St. Louis Symphony Extra - March 29, 2014

8/12/2019 St. Louis Symphony Extra - March 29, 2014

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CONCERT PROGRAMMarch 28-29, 2014

David Robertson, conductorKarita Mattila, soprano

BRAHMS Symphony No. 3 in F major, op. 90 (1883) (1833-1897)

Allegro con brio Andante Poco allegretto

Allegro

INTERMISSION

WAGNER Prelude to Tristan und Isolde (1857)(1813-1883)

Performed without pause into next work

SCHOENBERG Erwartung, op. 17 (1909) (1874-1951)

Karita Mattila, soprano


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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Karita Mattila is the Graybar Electric Company, Inc. Guest Artist.

The concert of Friday, March 28, is underwritten in part by a generous gift fromMr. and Mrs. Walter J. Galvin.

The concert of Saturday, March 29, is underwritten in part by a generous giftfrom Mr. and Mrs. Jay G. Henges, Jr.

Pre-Concert Conversations are sponsored by Washington University Physicians.

These concerts are part of the Wells Fargo Advisors series.

Large print program notes are available through the generosity of DielmannSothebys International Realty and are located at the Customer Service table inthe foyer.


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FROM THE STAGECally Banham, English horn, on Wagner and Schoenberg:Ive done this pairing of

the Prelude and Erwartungwith David Robertson before with the New YorkPhilharmonic. I was playing as an extra and it was Davids New York Phildebut. I was impressed with the imaginative pairing of works, especially asDavid does it, with the Prelude leading directly into Erwartungwith no break.Its very effective, very atmospheric.

I love Karita Mattila. Shes one of the most awesome singers to catch andto hear. She is a great actress and absolutely fearless.

It is going to be really great to revisit this imaginative pairing. One ofDavids special ideas, among thousands.

Karita Mattila

MARCIAROSENGARD


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TIMELINKS

1857WAGNERPrelude to Tristan undIsoldeFrench court acquits

Gustave Flaubert oncharges of obscenity forhis novel Madame Bovary

1883BRAHMSSymphony No. 3 inF major, op. 90Wagner dies in Venice

1909SCHOENBERGErwartung, op. 17Joan of Arc declared asaint

Modernism didnt simply materialize as soon as

the 20th century started. Richard Wagner andJohannes Brahms, those polarized paragons oflate German Romanticism, were modernists,too. Arnold Schoenberg, it should be remem-bered, considered his own music an extension ofRomanticism, not a rejection of it. But no matterwhat we call them, no matter what they calledthemselves, the three men collided and convergedat so many critical junctures in music history that

we might as well call them collaborators.

JOHANNES BRAHMSSymphony No. 3 in F major, op. 90

PROGRESSIVE VERSUS CONSERVATIVE Aside fromthe occasional duel, the War of the Romantics

was mostly bloodless, but it galvanized concert-music culture during the second half of the19th century. Every critic, composer, musician,and reasonably well-educated person in CentralEurope wound up in one camp or the other. Theopposing sides made Wagner and Brahms theirproxies in a culture war that dragged on for yearsafter the composers deaths. Although Wagnerwas 20 years older than Brahms, he represented

the progressive faction. Part high priest, part rev-olutionary, he aimed to create the music of thefuture, a distillation of all the arts culminatingin his universal music drama. Liberal-mindedand relatively modest (or at least not messianic),Brahms was cast, perhaps by default, as the con-servative. Most of his compositions could be clas-sied as absolute musicfree, at least explicitly,of any programmatic associationsand he choseto adapt conventional forms rather than inventnew ones.

Yet the composers admired each other, ina lopsided way. During a visit in 1864, Brahms,a superb pianist, played for the maestro, whointoned equivocally, One sees what may stillbe done in the old forms when someone comesalong who knows how to use them. In his diary

MODES OF THE MODERNBY REN SPENCER SALLER


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he recorded, somewhat grudgingly, that Brahmswas no joke. Brahms, by contrast, collected andstudied Wagner scores, repeatedly declaring thathe was the best of Wagnerians. When he wasnotied of Wagners death, he put down his con-

ductors baton and announced, Today we singno more. A master has died.

A SECOND SUMMER SYMPHONY In Mayof 1883, Brahms turned 50. Wagner, hisesteemed adversary, had died a few monthsearlier; Clara Schumann, his intimate friend,cheerleader, and sometime muse, was nearly

64 and quite frail; he had already outlivedmany friends and musical mentors. Yet he wasrobustly healthy, if fat, and had a lust for lifeas well as for young women. That summer hefollowed one of them, the contralto HermineSpies, to Wiesbaden, on the Rhine. There hecomposed his Symphony No. 3. It had been sixyears since his previous symphony, anotherproduct of a single fertile summer.

Although he continued to tweak the scoreuntil its publication, the Third was a triumphfrom the start. After he sent the score to Clara,she gushed, From start to nish one is wrappedabout with the mysterious charm of the woodsand forests.... [By the nale] ones beating heart issoon calmed down again for the nal transgura-tion which begins with such beauty in the devel-opment that words fail me!

Except for the predictable demonstra-tion from the Wagner Club, whose membersbriey disrupted the Vienna premiere, BrahmsSymphony No. 3 was hailed as a masterpiece byaudiences and critics alike.

FREE BUT HAPPY The shortest of Brahms foursymphonies, the Third is formally rigorous and

tonally inventive, thematically integrated andrhythmically complex. Unusually, all four move-ments end softly, even the seemingly heroic nale.The rst movement begins with two audaciouswind chords, a strong F major succeeded by amore tentative diminished chordpreparationfor a series of wrenching major and minor shifts.Harmonic ambiguities and metrical instabilitiesabound. The gure that haunts all four move-

BornMay 7, 1833, Hamburg

DiedApril 3, 1897, Vienna

First PerformanceDecember 2, 1883, HansRichter conducted theVienna PhilharmonicOrchestra

STL Symphony PremiereFebruary 17, 1911, Max Zachconducting

Most Recent STL SymphonyPerformanceDecember 11, 2005, DavidRobertson conducting

Scoring2 flutes2 oboes2 clarinets2 bassoonscontrabassoon

4 horns2 trumpets3 trombonestimpanistrings

Performance Timeapproximately 33 minutes


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ments, in various congurations, is the bass line:FA-atF, Brahms personal motto. It stands forFrei aber froh (Free but happy), a play on hisfriend Joseph Joachims motto Free but lonely.

The more lyrical main melody is borrowed

from Robert Schumanns Rhenish Symphony.First presented by the strings, it imbues the entirework. This theme is an obvious tribute to theman who hailed the 20-year-old Brahms as thenext Beethoven and set him up as his proxy inthe War of the Romantics. But as Jan Swaffordhas noted, Brahms Third also recalls anotherRhine, another monumental forefather: Wagners

atmospheric string textures, his grand triadicleitmotivs and themes echo throughout. Everthe reconciler, Brahms united his mentor andhis rival in a symphony that ultimately stands fornothing beyond itself. Free but happy indeed.

RICHARD WAGNERPrelude to Tristan und Isolde

SOMETHING FEARSOME Wagner believed fromthe beginning that his Tristan und Isoldewouldrevolutionize music. He referred to it not as anopera (too derivative, too Italianate) but as eineHandlung, or a drama. During its composi-tion, he boasted to his probable lover MathildeWesendonck, Child! This Tristanis turning intosomething fearsome... only mediocre perfor-mances can save me! Good performances willdrive people mad!

Grandiose as that sounds, he wasnt wrong.Tristan und Isoldeelectried everyone who heardit. Brahms wrote of his shuddering delight;Clara Schumann called it the most repugnantthing I have ever seen or heard in all my life. Evenafter he renounced Wagner, Friedrich Nietzsche

praised the opera: Even now I am still in searchof a work which exercises such a dangerous fasci-nation, such a spine-tingling and blissful innityas TristanI have sought in vain, in every art. Itstantalizing strains continue to reverberate some150 years latertry to imagine Melancholia,Larsvon Triers anhedonic apocalypse ick, withoutthe Prelude as soundtrack.

BornMay 22, 1813, Leipzig

Died

February 13, 1883, VeniceFirst PerformanceMarch 12, 1859, Hans vonBlow first conducted thePrelude, previous to thepremiere of the full opera, inPrague

STL Symphony PremiereMarch 4, 1909, Max Zachconducting

Most Recent STL SymphonyPerformanceMay 2, 2010, David Robertsonconducting

Scoring3 flutes2 oboesEnglish horn2 clarinets

bass clarinet3 bassoons4 horns2 trumpets3 trombonestubatimpanistrings



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Based on a medieval romance about a pair of doomed lovers who ndfulllment only in death, Tristan und Isoldeis both an expression of Wagnersimpossible love for Mathilde and a vehicle for his fascination with the phi-losophy of Arthur Schopenhauer, who ranked music above all other arts. Thisinspired Wagner to give the orchestra the primary role in advancing the nar-

rative, with his libretto supporting the music instead of vice versa. The loversunbearable yearning is embodied in the opening measures: four notes softlysung by the cellos and displaced by the legendary Tristan chord, an unresolveddissonance limned by oboes, bassoons, and English horn. This chord has pro-voked countless quarrels among musicologists. Most agree that it comprises F,B, D-sharp, and G-sharp, but there the consensus ends. More important thanits designation, though, is what it feels like in its tonal context: unstable, unsus-tainable, insatiable. Harmonic resolution is deferred until Isoldes climactic

closing aria, about four hours later, when the rapturous heroine wills herselfto join her dead lover.

WAGNERS TEENAGE SAVIORWagner nished Tristan und Isoldein 1859, but sixyears elapsed before its rst production. After more than 70 disastrous rehears-als, it was deemed unperformable, and the composer was forced to presentorchestral excerpts. Finally, in 1864, he landed a dream patron: the 18-year-oldKing Ludwig II of Bavaria, who brought his divine friend to Munich, coveredhis debts, and nanced the premiere of Tristan und Isoldethe next year. He

showered a fortune on his idol, bankrolling all of Wagners subsequent works.

ARNOLD SCHOENBERGErwartung, op. 17

ERWARTUNG AND THE SUBCONSCIOUS In 1909, when Schoenberg wroteErwartung, Freuds Interpretation of Dreams was a decade old, but hardlyanyone had read it. Among those who had was the Viennese poet-turned-phy-sician Marie Pappenheim. After Schoenberg requested a text from her, givingher no further guidance, she dashed off a stream-of-consciousness monologueand sent it to him a few weeks later. I always wrote exaltedly, she explainedyears later, without direction, reection, censorship.... Schoenberg wrote hisscore in a mere 17 days. His shifting tempos and searing tonalities correspondto the protagonists shattered syntax, her precarious sense of self. He describedErwartungas a nightmare, or a moment of psychological trauma representedin slow motion.

The monodrama , as the name implies, features one character, althoughshe contains multitudes. We meet The Woman (otherwise unnamed) in a noc-turnal forest, where she expects to meet her lover; before long, she stumblesupon his corpse. (Paul Grifths compares her to Isolde, and the parallels areintriguing.) The line between truth and fantasy grows increasingly blurred:Who killed her lover? Did she do it herself? The only reference point is thedramatic impulse, but the protagonist is unreliable, in thrall to her own circu-itous dream logic. The Womans spiky coloratura leaps and plunges; in a tensehalf-hour, she vacillates between hopeful and terried, enraged and miserable.


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Highly demanding, the part requires a dizzyingrange combined with Wagnerian stamina.

The orchestration is brutal but often beauti-ful. Any sense of a tonal center disappears in adense chromatic thicket. Some musicologists

call the work athematicno theme, no recur-ring melody or motive. Others argue that themesexist, but when they are so slippery, so stub-bornly unhummable, this may be a meaninglessdistinction. One thing is certain: Form followscontent. We are lost in the forest, but we cling tothe trees.

SCHOENBERG, BRAHMS, AND WAGNER Eightyears old when Wagner died but in many wayshis obvious heir, Schoenberg aligned himselfwith Brahms instead. In his 1947 essay Brahmsthe Progressive, he praised the composer for hisdeveloping variation, a motivic technique thatSchoenberg identied as an inspiration for serial-ism. (Wagners groundbreaking use of chromati-cism is a far more obvious precursor for atonal-

ity.) Embracing Brahms may have been a way forthe Jewish composer to distance himself from theanti-Semitic Wagner, but it was also a way to stepout of his long shadow. At any rate, Schoenbergsounded distinctly Wagnerian when he rstspoke of his 12-tone technique: I have invented asystem that will insure the superiority of Germanmusic for a hundred years to come.

Program notes 2014 by Ren Spencer Saller

BornSeptember 13, 1874, Vienna

Died

July 13, 1951, Los AngelesFirst PerformanceJune 6, 1924, at the NeuesDeutsches Theater, in Prague

STL Symphony PremiereFebruary 27, 1969, withsoprano Eleanor Steber,Eleazar De Carvalhoconducting the only previousperformance

Scoring2 flutes2 piccolos4 oboesEnglish horn3 clarinetsD clarinetbass clarinet3 bassoons

contrabassoon4 horns3 trumpets4 trombonestubatimpanipercussionharpcelestastrings



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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A consummate musician, masterful program-mer, and dynamic presence, David Robertson

has established himself as one of todays mostsought-after American conductors. A passionateand compelling communicator with an extensiveorchestral and operatic repertoire, he has forgedclose relationships with major orchestras aroundthe world through his exhilarating music-makingand stimulating ideas. In fall 2013, Robertsonlaunched his ninth season as Music Directorof the 134-year-old St. Louis Symphony. Whilecontinuing as Music Director with St. Louis,in January 2014, Robertson assumed the postof Chief Conductor and Artistic Director of theSydney Symphony Orchestra in Australia.

In 2012-13, Robertson led the St. LouisSymphony on two major tours: his rst Europeantour with the orchestraits rst Europeanengagements since 1998in fall 2012, which

included critically-acclaimed appearances atLondons BBC Proms, at the Berlin and LucerneFestivals, and at Pariss Salle Pleyel; and a spring2013 California tour which included a three-dayresidency at the University of California-Davisand performances at the Mondavi Center for thePerforming Arts and venues in Costa Mesa, PalmDesert and Santa Barbara. Highlights of his 2013-14 season with St. Louis include the recording

of a St. Louis Symphony co-commission, JohnAdams Saxophone Concerto. Nonesuch Recordswill release the disc featuring the concerto, alongwith the orchestras performance of Adams CityNoir, in 2014. In addition, Robertson and theSymphony performed a historic performance ofBrittens Peter Grimesat Carnegie Hall, on the latecomposers 100th birthday in November.

Robertson is a frequent guest conduc-tor with major orchestras and opera housesaround the world. In the 2013-14 season, inaddition to launching his rst year at the helmof the Sydney Symphony Orchestra, DavidRobertson conducted the U.S. premiere of NicoMuhlys Two Boys in a new production at theMetropolitan Opera.

MICHAELTAMMARO

David Robertson recentlyextended his contract asSt. Louis Symphony Music

Director through the 2017-18season.


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KARITA MATTILAGRAYBAR ELECTRIC COMPANY, INC. GUEST ARTIST

Karita Mattila is one of todays most exciting lyricdramatic sopranos. She is recognised as much for

the beauty and versatility of her voice as for herextraordinary stage ability. A native of Finland,Mattila was trained at the Sibelius Academy inHelsinki, where her teacher was Liisa Linko-Malmio, and subsequently she studied with VeraRozsa for nearly 20 years. She sings at all theworlds major opera houses and festivals andher operatic repertoire encompasses works byBeethoven, Strauss, Tchaikovsky, Verdi, Puccini,Wagner, and Janek.

Mattilas innate sense of drama has led toremarkable collaborations with major stagedirectors, including Luc Bondy in his highlyacclaimed Don Carlos, which she performed inParis, London, and at the Edinburgh Festival;Lev Dodin in his productions of Elektrafor theSalzburg Easter Festival, and Pique Dame and

Salome at the Opra National de Paris; PeterStein for his Simon Boccanegra in Salzburg andDon Giovanniin Chicago; and Jrgen Flimm forhis Fidelioat the Metropolitan Opera. She is aninuential artistic force in the development ofnew music, regularly collaborating with eminentcontemporary composers in the debut perfor-mances of signicant modern works. Recentperformances in this genre include the world

premiere of milie du Chteletby Kaija Saariahoat the Opra National de Lyon. She has wonnumerous awards throughout her distinguishedcareer, including Musical Americas Musician ofthe Year (one of the most prestigious honors paidto classical artists in the U.S.) and the Chevalierdes Arts et des Lettres(one of Frances highest cul-tural honours).

Highlights of the 2013-14 season includeMattilas role debut as Marie in Wozzeck(RoyalOpera House), the title role in Jenfa (FinnishNational Opera), and the title role in Ariadneauf Naxos(Royal Opera House). Further ahead,Sieglinde in Die Walkre.

MARCIA

ROSENGARD

Karita Mattila most recentlyperformed Kaija SaariahosQuatre Instantswith the St.

Louis Symphony at CarnegieHall in March 2012.


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PLAYING SOFT:

CALLY BANHAM, ENGLISH HORN & OBOEIn the TristanPrelude there is a lot ofmotivic material in the English horn. Itsquite prominent, but also very delicate.To play the Prelude you need to be ableto play with a lot of control and verysoft, and you need to play these motivesvery fast. It poses one of the most dif-

cult challenges for all wind playersbecause of the control required.

Playing soft is harder. Its not ashard to play forte, although its moredifcult to play extremely loud. But ingeneral, to achieve a quiet dynamic ismuch more difcult. Theres a saying:In a bad orchestra you cant play loudenough; in a great orchestra you cantplay soft enough.

Cally Banham

A BRIEF EXPLANATIONYou 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 the Tristan chord?

Tristan chord:As Ren Spencer Saller writes, the Tristan chord is made upof F, B, D-sharp, and G-sharp. When it was rst performed, members ofthe audience felt a sense of disorientation. Why? Stephen Fry says in hisilluminating YouTube video (see You Take It From Here), Rather thanprogressing to a harmonious resolution, as musical convention expected,it evolves into another unresolved dischord, instead. Wagner was movingaway from traditional tonal harmony, even venturing toward atonality, as you

hear in Schoenberg.

DANDREYFUS


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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.

Jan Swafford, Brahms: A BiographyVintageSwafford has called his biography Brahmswithout the beard; Swafford gives us insightinto the man, not the monument

Stephen Fry, Tristan ChordYouTube

The erudite actor and inquisitive fellowStephen Fry explicates the groundbreakingchord; search Stephen Fry Tristan Chordand youll nd it

Malcolm MacDonald, SchoenbergOxford University Press, Master Musicians SeriesMacdonald has completely re-written and

updated his essential biography for thisedition, taking advantage of 30 years ofrecent scholarship and new biographicalinformation

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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CONCERT PROGRAMMarch 30, 2014

Steven Jarvi, conductorSteve Lippia, vocalist

LIVE AT POWELL HALL

SIMPLY SINATRA

ARLEN Ive Got the World on a StringCOLEMAN & LEIGH The Best Is Yet to Come

CAHN & VAN HEUSEN All the WayBERLIN & MAY Cheek to Cheek

LEIGH & COLEMAN WitchcraftDRAKE It Was a Very Good Year

PORTER Ive Got You Under My SkinKERN & FIELDS The Way You Look, Tonight

STEPHEN SONDHEIM Send in the ClownsKAY & GORDON Thats Life

INTERMISSION

RODGERS & HART The Lady Is a TrampDISTEL & READRON The Good Life

CAHN & VAN HEUSEN Come Fly with MeRODGERS & HAMMERSTEIN I Have Dreamed

HOWARD Fly Me to the Moon

CAHN & STYNE Saturday NightMANN & HILLIARD In the Wee Small Hours of the MorningLOESSER Luck Be a Lady

PAUL ANKA & CAHN Let Me Try, AgainPAUL ANKA, FRANCOIS, & REVAUX My Way


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STEVEN JARVI

Steven Jarvi is the newly appointed ResidentConductor of the St. Louis Symphony, MusicDirector of Winter Opera Saint Louis, and the

Music Director of the St. Louis Symphony YouthOrchestra. Formerly the Associate Conductor ofthe Kansas City Symphony (KCS), he won theBruno Walter Memorial Foundation Award in2009. He came to the KCS after several years as theConducting Fellow with Michael Tilson Thomasand the New World Symphony in Miami Beach,as an Associate Conductor for the New York CityOpera at Lincoln Center, and as the ApprenticeConductor with the Washington National Operaat the Kennedy Center in Washington D.C.

STEVE LIPPIA

Steve Lippia has become one of the most promi-nent, in-demand vocalists and has quickly estab-lished his place among the nest interpretersof standards and traditional pop music in thenation. Lippias youthful, energetic talent and

powerful show creates a perfect blend of classicwith today. His show introduces a new genera-tion to this timeless music, while appealing tolongtime listeners.

Lippia has headlined in highly successful,extended engagements at the Rio Suites Hoteland Casino in Las Vegas and Resorts Hotel andCasino in Atlantic City, where SRO audiences

lined up more than two hours before show timeto vie for seating. He has performed in multipleengagements for Hilton Atlantic City and CasinoWindsor, among others.

Steve Lippia has performed to sold-outSymphony audiences across North America.He is a native of Southington, Connecticut. Hemakes his home in Las Vegas, Nevada with hiswife and two miniature German Schnauzers.


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AUDIENCE INFORMATION

BOX OFFICE HOURS

Monday-Saturday, 10am-6pm; Weekdayand Saturday concert evenings through

intermission; Sunday concert days12:30pm through intermission.

TO PURCHASE TICKETS

Box Ofce: 314-534-1700Toll Free: 1-800-232-1880Online: stlsymphony.org

Fax: 314-286-4111A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,simply exchange them for another

Wells Fargo Advisors subscriptionconcert up to one hour prior to yourconcert date. To exchange your tickets,please call the Box Ofce at 314-534-1700 and be sure to have your tickets

with you when calling.

GROUP AND DISCOUNT TICKETS

314-286-4155 or 1-800-232-1880 Anygroup of 20 is eligible for a discount ontickets for select Orchestral, Holiday,or Live at Powell Hall concerts. Callfor pricing.

Special discount ticket programs areavailable for students, seniors, andpolice and public-safety employees.

Visit stlsymphony.org for moreinformation.

POLICIES

You may store your personalbelongings in lockers located on the

Orchestra and Grand Tier Levels at acost of 25 cents.

Infrared listening headsets are availableat Customer Service.

Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictly

prohibited during the concert. Patronsare welcome to take photos before theconcert, during intermission, and afterthe concert.

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All those arriving after the start of the

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Age for admission to STL Symphonyand Live at Powell Hall concerts

varies, however, for most events therecommended age is ve or older. Allpatrons, regardless of age, must havetheir own tickets and be seated for all

concerts. All children must be seatedwith an adult. Admission to concerts isat the discretion of the House Manager.

Outside food and drink are notpermitted in Powell Hall. No food ordrink is allowed inside the auditorium,except for select concerts.

Powell Hall is not responsible for

the loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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BOUTIQUE

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St. Louis Symphony Extra - March 29, 2014

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