at thePulitzer Arts Foundation in 2012.

Anne Fagerburg was a memberof the SymphonyCaresprogram’s Heart Quartet,performing at IN UNISONchurches and other venuesthroughout the region toadvocate for women’s hearthealth in February.

MORRIS JACOBCAROLYN AND JAY HENGES GUEST ARTISTS

A member of the St. Louis Symphony since 1981, violist Morris Jacob received his musical training

at the Cleveland Institute of Music. He studied violin with David Cerone and viola with Robert Vernon. Jacob earned a Bachelor’s of Musicin violin in 1975 and a Master’s of Music in violin/viola in 1977. Before joining the St. LouisSymphony, Jacob spent four years as the Asso-ciate Principal Viola of the Columbus (Ohio)Symphony. Since coming to St. Louis, Jacob hasbeen very active playing chamber music and hasappeared as a soloist with the St. Louis SymphonyChamber Orchestra and the St. Louis Symphony Youth Orchestra. Morris Jacob is an avid wood-worker, having made most of the furniture in thehome that he shares with his wife, Symphonycellist Anne Fagerburg.

ANNE FAGERBURGCAROLYN AND JAY HENGES GUEST ARTISTS

A member of the cello section of the St. LouisSymphony since 1980, Anne Fagerburg receivedher bachelor’s degree from Oberlin College andher master’s degree and performer’s certi-

cate at Eastman School of Music. Her teachershave included Andor Toth, Jr., Paul Katz, andLeonard Rose

Before joining the orchestra, she toured theUnited States as a member of the Carmel Quartetand the Ellicott Piano Trio. She has playedrecitals in Detroit, Washington, D.C., Baltimore,Cleveland, New York City, Rochester, Buffalo, St.

Louis, Albany, and Fountainbleau, France. Shenow performs with fellow orchestra membersKristin Ahlstrom and Peter Henderson in the IlexPiano Trio.


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PLAYING ELGAR:MORRIS JACOB, VIOLAANNE FAGERBURG, CELLO

Morris: “The hardest part aboutthis piece is getting up front of theorchestra to play it.”

Anne: “The hardest thing is neverplaying in front of the audience; it’s

playing in front of your colleagues.”Morris: “That and playing this inunison, making one large soundtogether.”

Anne: “It’s like singing in a chorus. When you can hear single voices,it’s not a good thing.”

A BRIEF EXPLANATION You don’t need to know what “andante” means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but it’s always fun to know stuff. For

example, what is a “scherzo,” which Elgar was encouraged to write, and whichBrahms included a “wisp” of in his Second Piano Concerto?

Scherzo: literally meaning “joke” in Italian, it’s a musical term with a longevolution, all the way back to the middle ages, but since Beethoven a scherzohas become generically considered as a shift in a cycle—you may expect aminuet, for example, but here’s a scherzo; sometimes humorous or ironic, butmost often of a fast pace; Elgar’s composition, which became Introduction and Allegro, was originally suggested to be a scherzo that would bring down the

house in the middle of a concert

Morris Jacob & Anne Fagerburg


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

Ken Russell, director,“Elgar: Portrait of a Composer”YouTubeIn 1962, long before the British lm directorgot all hallucinogenic with Tommy andLisztomania, he made this admirable TVdocumentary about Elgar for the BBC; Google“Ken Russell at the BBC-Elgar”

“Detlev Glanert on Frenesia”Australian Broadcasting Corporation An illuminating interview archived on soundcloud, Google “Detlev Glanert onFrenesia by abcclassic”

Stephen Hough,“Brahms’s Piano Concertos: Which Is First Among Equals?”The Guardian

Pianist Stephen Hough nearly writes as well as he plays; here he assesses whichBrahms concerto is the best; Google “Brahms’s Piano Concertos: which is rstamong equals”

Read the program notes online. Go to stlsymphony.org. Click “Connect,” then“Program Notes.”

Learn more about this season of anniversaries with videos and podcasts. Click“Connect,” then “10-50-135.”

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

Download our NEW APP! Buy tickets to concerts anywhere, anytime. Exploreupcoming performances, listen to podcasts, watch video, and share up-to-the-minute information about concerts, programs, and promotions.The new STLSymphony app is available for iPhone and Android. Search STL Symphony in your app store.

The St. Louis Symphony is on


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Select elegant Powell Hall for your nextspecial occasion. Visit: stlsymphony.org.Click “About Us,” then “Hall Rental” formore information.


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St. Louis Symphony Extra - April 25, 2015

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