24 DVOŘÁK NEW WORLD SYMPHONY

The Rakes Of Mallow Beauing, belleing, dancing, drinking, Breaking windows, swearing, sinking, Ever raking, never thinking, Live the Rakes of Mallow.

Spending faster than it comes, Beating waiters, bailiffs, duns, Bacchus’ true begotten sons, Live the Rakes of Mallow.

One time nought but claret drinking, Then like politicians, thinking Raising funds when funds are sinking, Live the Rakes of Mallow. Living short but merry lives, Going where the devil drives, Having sweethearts, but no wives, Live the Rakes of Mallow.

Racking tenants, stewards teasing, Swiftly spending, slowly raising, Wishing thus to spend their days in Raking, as at Mallow.

Then to end this raking life, They get sober, take a wife, Ever after live in strife, Wishing e’er for Mallow.

arr. Desmond Earley The Parting Glass

Oh, all the money that e’er I had, I spent it in good company, And of all the harm that e’er I’ve done, alas it was to none but me,

And all I’ve done for want of wit to my mem’ry now I can’t recall; So fill to me your parting glass, Goodnight and joy be with you all.

Of all the comrades that e’er I had, they’re sorry now for my goin’ away; And of all the sweethearts that e’er I had they wish me one more day to stay. But since it falls unto my lot that I should rise and you should not, I’ll gently rise an’ softly call, Good night and joy be with you all.

A man may drink an’ not be drunk; A man may fight an’ not be slain; A man may court a pretty girl, and perhaps be welcom’d home again.

But since it has so order’d been a time to rise an’ a time to fall, Fill to me your parting glass, Goodnight and joy be with you all.

Hoss Brock, tenor soloist

arr. Erik Jones I’ll Tell My Ma (Irish Children’s Song)

I’ll tell my ma when I get home, the boys won’t leave the girls alone. They pull my hair, and they steal my comb, but that’s alright, ‘till I get home.

She is handsome, she is pretty, she is the belle of Belfast city. She is courtin’ one, two, three, please won’t you tell me who is she?

Albert Mooney says he loves her, All the boys are fightin’ for her. Knock at the door and ring the bell, hey, my true love are you well? Then out she comes as white as snow, rings on her fingers and bells on her toes. Our Jenny Murry says she’ll die if she don’t get the fellow with the rovin’ eye.

Oh, let the wind and the rain and the hail go high with the snow come a-tumblin’ down from the sky. Oh she’s as sweet as my ma’s apple pie and she’ll soon get a new fellow by and by.

When she gets a lad of her own she won’t tell her ma when she gets home. Let them all come as they will, it’s Albert Mooney she loves still.

Carlos Kalmar Artistic Director and Principal Conductor Christopher Bell Chorus Director

Friday, August 6, 2021 at 6:30 p.m. Saturday, August 7, 2021 at 6:30 p.m. Jay Pritzker Pavilion

SIBELIUS VIOLIN CONCERTO

Grant Park Orchestra

Carlos Kalmar, conductor Augustin Hadelich, violin

Jean Sibelius

Concerto for Violin in D Minor, op. 47

Allegro moderato

Adagio di molto

Allegro, ma non tanto

AUGUSTIN HADELICH

Pyotr Ilyich Tchaikovsky

Symphony No. 1 in G Minor, op.13, Winter Daydreams

Daydreams on a Winter Journey: Allegro tranquillo

Land of Gloom, Land of Mist: Adagio cantabile ma non tanto

Scherzo: Allegro scherzando giocoso

Finale: Andante lugubre; Allegro moderato; Allegro maestoso

This concert is presented with generous support from ComEd and sponsored by Walter E. Heller Foundation with a grant given in memory of Alyce DeCosta.

Augustin Hadelich is one of the great violinists of our time. From Bach to Paganini, from Brahms to Bartók to Adès, he has mastered a wide-ranging and adventurous repertoire. He is often referred to by colleagues as a musician’s musician. Named Musical America’s 2018 “Instrumentalist of the Year”, he is consistently cited worldwide for his phenomenal technique, soulful approach, and insightful interpretations. He has appeared with every major orchestra in North America, including the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony. His worldwide presence has been rapidly rising with recent appearances throughout Europe, Asia, South America and more. He is winner of the 2016 Grammy Award—“Best Classical Instrumental Solo”—for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA). A Warner Classics Artist, his most recent release is a double CD of the Six Solo Sonatas and Partitas of Johann Sebastian Bach.

Born in Italy, the son of German parents, Hadelich is now an American citizen. He plays the violin “Leduc, ex-Szeryng” by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.

JEAN SIBELIUS (1865-1957) CONCERTO FOR VIOLIN IN D MINOR, OP. 47 (1904)

Scored for: pairs of woodwinds, four horns, two trumpets, three trombones, timpani, strings and solo violin Performance time: 31 minutes First Grant Park Orchestra performance: August 23, 1941, Leroy Shield, conductor with Fritz Siegal as soloist

Sibelius was a failed violinist, but that never impacted his adoration of the instrument. He gushed, “...the violin took me by storm, and for the next ten years it was my dearest wish, my overriding ambition, to become a great virtuoso." Unfortunately, the composer lacked the motor skills and confidence required to perform at a soloist’s level, and later in life, developed a tremor that robbed him of his ability to play. Perhaps things did work out in the end, however, as Sibelius wrote a concerto that continues to inspire the world’s greatest violinists.

Sibelius began writing his concerto in 1902, but thought about writing one long before that. He wrote to his wife that he had come up with "a marvelous opening idea,” and his wife told a friend in turn, “He has so many ideas forcing their way into his mind that he becomes quite literally dizzy.” Sibelius had synesthesia, a neurological condition in which one experiences sound as color and color as sound. Karl Ekman, Sibelius’ childhood friend and biographer, said that the composer experienced the tonal center for this concerto—D minor—as the color yellow.

Sibelius’s Violin Concerto is a nod to virtuosic concerto composers of the past, but it remains true to the atmospheric and evocative orchestral writing for which Sibelius is known. Years after the concerto's completion, Sibelius advised a fellow composer on how to write large works with extended solos: “I warn you especially against long preludes and interludes, and this refers particularly to violin concertos. Think of the poor public! What enjoyment can there be in watching a stolid man, and waiting for

him to get busy with his Stradivarius or Guarnerius or whatever it be?” While he was still able, Sibelius played Mendelssohn’s Violin Concerto, in which the soloist begins the work; it is no coincidence that Sibelius began his concerto in the same manner. In the Allegro moderato, the solo violin is truly the protagonist. The movement diverts from traditional compositional structure and includes a cadenza instead of a development section. The Adagio di molto is as far from flashy as a concerto can travel. A duet for solo and orchestra written in the violin’s lowest register, it is an ode to the deepest colors of the instrument. The soloist introduces the main theme, which is mirrored back by the ensemble. There is virtuosity, but it appears in a different manifestation: extended, unrelenting vulnerability written into the soloist’s breathy, exposed violin part. Once again, Sibelius returns the solo violin to its lowest register to begin a frolicking, firework-filled theme for the final movement. Unison rhythms in the orchestra serve as a vigorous backdrop, and the ensemble and soloist take turns interpreting each theme for themselves.

Sibelius never fulfilled his dream of becoming an extraordinary violinist, but of his piece, one critic wrote, “Here is one of the few concertos that speak.” Sibelius’ “dearest wish to become a great virtuoso” lives on through his concerto. Every time this music is performed, the audience hears a love letter written to the violinist Sibelius was never able to become.

PYOTR ILYICH TCHAIKOVSKY SYMPHONY NO. 1 IN G MINOR, OP.13, WINTER DAYDREAMS

Scored for: pairs of woodwinds plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings Performance time: 44 minutes First Grant Park Orchestra performance: August 16, 1978, Leonard Slatkin, conductor

Working on his First Symphony almost drove Tchaikovsky to madness. During the writing process, he received a condemnatory review of one of his other pieces, and told a friend that after learning of its criticism, he walked around town telling himself, “I’m barren, ungifted, insignificant, good for nothing...” Seemingly motivated by his own self-loathing, Tchaikovsky worked on the symphony around the clock, and experienced hallucinations and physical symptoms, such as numbness in his extremities, that soon led to a mental breakdown. He kept composing, but vowed never to stay up all night composing ever again. In spite of all the sleepless nights required to write his First Symphony, in 1883, 17 years after its completion, Tchaikovsky wrote, “I have a soft spot for the symphony. It is full of the sins of youth, yet contains more of fundamental substance and quality than many of my subsequent works.” Nevertheless, the composer revised the work and a second version was completed in 1874.

Tchaikovsky wrote to his patroness, Nadezhda von Meck, “In certain circumstances, such as a symphony, the form is taken for granted and I keep to it—but only as the large outline and proper sequence of movements. The details can be manipulated as freely as one chooses.” Tchaikovsky is not known for his compositional form; rather, he is known for his melodies, which he reimagines in myriad ways throughout this work. He provided his own subtitle for the symphony: “Winter Daydreams,” and also supplied titles for the first two movements, but revealed no specific musical details behind why he included