St. Louis Symphony Extra - May 2, 2015

8/9/2019 St. Louis Symphony Extra - May 2, 2015

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CONCERT PROGRAMMay 1-3, 2015

David Robertson, conductorAllegra Lilly, harpMichael Sanders, tuba

BIZET Selections from Carmen (1873-74) (1838-1875) Les Toréadors Prélude Habañera

Seguedille Les Dragons d’Alcala La Garde montante Aragonaise Nocturne Chanson du Toréador Intermezzo Danse bohème

INTERMISSION

DEBUSSY Danses sacrée et profane (Sacred and Profane Dances) (1904) (1862-1918)

Danse sacrée: Très modéré— Danse profane: Modéré Allegra Lilly, harp

VAUGHAN WILLIAMS Tuba Concerto in F minor (1954) (1872-1958)

Prelude: Allegro moderato Romanza: Andante sostenuto Finale—Rondo alla tedesca: Allegro Michael Sanders, tuba

RAVEL Bolero (1928) (1875-1937)


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ACKNOWLEDGMENTS

These concerts are part of the Wells Fargo Advisors series.

These concerts are presented by the Thomas A. Koooyumjian Family Foundation.

David Robertson is the Beofor Music Director and Conductor.

The concert of Friday morning, May 1, is underwritten in part by a generous giftfrom Dr. and Mrs. Gordon Philpott.

The concert of Friday evening, May 1, is underwritten in part by a generous gift

from Mr. and Mrs. Andrew C. Taylor.The concert of Saturday, May 2, is underwritten in part by a generous gift fromMrs. Oliver M. Langenberg.

The concert of Sunday, May 3, is underwritten in part by a generous gift fromMr. and Mrs. Ted W. Beaty.

The concert of Friday morning, May 1, includes free coffee and doughnutsprovided through the generosity of Krispy Kreme.

Pre-Concert Conversations are sponsored by Washington University Physicians.

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


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FROM THE STAGEMichael Sanders, Principal Tuba, on Vaughan Williams’s Tuba Concerto in F

minor: “Vaughan Williams wrote the Tuba Concerto for Philip Catelinet of theLondon Symphony Orchestra. The piece was so challenging that Catlinet toldhis wife not to come to the concert because he didn’t want to be embarrassed.Nowadays, every tuba student plays this. “The second movement is very beautiful, a romanza . It has owing,bucolic melodies that sound much like other Vaughan Williams music—aBritish pastoral. “I’ve played it a number of times. I played it in high school when I was asenior in Fairfax, Virginia. I was chosen from my school to take part in a soloistcompetition in D.C. I played the rst movement with the U. S. Navy Band andwon the competition. I still have the plaque at home. And there was a $1,000scholarship included, which was pretty good money back then. I played it ona new Alexander C-tuba, a large bore German instrument. I don’t think I couldplay it on that now. I play it on F-tuba, which is what it’s meant for.”

Michael Sanders holds up his end of the brass section.

SCOTT F ERGUSON


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Attention, guys of a certain age: Stop thinkingabout Bo Derek. Just stop it right now.

Say what you will about 10, Blake Edwards’s1979 sex comedy starring Derek and DudleyMoore. For the most part, it has pretty muchslipped from our collective memory. But it is alsoone of the few times that (relatively) contempo-rary pop culture and classical music have shareda moment—and a rather intimate one at that. And

that was thanks to today’s featured piece, Ravel’sBolero. Dial the movie up on Net ix if you have to.10 was not the rst time the bold sensual -

ity of Bolero had been remarked upon, and thatis a quality evident in another of this weekend’spieces, selections from Bizet’s Carmen. Theformer came from the world of ballet, the latterfrom opera. Both were controversial at rst butsoon won coveted places in classical music’sessential canon.

The other two works on today’s programfeature instruments that are not often given thesolo spotlight. In the case of Debussy’s Sacred andProfane Dances, it is the harp, while Vaughan Wil-liams sheds some light on the orchestra’s low endwith his Tuba Concerto.

BLURRED LINESBY DANIEL DU RCHHOLZ

TIMELINKS

1873-74BIZETSelections from Carmen

Paul Verlaine woundsfellow French poet, friend,and lover Arthur Rimbaudwith pistol

1904DEBUSSYDanses sacrée et profaneRavel’sShéhérazade premieres in Paris

1928RAVELBolero Mickey Mouse appearsin Disney’s “SteamboatWillie”

1954VAUGHAN WILLIAMS

Tuba Concerto in F minorPresident Eisenhowerannounces detonation ofrst hydrogen bomb


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BornOctober 25, 1838, in ParisDied June 3, 1875, Bougival, nearParisFirst PerformanceMarch 3, 1875,Carmen wasconducted by AdolpheDeloffre, in ParisSTL Symphony PremiereNovember 13, 1914, Max ZachconductingCarmen excerptsfeaturing soprano MarieSundeliusMost Recent STL SymphonyPerformanceMay 20, 2011, Ward Stareconducting Suite No. 1Scoring2 utes2 piccolos2 oboes

English horn2 clarinets2 bassoons4 horns2 trumpets3 trombonestubatimpanipercussionharp

stringsPerformance Timeapproximately 28 minutes

GEORGES BIZETSelections from Carmen

BOLD AND BRAZEN One of the boldest, mostshocking, and—eventually—most successfuloperas of all time, Georges Bizet’s Carmen, pre-miered in Paris on March 3, 1875. But during itsinitial run at the Opéra-Comique, it was mostly afailure, playing to half-empty houses and draw-ing critical jeers for what parochial audiences sawas low subject matter and its brazen displays ofonstage sensuality and even murder.

Not everyone recoiled from Bizet’s daringdisplay of passion and true-to-life drama. Tchai-kovsky saw the production in Paris and called it“one of those few works which are destined tore ect in the highest degree the musical aspira -tions of an entire epoch.” Brahms was also a fan,and reportedly saw it 20 times. Nietzsche, mean-while, offered the characteristically caustic com-ment that Carmen should be used as an antidoteto the poison of Wagner’s operas.

All of that is ne, but it did Bizet himself nogood. By the time the opera was produced in Vienna, where it became a hit, and then through-out the rest of Europe and even America, Bizetwas dead, succumbing to a heart attack on June3, 1875. His was an especially cruel death in thatwith Carmen, Bizet had only just come into thefull ower of his genius, and that its perceivedrejection by the public spurred on his depres-sion and ill health. Had he survived until the Vienna production, things might have turnedout differently.

But Carmen was an understandably toughsell, at least at rst. Its heroine is also its villain—aseductress whose raw beauty, street smarts, anddangerous allure prove irresistible in ways thatpolite society might not be so quick to admit. Ver-

di’s La traviata also concerns a woman of ques-tionable morals, it has often been pointed out,but Violetta Valéry is redeemed at the end anddies in a more respectable fashion—of tuberculo-sis. Carmen’s realism, meanwhile—including theprotagonist’s onstage murder—was simply toomuch to take.

What is harder to fathom, however, is thecriticism from Bizet’s time that the opera’s music


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was tuneless and unmemorable. In fact, it isperhaps packed with more memorable melo-dies than any other opera. Indeed, the genius ofCarmen is not merely contained in its brave subject matter and lifelike presentation, but also inits multifaceted music and orchestrations thatfully esh out the opera’s characters, setting, andmood. It is a major reason why the misguidedreception that spurred on the tragedy of Bizet’ssad end turned into a timeless artistic triumph.

CLAUDE DEBUSSY

Danses sacrée et profane 19TH-CENTURY TECHNO GEEKS Music pro-gresses, at least in some lines of historical think-ing, thanks mostly to innovative ideas set forth bycomposers. At some point, one or more of theseartists tire of the restrictive forms placed uponthem, and they break free, moving music everforward. Or so the story goes. But sometimes there are other factors atplay—technology, for example, or in the caseat hand, the invention of a new kind of instru-ment; or more correctly, a variation on an estab-lished one.

In 1897, the venerable Parisian instrumentmaker Pleyel and Wolff commissioned GustavLyon to design a chromatic harp. In layman’sterms, the chromatic harp expanded on thestandard pedal harp by adding extra strings thatallowed a harpist to play a greater range of notes.

Seeking to develop a market for its newinstruments, Pleyel and Wolff attempted to con- vince conservatories to offer courses in the chro-matic harp. The company also commissionedClaude Debussy—famed for his groundbreakingPrélude à l’aprés-midi d’un faune and for the more

recent opera Pelléas et Mélisande —to compose awork that placed the instrument at its center. A revolutionary composer and a poten-

tially revolutionary instrument? It seemed like arevolutionary match. Debussy, after all, was nostranger to controversy and seemed to enjoy get-ting a rise out of anyone with a more staid senseof musical decorum.

BornAugust 22, 1862, inSt. Germain-en-LayeDiedMarch 25, 1918, in ParisFirst PerformanceNovember 6, 1904, in Paris,with soloist Lucille Wurmser-Delcourt, Édouard ColonneconductingSTL Symphony PremiereOctober 10, 1981, FrancesTietov was soloist, withLeonard Slatkin conductingMost Recent STL SymphonyPerformanceOctober 21, 1981, in Hannibal,Missouri, with Frances Tietov,Catherine Comet conductingScoringsolo harpstringsPerformance Timeapproximately 9 minutes


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That the match did not come off entirely as planned was not the fault of thecomposer. The chromatic harp turned out to be too cumbersome in a variety of ways. It was hard to tune and keep in tune, dif cult to play, and simply not asresonant as a standard harp. Without much fanfare, it was quickly abandoned.

A THIN LINE BETWEEN SACRED AND PROFANE Debussy’s Danses sacrée et profane , the work composed for the commission, remains in use, and no sacri-

ce is made in hearing the work played on a modern concert harp. The piecewas composed while Debussy’s life was in turmoil—he abandoned his wife foranother woman, which led to his wife attempting suicide—while professionallyhe was consumed with creating his orchestral masterpiece La Mer . The Danses is composed in two parts, obviously, the “sacred” and the “profane.” The latteris not meant to convey obscenity, but rather a devotion to nature and other

worldly concerns in contrast to the spiritual realm addressed in the former.Interestingly, the two dances do not contrast that much—read into thatwhat you will. But given Debussy’s unconventional ideas about harmony andtonality, the harp proves to be a particularly effective instrument, creatingrich textures both in synch and in contrast with the string orchestra. Debussyrecoiled from the term “impressionism” being placed upon his music, but it isappropriately applied here.

An interesting aside, given that Maurice Ravel is also featured on this pro-gram: After Pleyel and Wolff commissioned Debussy’s piece, Érard , the well-established maker of harps and pianos, commissioned Ravel to write a piecefor its harp. The result was Ravel’s 1905 work, Introduction and Allegro.

RALPH VAUGHAN WILLIAMSTuba Concerto in F minor

TUBA JUBILEE Ralph Vaughan Williams was one of the greatest English com-posers of the 20th century, but his work was deeply traditional, and no onewould mistake him for being among the musical mavericks of his age.

Yet, late into his years, after such triumphs as his great symphonies, Fan- tasia on Greensleeves, The Lark Ascending , and other works, Vaughan Williamsbecame unusually playful in some of his compositions, featuring instrumentsnot often spotlighted in orchestral performances; among them harmonica, vibraphone, ugelhorn, saxophone, and tuba.

Tuba?Indeed, introduced into orchestras barely a century before, the tuba is

a sometimes overlooked and sadly underappreciated instrument. Or it was,until Vaughan Williams wrote his Tuba Concerto in F minor, in 1954. TheLondon Symphony Orchestra [LSO]—at the time planning for its Golden Jubi-lee concert—asked Vaughan Williams if he had a new work that it could per-form for the occasion. This is what he offered, and the LSO accepted, knowingit had in its ensemble an exceptional tubist. CONVENTIONAL/UNCONVENTIONAL The piece proceeds in three conven-tional movements. What is decidedly unconventional about the concerto,


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however—beyond its simple existence—is therespect Vaughan Williams accords an instru-ment more often associated with bombast andlow comedy. Some of the early reviews, perhapslazily toeing the stereotypical line about theinstrument, characterized the concerto as exhib-iting those qualities.

But nothing could be further from the truth. What is perhaps most remarkable about thepiece is its almost complete avoidance of thetuba’s rumble and roar. Instead, the concertobrings to light its oft-overlooked sonorous andlyrical capabilities.

Vaughan Williams did not achieve this onhis own. The LSO’s principal tubist, Philip Cateli-net, took on the challenge of playing the concerto,and worked through the piece with the composerhimself. The concerto demanded a virtuosic per-formance as well as physical stamina. Howeverlight and playful the music plays, a tuba is still aheavy thing.

But the effort is worth it. Vaughan Williams’sTuba Concerto expanded the possibilities of notonly the instrument, but the classical repertoireas well.

BornOctober 12, 1872, inGloucestershire, EnglandDiedAugust 26, 1958, in LondonFirst Performance June 13, 1954, Philip Catelinetwas soloist, with Sir JohnBarbirolli conductingthe London SymphonyOrchestraSTL Symphony PremiereSeptember 25, 1987, GenePokorny was soloist, withLeonard Slatkin conductingthe only previousperformanceScoringsolo tuba2 utespiccolooboe2 clarinetsbassoon2 horns2 trumpets2 trombonestimpanipercussionstringsPerformance Timeapproximately 12 minutes

R o t h e n s t e i n


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MAURICE RAVELBolero

MASTERPIECE WITH NO MUSIC Composers areoften their own harshest critics and Maurice Ravelwas not immune to this. Fellow composer ArthurHonegger has said that Ravel once remarked tohim “I’ve written only one masterpiece, Bolero.Unfortunately, there’s no music in it.” It’s a goodline, but in truth, Ravel was also keenly aware thatthe music had a limited scope, serving as it didas a backdrop for the Russian dancer and actressIda Rubinstein, who commissioned it. Ravel alsosaid of Bolero, “I am particularly desirous thereshould be no misunderstanding about this work.It constitutes an experiment in a very special andlimited direction and it should not be suspectedof aiming at achieving anything different than, oranything more than it actually does achieve.” Though essentially one long, slow buildingcrescendo, it accomplishes quite a lot with mini-mal elements—its insistent rhythm and sinuous,

singular theme creating a hypnotic effect, pass-ing from one section of the orchestra to another,until, eventually, thanks to a modulation, it burstsforth with an explosive climax. Its sexual context was explicit from the very rst, as Rubinsteinportrayed a Gypsy woman dancing on a table ina Spanish saloon, gyrating lustfully in front of acrowd of men.

Critics sneered at what they perceived as thepiece’s simplicity and vulgarity, but at its premiereat the Paris Opéra in November 1928, Bolero caused an immediate sensation. One member ofthe cheering audience was heard screaming “Aufou! Au fou!” (“The madman! The madman!”)—approvingly, we assume?—to which Ravel laterquipped, “That lady…she understood.”

Program notes © 2015 by Daniel Durchholz

BornMarch 7, 1875, Ciboure, insouthwest FranceDiedDecember 28, 1937, in ParisFirst PerformanceNovember 22, 1928, with theTroupe of Ida Rubinsteinperforming at the Paris OpéraSTL Symphony PremiereFebruary 28, 1930, EugeneGoossens conducting

Most Recent STL SymphonyPerformance June 8, 2013, Ward StareconductingScoring2 utes2 piccolos2 oboesoboe d’amoreEnglish horn2 clarinetsE-at clarinetbass clarinet2 bassoonscontrabassoon4 horns4 trumpets3 trombonestubasoprano saxophone

tenor saxophonetimpanipercussioncelestaharpstringsPerformance Timeapproximately 13 minutes


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A passionate and compelling communicator withan extensive orchestral and operatic repertoire,

American conductor David Robertson has forgedclose relationships with major orchestras aroundthe world. Robertson nears the nale to his 10thseason as Music Director of the 135-year-old St.Louis Symphony. In January 2014, Robertsonassumed the post of Chief Conductor and Artis-tic Director of the Sydney Symphony Orchestrain Australia.

To celebrate his decade-long tenure with theSt. Louis Symphony in 2014-15, Robertson hasshowcased 50 of the orchestra’s musicians insolo or solo ensemble performances throughoutthe season. Other highlights include an upcom-ing concert performance of Verdi’s Aida featur-ing video enhancements by S. Katy Tucker, andlast March, 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 Sym-

phony in a Carnegie Hall performance of Brit-ten’s Peter Grimes on the Britten centennial that 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 Noirand the Saxophone Concerto, which receivedthe Grammy® Award for Best Orchestral Perfor-mance, in February 2015.

Robertson is a frequent guest conduc-tor with major orchestras and opera housesaround the world. In his inaugural year with theSydney Symphony Orchestra, he led the ensem-

ble 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 nale, Aida ,May 7 and 9.

M i c h a e l

T a m m a r o


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ALLEGRA LILLY

Allegra Lilly was appointed Principal Harp ofthe St. Louis Symphony in 2013 and joined theorchestra at the start of the 2013-14 season. Shehas also performed with the New York Phil-harmonic; the Boston, Chicago, Pittsburgh,Toronto, and Charlotte Symphonies; and the St.Paul Chamber Orchestra. Lilly has acted as prin-cipal harpist of several summer music festivalorchestras, including Spoleto Festival USA, Fes-tival dei Due Mundi (Spoleto, Italy), ArtosphereFestival, Castleton Festival, and the NationalRepertory Orchestra.

Equally at home as a chamber musician,Lilly has performed with the Missouri ChamberMusic Festival, Chamber Music Festival of Lex-ington (Kentucky), Argento Chamber Ensemble, AXIOM Ensemble, and Carnegie Hall’s Ensemble ACJW. An avid promoter of new music, she gavethe New York premiere of Augusta Read Thom-as’s Absolute Ocean for soprano, harp, and cham-

ber orchestra with soprano Amelia Watkins andCamerata Notturna. Other notable performancesof recent compositions include the American pre-mieres of operas by Philip Glass, Guo Wenjing,and Toshio Hosokawa at Spoleto Festival USA,and the New York premiere of William Kraft’sEncounters XII at the FOCUS! Festival with per-cussionist David Stevens.

Since making her solo debut at the age of 12with the Detroit Symphony, Lilly has appeared assoloist with the Juilliard Orchestra, National Rep-ertory Orchestra, International Symphony, MetroChamber Orchestra, and numerous orchestrasthroughout her home state of Michigan. As a solocompetitor, she has taken third place in the Con-cours International de Harpe in Nice and secondplace in the American String Teachers Associa-

tion National Solo Competition.Born in Detroit, Allegra Lilly began her studyof the harp with Ruth Myers at age seven. Shemoved to New York at 18 to join the studio ofNew York Philharmonic Principal Harpist Nancy Allen at the Juilliard School, where she earnedher Bachelor’s and Master’s Degrees.

Allegra Lilly makes her St.Louis Symphony solo debutwith these concerts.

D I L I P

V I S H W A N A T


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MICHAEL SANDERS

Michael Sanders joined the St. Louis Symphonyas Principal Tuba in March 1991. Before movingto St. Louis, Sanders served as Principal Tuba ofthe San Antonio Symphony beginning in 1973,and as Interim Principal Tuba of the Utah Sym-phony during the 1987-88 and 1989-90 seasons.Sanders has performed as soloist with theseorchestras on several occasions as well as at the1986 International Tuba-Euphonium Conferencein Austin, Texas.

Sanders has lectured and given masterclasses on orchestra performance at the Key-stone Brass Institute hosted by Summit Brass,the National Orchestral Brass Symposium heldat Cincinnati Conservatory, at the University ofMichigan, and at the Manhattan School of Musicas part of its Orchestral Performance Program.

As a student, Michael Sanders attended theEastman School of Music where he was a memberof the Eastman Wind Ensemble and performed

regularly with the Rochester Philharmonic. Hisinstrumental studies have been with Arnold Jacobs, Wayne Barrington, Donald Knaub, andCherry Beauregard.

Michael Sanders rstinstrument for which hereceived lessons was the

accordion.

D i l i p V i s h w a n a t


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PLAYING VAUGHAN WILLIAMS

TUBA CONCERTO:MICHAEL SANDERS, PRINCIPAL TUBA“I’ll be playing the concerto on anF-tuba, which is higher pitchedwith a smaller mouthpiece thanthe contrabass tuba, which is lowand aggressive—the tuba I played

on the Shostakovich 8 [in March].It’s easy to go back and forth forincidental solos in the orchestra,but not so much when playing afull concerto.

“I’ve been practicing the con-certo since November, and I have aweek off in April before I play it inMay, which is a real stroke of luck.”

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, it’s easy to recognize that Romanza (in Vaughan Williams’s TubaConcerto), means romance, but how is that word being de ned in the secondmovement?

Romanza: it’s a word that goes back, at least to 14th-century epic Spanish ballads,tales of legend and history sung for the entertainment of the aristocracy; bythe 17th century in France, it had become a simple melody expressing tragiclove, a kind of “artless” folk art, which, of course, grew more sophisticated; bythe 19th century Brahms writes Romanzen and the Russians call any song inFrench a romance; as you can imagine, the romance gets a little syrupy andsentimental, but Chopin gets ahold of the idea and writes nocturnes—dreamy,nocturnal— ne romances, indeed; Vaughan Williams follows in that tradition

Michael Sanders

Dilip Vishwanat


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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.

Prosper Mérimée, CarmenNorilana BooksThe 1845 novella that inspired Bizet’sgreat opera

Paul Roberts,Claude Debussy (20th Century Composers)Phaidon

Excellent text combined with excellentillustrations, important for a composer ofthe Impressionist era

Tony Palmer, director, O Thou Transcendent:The Life of Ralph Vaughan WilliamsDVD A penetrating biography of a complicatedartist, dispelling the sweet “Uncle Ralph”myths

Maurice Béjart, choreography, Ravel’s Bolero YouTube You can nd any number of modern dance Boleros on the internet, at leasttwo with choreography by Béjart, one featuring Maya Plisetskaya and theother Jorge Donn

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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AUDIENCE INFORMATIONBOX OFFICE HOURS

Monday-Saturday, 10am-6pm;closed Sunday. Concert Hours: Fridaymorning Coffee Concerts open 9am;all other concerts open 2 hours prior toconcert through intermission.

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If you can’t 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 Of ce at 314-534-1700 and be sure to have your ticketswith you when calling.

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

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Age for admission to STL Symphonyand Live at Powell Hall concerts varies, however, for most events therequired age is ve or older. All patrons,regardless of age, must have their owntickets and be seated for all concerts.

All children must be seated with anadult. Admission to concerts is at thediscretion of the House Manager.

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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.Click “About Us,” then “Hall Rental” formore information.


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B O U T I Q U E

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St. Louis Symphony Extra - May 2, 2015

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