Going Baroque: Bach's Brandenburg Concerto No. 5

MASTERWORKS • 2014/15 GOING BAROQUE: BACH’S BRANDENBURG CONCERTO NO. 5 COLORADO SYMPHONY MARK WIGGLESWORTH, conductor SIMONE DINNERSTEIN, piano YUMI HWANGWILLIAMS, violin BROOK FERGUSON, flute

FRIDAY’S CONCERT IS GRATEFULLY DEDICATED TO THE NORTHERN TRUST COMPANY SATURDAY’S CONCERT IS GRATEFULLY DEDICATED TO BOB DEIBEL AND OFFICESCAPES GROUP

Friday, January 16, 2015 at 7:30 pm Saturday, January 17, 2015 at 7:30 pm Boettcher Concert Hall

BACH

Brandenburg Concerto No. 5 in D major, BWV 1050 Allegro Affettuoso Allegro INTERMISSION

BRUCKNER

Symphony No. 4 in E-flat major, “Romantic” Ruhig bewegt (nur nicht schnell) [Allegro moderato] Andante Bewegt Mäßig bewegt

PROGRAM 4 SOUNDINGS 2014/15 | COLORADOSYMPHONY.ORG

MASTERWORKS BIOGRAPHIES MARK WIGGLESWORTH, conductor Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music in London.

A few weeks after leaving the Academy, he won the Kondrashin International Conducting Competition in the Netherlands, and since then has worked with many of the world’s leading orchestras and opera companies. In April 2014, the English National Opera announced that Wigglesworth would be the company’s next Music Director, beginning in September 2015. In 1992 he became Associate Conductor of the BBC Symphony Orchestra and further appointments included Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales. Highlights of his time with BBC NOW included several visits to the BBC Proms, a performance of Mahler’s tenth symphony at the prestigious Amsterdam Mahler Festival in 1995, and a six-part television series for the BBC entitled Everything To Play For. In the recording studio, Wigglesworth’s recordings have centered around a project with BIS Records to record all the symphonies of Shostakovich, a cycle which has received critical acclaim throughout the world. Other recordings include live performances of Mahler’s sixth and tenth symphonies issued by the Melbourne Symphony on the MSO Live label, Peter Grimes from the Glyndebourne Festival, Don Giovanni from the Sydney Opera House, a disc of English music with the Sydney Symphony, and most recently the two Brahms Piano Concertos with Stephen Hough and the Salzburg Mozarteum Orchestra.

SIMONE DINNERSTEIN, piano

LISA MARIE MAZZUCCO

American pianist Simone Dinnerstein, whose recordings have continuously topped the classical charts, will release her next Sony album this February. Entitled Broadway-Lafayette, it features Gershwin’s Rhapsody in Blue, Ravel’s G Major concerto and The Circle and the Child, a new concerto written for her by American composer Philip Lasser, all recorded with the MDR Leipzig Radio Symphony Orchestra under Kristjan Järvi. Highlights of this season include recitals across the USA including Wolf Trap, Princeton’s McCarter Theatre, Portland Piano International, and Seattle’s UW World Series as well as debuts with the Fort Worth and Nashville Symphony Orchestras.

Her international engagements this season include a tour of Germany with Bach Collegium Munich, a performance at the Leipzig Gewandhaus, and debuts with the Jerusalem Symphony and Turino’s Orchestra Sinfonica Nazionale della RAI. Dedicated to her community, in 2009 Dinnerstein founded Neighborhood Classics, a concert series that raises funds for New York City public schools. Simone Dinnerstein lives in Brooklyn, New York. She is managed by IMG Artists and is a Sony Classical artist.

For more information, please visit simonedinnerstein.com.

SOUNDINGS 2014/15 | COLORADOSYMPHONY.ORG PROGRAM 5

MASTERWORKS BIOGRAPHIES YUMI HWANGWILLIAMS, violin Yumi Hwang-Williams made her debut at the age of 15 as a soloist with the Philadelphia Orchestra, six years after having emigrated from South Korea.

A graduate of the Curtis Institute of Music, her exceptional musicianship has earned her a reputation as an artist who, in addition to her thoughtful and stylish interpretations of the classics, is known for her commitment to exploring and performing the works of contemporary composers.

Featured in a Strings magazine cover article in 2008, she was described as a “Modern Prometheus” who has “emerged as a fiery champion of contemporary classical music.” Her interpretations of works by Aaron Jay Kernis, Michael Daugherty and Christopher Rouse have earned unreserved approval from the composers as well as critical acclaim. She has performed Korean composer Isang Yun’s Violin Concerto No. 1 with the Basel Symphony Orchestra, Switzerland under the baton of Dennis Russell Davies who immediately invited her to play the concerto again with the Bruckner Orchester, in Linz, Austria in October 2009. Yumi Hwang-Williams has served as Concertmaster of the Colorado Symphony since 2000. She is also Concertmaster of the Cabrillo Festival Orchestra, has performed as Guest Concertmaster for the National Arts Centre Orchestra, Ottawa, at the invitation of Music Director Pinchas Zukerman, and has been Guest First Violinist with the Philadelphia Orchestra. She is a faculty member of the Lamont School of Music, University of Denver.

BROOK FERGUSON, flute Hailed by The Washington Post as “brilliantly virtuosic,” flutist Brook Ferguson is a versatile solo and orchestral artist. The Miami Herald praised Ferguson’s performance of Carl Nielsen’s Concerto for Flute with the New World Symphony as “soaring, fraught with emotion, possessing sterling technique with pure tone, showing herself fully in synch with Nielsen’s enigmatic world, putting across the playfulness, passing shadows and sheer strangeness of this music with strong impact.” Ferguson was appointed Principal Flutist of the Colorado Symphony in 2010 and has appeared as Principal Flutist of the innovative River Oaks Chamber Orchestra since 2012. Previously, she completed a three-year fellowship with the New World Symphony, where she had the privilege of working with Michael Tilson Thomas and many other great musicians and conductors. She has made Principal appearances with the Grand Teton Festival Orchestra, the Baltimore Symphony and the Pittsburgh Symphony. Prior to her appointment with the New World Symphony, Ferguson was the Acting Principal Flutist of the Knoxville Symphony and the Principal Flutist of the Delaware Symphony Orchestra. Ferguson received her Master of Music from Carnegie Mellon University as a student of Jeanne Baxtresser and Alberto Almarza and her Bachelor of Music and Graduate Performance Diploma from the Peabody Institute studying with the Marina Piccinini. Other important teachers and influences are Doriot Anthony Dwyer, Paula Robison and Mark Sparks.

MASTERWORKS PROGRAM NOTES MASTERWORKS J.S. BACH: Concerto No. 5 in D major, BWV 1050 Scored for Flute, Violin, Harpsichord, and strings. Duration 21 minutes. Last performance was on April 1-3, 1999, with Marin Alsop conducting and soloists Pamela Endsley, flute; Yumi HwangWilliams, violin; and Kenneth Cooper, harpsichord.

One of the signal achievements of the music of the Baroque era was inauguration of the concerto. The fundamental principle of the genre is the contrasting of a soloist, a group of soloists, or even two or more groups of musicians with each other during the course of a composition. Almost every significant composer of the time composed them, but none reached the zenith of achievement in the genre as did J. S. Bach in his six Brandenburg Concertos late in the style period. From 1717 until 1723 he was in the employ of Prince Leopold of Cöthen, a small court in eastern Germany. The Brandenburg Concertos stem from this time: the full score in Bach’s hand bears the date of 24 March 1721, but it is probable that simply marks the completion of the set; he certainly had been working on them over a period of time. They bear the title “Brandenburg Concertos” owing to their dedication to the Margrave of Brandenburg, Christian Ludwig. Bach had played before him earlier in Berlin and the concertos were the result of an invitation to provide some works for the Margrave. Nothing came of it—no money, no thanks, not even a by your leave. But the Margrave’s loss is posterity’s gain.

Bach’s soaring imagination comes to the fore in the Brandenburg Concertos in many ways, not the least of which is his striking use of a variety of instruments in various combinations. In addition to the normal body of strings that is familiar, we encounter trumpet, recorders, French horns, oboes, flute, violino piccolo, violas, violas da gamba, and harpsichord. The combination of flute, violin, and keyboard was a common chamber ensemble during Bach’s time, and in No. 5 he uses that combination as his solo group, accompanied by a small orchestra (the ripieno).

This is the first composition of his oeuvre wherein Bach calls for the transverse flute, so familiar today, and not the recorder. The soloists are supported by an omnipresent pair, consisting of a keyboard and a bass instrument, the continuo—a group whose importance in Baroque music one wag once compared to the “ . . . presence of the Holy Spirit—subtle, and conspicuous only in Its absence.”

As with most Baroque music, prepare for long phrases, literally “spun out,” as the faster sections take their time to reach a pause. Melodies tend toward short motives that often “chug” along in a relentless motoric, but charming fashion. Economy of means is an artistic virtue— making the most of little—and Bach was the master of it. The slow movements, while still exhibiting the long phrases of the faster ones, generally fashion their melodies, not out of short incisive motives, but seemingly as long-breathed instrumental “operatic arias.” The Italian vocal influence is unmistakable here, and again, it is one of Bach’s defining traits.

The first movement opens with the recurring “main theme” played by all, followed by sections that feature the soloists—alone and answering back and forth between each other with contrasting material. From time to time the ripieno will return with the familiar opening theme. While the parts for the solo violin and flute are certainly of great merit, it is the role of the keyboard that is renowned in the first movement. Finally, the keyboard player gets to SOUNDINGS 2014/15 | COLORADOSYMPHONY.ORG PROGRAM 7

MASTERWORKS PROGRAM NOTES step to the front of the stage! In contradistinction to that instrument’s part in all of the other Brandenburg Concertos, in this movement it is not a “backup” instrument, but a real soloist.

Usually, in the somewhat “jazz rhythm section” tradition of the era, the keyboard player literally improvised his own part according to the indicated chords. Now, however, Bach has written out a true virtuosic part. While sounding somewhat like an improvised cadenza, it is in fact a remarkable, composed solo passage that reflects the composer’s own stunning executant ability. A return of the ripieno with the opening material closes out the movement.

The slow, middle movement features only the three soloists. The last movement is a sprightly jig that is quickly joined by the ripieno. Here, as in all Baroque music, there is no question of a “development” of musical ideas that we find in later eras, but rather, a charming alternation of a familiar returning idea, contrasted with an ever-new succession of fresh ideas. Not unlike dolphins happily swapping jumps and dives in the front of a ship, the soloists and ripieno careen to the end.

o ANTON BRUCKNER: Symphony No. 4 in E-flat major, “Romantic” 1888 3rd version; Benjamin Korstvedt, editor.

Scored for 3 flutes, pairs of oboes, clarinets, and bassoons; 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Duration is 64 minutes. Last performed on April 1 & 2, 2007, with Peter Oundjian on the podium.

It’s common musicological coin to observe that there is little in the life and personality of Anton Bruckner that informs our understanding and appreciation of his music. While he composed a large body of significant sacred vocal music, it is his nine symphonies (the last not completed) that have established his importance as a major composer of the late nineteenth century. His is the story of a provincial man of extremely modest origins, of little early genius, and who endured decades of obscurity. And yet, despite inordinately long years of assiduous study and an innate obsequiousness, his patience gradually yielded widespread recognition of his talents and creations in early old age.

Even at the end of his active career, when he held a prestigious position teaching music theory at the Vienna Conservatory, he remained a curious rustic, simple in his eccentric ways, and naïve in the ways of the world. Many musical notables of his time could not restrain from ridiculing his peasant ways, his remarkable penchant for seeking hopeless relations with teenage girls, his bouts with obsessive counting of everything—including leaves on trees—and a bizarre fascination with the dead. That’s certainly burden enough on one’s chances of artistic success in the elegant, intellectual world of nineteenth-century Vienna, and yet Bruckner’s symphonies have come to assume an essential position in the development of that genre in late Romantic musical style. Though unique, they are nonetheless a link in the chain of evolution PROGRAM 8 SOUNDINGS 2014/15 | COLORADOSYMPHONY.ORG

MASTERWORKS PROGRAM NOTES of the Austro-German symphonic tradition--from Beethoven and Schubert through to Gustav Mahler. While laboring in obscurity as a village schoolmaster, music teacher, and organist, his assiduous musical studies—right into his forties—gradually enabled him to develop a remarkable personal vision of symphonic form, texture, and psychological content.

His works are (in)famously long, repetitious, frequently really loud, often dense in texture, heavy with the brass, make frequent use of a rather rare rhythmic figure (more on this later), teeming with contrapuntal motifs, and often seem static in the absence of a sense of development and forward motion. But—these traits are not fatal, or even criticisms. They are an essential part of magnificent sound structures whose mystical, euphonious—and often recondite---nature unfolds at a leisurely pace, the musical logic of which often eludes one until the end.

He was a master of harmony and counterpoint, owing not only to his long years as a church organist and respected improviser on that instrument, but also to his detailed study of the subject, finally succeeding his famous teacher in Vienna at the Conservatory. His mastery of the richness of late-Romantic harmony often yields startling juxtapositions of chords and keys, unprepared dissonances, and advanced sonorities, but those are necessary elements of his pushing the musical boundaries of the time. He crafted new and involved systems of phrase structure and metrical analysis, and altered ways in which musical “landmarks” appear as his movements unfold. That’s a lot, no doubt, and accounts for much of the “Bruckner sound” for the listener.

Yet, notwithstanding all of these particular contributions to the development of the symphony, there is so much of the familiar in his approach. His works are in the conventional four movements, with variants of sonata form flanking the usual interior slow and scherzo/ trio movements. The orchestral instruments are the usual for the time, except in the last three symphonies, which bring in Wagnerian tubas as reinforcement for the horn section. Unlike his successor and admirer, Gustav Mahler, he felt no existential need to incorporate the human voice, birdcalls, maudlin village bands, bundles of switches, mandolins, cowbells, and other novelties in the search for personal expression. In general, while much has been previously made of his admiration for Wagner and that musical style—it is generally clear to most, now, that his fundamental orientation is to the tradition of Mozart, Beethoven, and Schubert. He simply pushed the conventions of the symphony much further than did, say, Brahms. Given the constant revisions that he and his associates made to his symphonies, the many manuscript and printed versions, and even the two major collected scholarly editions of his oeuvre, there are multiple versions of all of them. His Fourth Symphony exists in at least three major versions. The one that will be performed here is basically the “third” version from 1888—in yet a new edition, based upon the latest scholarship. While the “second” version saw far more performances in the last halfcentury or so, the “third” is enjoying a renaissance.

The first movement begins with a typical Bruckner trait: a shimmering “halo” of strings from which mist the signature horn theme appears. The horn, of course, is the most “romantic” of instruments, and its choice here is not fortuitous—Bruckner’s adroit scoring imaginatively evokes the antique, and the instrument’s sound comes almost to dominate the whole work.

SOUNDINGS 2014/15 | COLORADOSYMPHONY.ORG PROGRAM 9

MASTERWORKS PROGRAM NOTES As a conservative composer Bruckner did not plaster descriptive terms or programs to his works, but the Fourth Symphony is an exception, hence the moniker, “Romantic”-–in the sense of a medieval tale. He left behind several versions of the vague programmatic elements that underlay this work, and the idea of a brass instrument sounding the dawn from high in a tower is our inspiration here. At a leisurely pace the idea grows, replete with intimations of nature awakening and knights riding out on “proud steeds.” Finally, a huge orchestral swell leads from this tranquility to the advent of the heavy brass with the central theme of the movement, in his famous 2+3 rhythm. After an exploration of this stentorian idea, contrasting, lighter themes eventually arrive, redolent of graceful Austrian dances reminiscent of Schubert—replete, here, with the composer’s penchant for abrupt forays into distant keys. Soft, spooky, woodwind solos; quiet textures over rolling timpani; exuberant outbursts from the brass; and the opening horn motif are woven throughout the development, ending with a glorious brass chorale filling the hall. Bruckner is known for his innovations in musical architecture, and the recap is typical. It is not a literal recapitulation of the opening section, but takes its time to explore the material further, and not in a way that implies a looming close. Rather, his extensive coda ultimately gives the ear the harmonic signs that we have, at last, reached the denouement—signaled by dynamic unison horns proclaiming the opening motif. Like his idol, Wagner, Bruckner takes his time.

Bruckner’s slow movements are usually audience favorites, and this one is a particularly charming one, starting with a doleful tune over a “walking” bass. Later, a contrasting section offers a soft chorale. Moods and ideas alternate, including some cheerful moments, but Bruckner being Bruckner, this meditative interlude leads to an inevitable heroic triumph before the pensive end.

The scherzo and trio is the composer’s new one for the second version of the symphony from 1878. Deemed a “Jagd” (Hunting) scherzo by the composer, this movement also takes its programmatic inspiration from the Middle Ages. Unusually, the outer sections are not in the traditional three-beat meter, but in duple time, and are an absolute tour-de-force for virtuosic horn display—and all the brass, for that matter. Horses, dogs, deer—and horns--to the fore! The middle section is a gentle, Schubert-like Austrian Ländler, which Bruckner characterized as a mid-day repast for the hunters.

The finale, like the previous movement, is a significantly revised one. Opening with a long, throbbing pedal in the basses, tension builds as the horns and others intone a variant on a familiar motif that leads into a fortissimo imprecation from the brass of granite-like strength.

Only Bruckner could have written and scored this, but it is certainly suggestive of the Wagner he adored—shades of Wotan’s Farewell. Soon the contrasting second group arrives, accompanied by the throbbing of the opening and we’re surrounded by a bucolic Austrian atmosphere. But, even in these salubrious tunes, listen for the inevitable interjection of the flatted scale step that has informed so much of this symphony—from beginning to end. It’s difficult to follow the ins and outs of Bruckner’s creative manipulations of sonata form, here, but the unity of the materials is palpable, nonetheless. Motifs, scale alterations, and the ubiquitous Bruckner 2+3 rhythm

PROGRAM 10 SOUNDINGS 2014/15 | COLORADOSYMPHONY.ORG

MASTERWORKS PROGRAM NOTES are all woven together as the finale unfolds at a leisurely pace, constantly shifting in moods.

The long coda finally brings a sense of finality, in a buildup that is a sonic and psychological marvel. Probably far too much has been averred about the “influence” wrought by Wagner on his acolyte, Bruckner. But there can be no question but that while the former’s fingerprints are frequent in the latter’s work, Bruckner borrowed abstemiously and paid back with interest. He created his own, unique masterpieces, and this work is a noble and distinguished example.

--Wm. E. Runyan

PUCCINI’S TOSCA FEB 13-157

FRI-SAT 7:30 SUN 1:00 Andrew Litton, conductor Takesha Meshe Kizart, Tosca Stephen Powell, Scarpia Carl Tanner, Cavaradossi Gabriel Preisser, Angelotti & Jailer James Held, Sacristan Luke Williams, Sciarrone Colorado Symphony Chorus, Duain Wolfe, director Colorado Children’s Chorale, Deborah DeSantis, director Robert Neu, director Puccini Tosca Semi-staged production

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SOUNDINGS 2014/15 | COLORADOSYMPHONY.ORG PROGRAM 11

AN EVENING OF ROMANCE WITH JIM BRICKMAN FEB 21 SAT 7:30

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BOX OFFICE MON-FRI 10 AM - 6 PM 7 SAT 12 PM - 6 PM