DETROIT SYMPHONY ORCHESTRA

Pvs Classical Series

Title Sponsor:

JADER CONDUCTS TCHAIKOVSKY’S FOURTH SYMPHONY

Friday, June 2, 2023 at 10:45 a.m.

Saturday, June 3, 2023 at 8 p.m.

Sunday, June 4, 2023 at 3 p.m. at Orchestra Hall

JADER BIGNAMINI, conductor ISATA KANNEH-MASON, piano

Giuseppe Martucci Nocturne No. 1, Op. 70 (1856 - 1909)

Ernő Dohnányi Variations on a Nursery Tune for Piano (1877 - 1960) and Orchestra, Op. 25

Introduction. Maestoso

Theme. Allegro

Variation I. Poco più mosso

Variation II. Risoluto

Variation III. L’istesso tempo

Variation IV. Molto meno mosso (Allegretto moderato)

Variation V. Più mosso

Variation VI. Ancora più mosso (Allegro)

Variation VII. Walzer (Tempo giusto)

Variation VIII. Alla marcia (Allegro moderato)

Variation IX. Presto

Variation X. Passacaglia (Adagio non troppo)

Variation XI. Choral (Maestoso)

Finale fugato (Allegro vivace)

Isata Kanneh-Mason, piano

Intermission

Piotr Ilyich Tchaikovsky Symphony No. 4 in F minor, Op. 36 (1840 - 1893)

I. Andante sostenuto

II. Andantino in modo di canzona

III. Scherzo: Pizzicato ostinato

IV. Finale: Allegro con fuoco performance will be via

PROGRAM AT-A-GLANCE | JADER CONDUCTS TCHAIKOVSKY’S FOURTH SYMPHONY

Fate, Lullabies, and Nursery Rhymes

Music has the power to bring stories to life. Martucci’s Nocturne No. 1 was originally written to serve as night music, seeming to belong as the accompaniment of a romantic scene near the end of a silent film, or as the depiction of a child peacefully cradled to sleep. Dohnányi’s Variations on a Nursery Tune also borrows from bedtime favorites with its variations on the iconic “Twinkle, Twinkle, Little Star.” After an abrupt, startling introduction by the orchestra, the solo piano begins with a simple, almost juvenile outline of the melody, as if a child were picking out the notes one by one at the piano with their index fingers. The piece then swiftly progresses and takes the audience through a virtuosic journey of childlike wonder and the art of growing up, varying and distorting the melody as if it were depicting life’s abundant obstacles, an existentialist contemplation.

This existentialism continues through Tchaikovsky’s famous “fate” motif opening his Fourth Symphony with an unmistakable melody played by the brass. Tchaikovsky described this motif as “that fateful force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above the head like the sword of Damocles, unwaveringly, constantly poisoning the soul. It is an invincible force that can never be overcome—merely endured, hopelessly.” This four-movement symphonic masterpiece concludes the program with a lively and joyful finale, awakening a newfound sense of hope.