Ogden Symphony Ballet Association

2015–2016

Pahud play Carmen

BRINGING THE

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Pahud Plays Carmen Fantasy January 28, 2016 | 7:30 p.m.

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Welcome Dear Friends: Welcome to OSBA’s 2015-2016 season in the newly remodeled Browning Center! There’s nothing better than seeing one of these concerts or ballets LIVE. For 65 years we have presented these concerts in Ogden for northern Utah audiences. Thank you, thank you to the hundreds of people who have been instrumental in that longevity: the visionaries who saw the need beginning back in 1950; the faithful patrons; the donors who have contributed large and small amounts every year; and the volunteers who have given countless hours of service to OSBA. Look at all that is scheduled for this year: ♫ Utah Symphony Masterworks Series - four inspiring concerts ♫ Utah Symphony Entertainment Series - four diverse concerts sure to entertain ♫ Utah Symphony Family Series - entertainment for the entire family times three ♫ Ballet West - “The Nutcracker” with the entire troupe and “Beauty and the Beast” with Ballet West II dancers ♫ BYU Ballroom Dance Company is back by popular demand ♫ “5 Carols for Christmas and Jingle Jacks” written by Jim Christian and Ken Plain Just a reminder about OSBA: • We are a non-profit organization with a 501(c)(3) tax designation.

• We contract with Utah Symphony | Utah Opera, Ballet West, and other groups and pay for their Ogden performances held at Weber State’s Browning Center. We do not receive proceeds of fund raising efforts held by any of those organizations.

• Ticket revenue pays about 45% of the cost of the concerts. The balance comes from donations made by individuals, businesses, foundations, and city, state, and local governments, including the RAMP tax initiative.

• Besides the concerts, OSBA also supports: Educational and community outreach programs Youth Guild for the Performing Arts “The Ride” for seniors living in Weber County Informal “Conversations” prior to the Classical Series concerts

Help us fill the house at every concert by inviting your neighbors, family, and friends to join you!

We look forward to welcoming you to each and every concert.

Sincerely,

Ogden Symphony Ballet Association

Board of Directors and Staff

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Board of Directors BOARD OF DIRECTORS

ADVISORS

EXECUTIVE

Genette Biddulph

Marlene Barnett

DIRECTOR

President

Carol Brockman

Sharon Macfarlane

Paul C. Kunz

Karen Fairbanks Alan Hall

MARKETING

Robert Harris

MANAGER

John Starley

Sharon Lewis

Melissa Seamons

Vice President

Thomas Moore

President Elect

Jennifer Webb Secretary

Suzy Patterson

EDUCATION DEVELOPMENT

OSBA FOUNDATION

COORDINATOR

Tina Olsen

Russ King

Marianne Rohbock

Treasurer

Chair

Paul Sonntag

Marti M. Clayson

Past President/Nominating

Secretary

Melissa Bennett Brenda Burton

ACCOUNTING ASSISTANT Chris Brown

Richard White

OFFICE ASSISTANT

Treasurer

Amy Kersten

Michael Call

Beth Baldwin

Russ King

Doug Holmes

McClain Lindquist

Andrea Lane

Scott Major

Robert E. Lindquist

Stephanie Moore

Paul C. Kunz

Robert Newman

Michael Malmborg

Elizabeth Nielson

Judith Mitchell

Shane Schvaneveldt

Meg Naisbitt

Susan Shreeve

Tina Olsen

Jan Slabaugh

Ellen Opprecht

Mark Stratford

Carolyn N. Rasmussen

Nancy Waterfall

Sherm Smith

EMERGENCY PROCEDURE Please identify the exits closest to your location.

In the event it becomes necessary to evacuate the building because of an emergency, proceed to the closest exit in an orderly manner and then to a safe area away from the building.

APPROXIMATE PERFORMANCE TIME IS 1 HOUR, 20 MINUTES. Unless previously authorized, cameras and recording equipment of any kind are not allowed at Ogden Symphony Ballet Association performances. Please turn off cell phones, beepers and beeping watches before the performance begins. The Ogden Symphony Ballet Association is funded in part by grants from the Utah Division of Arts and Museums, the National Endowment for the Arts, Ogden City Arts and the Weber County Recreation, Arts, Museums, and Parks (RAMP) program.

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Utah Symphony Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Ralph Matson Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

Claude Halter Principal Second

Matthew Johnson Associate Principal

Wen Yuan Gu Associate Principal Second

John Eckstein Walter Haman Andrew Larson Anne Lee Kevin Shumway Pegsoon Whang Joyce Yang††

Hanah Stuart Assistant Principal Second Karen Wyatt •• Leonard Braus • Associate Concertmaster Emeritus Jerry Chiu Joseph Evans LoiAnne Eyring Kristiana Henderson†† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian # Lynnette Stewart Julie Wunderle

BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

OBOE Robert Stephenson Principal

TROMBONE Mark Davidson Principal

James Hall# Associate Principal

Sam Elliot†† Acting Associate Principal

Titus Underwood†† Acting Associate Principal Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Bruce M. Gifford Principal Edmund Rollett Associate Principal

BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy Matthew Searing†† ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser

Mark Barraclough Assistant Stage & Properties Manager

TRUMPET Travis Peterson Principal

• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Jeff Luke Associate Principal Peter Margulies Nick Norton

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Sponsor

The

OGDEN SYMPHONY BALLET ASSOCIATION would like to thank

Matthew B. Ellis Foundation

For sponsoring tonight’s performance.

8

801.399.9214 [ symphonyballet.org ]

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Masterworks Series

Pahud plays Carmen Fantasy January 28 / 2016 / 7:30PM / VAL A. BROWNING CENTER THIERRY FISCHER , C onductor EMMANUEL PAHUD , Flute

WAGNER DALBAVIE BIZET (ARR. BORNE)

Overture to The Flying Dutchman Flute Concerto Carmen Fantasie Brillante ­/ INTERMISSION /

HAYDN

Symphony No. 96 in D Major “The Miracle”

BARTÓK

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I. Adagio - Allegro II. Andante III. Menuet: Allegretto IV. Vivace

Suite from The Miraculous Mandarin

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Artists’ Profiles Swiss conductor Thierry Fischer recently renewed his contract as Music Director of the Utah Symphony Orchestra, where he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole. Maestro Fischer was Principal Conductor of the BBC National Orchestra of Wales 2006–12 and returned as a guest conductor at the 2014 BBC Proms.

Recent engagements have included the Boston Symphony Orchestra, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, Frankfurt Radio Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Detroit Symphony, BBC Symphony, and London Sinfonietta. In 2015–16 he makes his debut with the London Philharmonic Orchestra (in subscription at the Royal Festival Hall), having recorded a Beethoven CD with them in 2014.

Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Maestro Fischer has made numerous recordings, many of them for Hyperion Records, whose CD with Maestro Fischer of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category) in 2012.

Maestro Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and then became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

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Artists’ Profiles The Swiss-and-French flautist Emmanuel Pahud is one of today’s most exciting and adventurous musicians. Born in Geneva, he began studying music at the age of six. He graduated in 1990 with the Premier Prix from the Conservatoire National Supérieur de Musique de Paris, after which he continued his studies with Aurèle Nicolet. At the age of 22, Mr. Pahud joined the Berlin Philharmonic as Principal Flute under Claudio Abbado, a position which he still holds today. In addition to his engagements with the Berliner Philharmoniker, Mr. Pahud enjoys an extensive international career as soloist and chamber musician.

Emmanuel Pahud Flute

Mr. Pahud appears regularly at leading festivals throughout Europe, the USA and the Far East. He has appeared as soloist with many of the world’s leading orchestras including the London Philharmonic, Zurich Tonhalle, Suisse Romande, Bayerischer Rundfunk, Mariinsky, Camerata Salzburg and Mozarteum, Deutsche Kammerphilharmonie Bremen, Cincinnati Symphony, National Symphony, NHK Symphony, and the Scottish Chamber Orchestra. He has collaborated with conductors such as Abbado, Rattle, Zinman, Maazel, Boulez, Gergiev, Gardiner, Harding, Järvi, Nezet-Séguin, Rostropovich, and Perlman.

Recent highlights include performances with the Orchestre National de Bordeaux Aquitaine, SWR Baden-Baden, Mozarteum Orchestra Salzburg, Belgrade Philharmonic, Kammerorchester Basel, Orchestre National de Lyon, Bern Symphonie Orchester, Oslo Philharmonic, Prague Philharmonia and Helsinki Philharmonic. In the 2015–16 season Mr. Pahud performs with RAI Orchestra Turin, Orchestre Philharmonique de Strasbourg, Utah Symphony, Zagreb Philharmonic, Orchestre Philharmonique de Radio France, Franz Liszt Chamber Orchestra, Orquesta Sinfónica de Castilla y León, Israel Camerata, Orchestre Philharmonique de Liege, and the Orquesta Sinfonica de Valencia.

Mr. Pahud is a dedicated chamber musician and regularly gives recital tours with pianists such as Eric Le Sage, Yefim Bronfman and Hélène Grimaud, as well as jazz performances with Jacky Terrasson. In 1993, Emmanuel founded the Summer Music Festival Musique à l’Empéri’ together with Eric Le Sage and Paul Meyer in Salon de Provence, which is still a unique chamber music festival today. He also continues chamber music performances with Les Vents Français and members of the Berlin Philharmonic.

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Notes on the Program Richard Wagner (1813–1883)

Overture to The Flying Dutchman INSTRUMENTATION: 3 flutes, 2nd and 3rd doubling piccolo, 2 oboes, 2nd doubling English horn, 2 clarinets, 2 bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; timpani; harpsichord; strings PERFORMANCE TIME: 11 minutes

BACKGROUND

In the concert hall, we are never far from the influence of Richard Wagner. But we are often far from his music. Wagner’s revolutionary works are his operas—indeed, with just a few exceptions, operas comprise his entire output as a composer—and they are difficult to excerpt. Though they contain gorgeous orchestral passages aplenty, the music is durchkomponiert (through-composed), flowing without convenient interruptions. Free-standing arias and orchestral interludes are rare. That leaves us with the Siegfried Idyll, a chamber composition not originally intended for public performance, and the magnificent overtures and preludes that precede his operas.

Wagner had not yet completed his third opera, Rienzi, when he was inspired to compose Dutchman. These are considered early works, when the aesthetic concept that underpins his operas—the Gesamtkunstwerk, or total work of art that seamlessly unifies the visual arts, poetry, drama, dance movement, and music—was still taking shape. But Wagner was already writing his own librettos. He based Rienzi on the kind of turgid, complex, Italian-based historical novel that was typical of grand-opera plots of the day.

But Dutchman shows him moving toward his more mature artistic concerns, taking a traditional Germanic folk tale and raising it to a high level of artistic refinement. What was once a haunting,

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atmospheric yarn that might have been spun around a campfire was transmuted to a compelling, fully wrought music-drama of redemption through love.

Wagner was seeking to transform classical music generally and German opera in particular, and viewed himself—not without justification—as the genius chosen for this task. He had adopted the grandiose lifestyle he deemed appropriate for himself and his wife Minna, but the public and the artistic establishment had not yet caught up with his own view of his greatness. This left his personal affairs in turmoil while he composed Rienzi, with creditors on his heels and artistic projects in collapse. It was during this period that the idea for Dutchman came to him on a trip through the Norwegian fjords. As he described it, The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.

Fueled by these accounts and by a somewhat satirical version rendered by Heinrich Heine, Wagner produced a full draft of the story on May 1840. Originally envisioned as a one-act opera, The Flying Dutchman premiered in 1843 in a form more closely resembling full-blown grand opera, in three acts.

WHAT TO LISTEN FOR

Wagner’s music is known to be long, but in the Overture to The Flying Dutchman the thrills come fast and are presented with remarkable economy.

Listen to the stentorian opening notes: Somehow they express the fullness of the opera’s passion and dramatic tension in a matter of seconds. The swells and ebbs of the ocean, too, are here, along with the desperation of the tormented Dutchman.

As the overture progresses, we have a sense of the opera’s episodes crystallized as they might be in a typical grand opera overture, in which the overture

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Notes on the Program presents the opera in miniature. A master of the motif, Wagner used the emphatic statement of just a few notes like a signature motif to open many of his operas, as he does here. In later preludes, however, the expression of mood takes on greater importance than the evocation of story line. In Dutchman, we have both in equal measure, and the result is compelling.

became interested in the potentials of spectral music, particularly those offered by timbre and processing.

He enhanced these techniques with polyphonic and rhythmic techniques (speed, metrics…), also developing formal principles of recurrence, integrating heterogeneous and spatial phenomena through his usage of electronics, as well as employing music and acoustic computer programs.

Marc-André Dalbavie (b. 1961)

INSTRUMENTATION: 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons; 4 horns, 3 trumpets; timpani, bass drum, gong, marimba, tam tam, xylophone, chimes, crash cymbals, vibraphone; strings

Describing his work in a National Public Radio interview, the Cleveland Orchestra’s assistant conductor James Gaffigan said, “He’s brilliant with colors and rhythms. You don’t know where he’s going. Sometimes [the soloist] takes a back seat…sometimes [the soloist] is just playing scales.

Sometimes the orchestra is in the background. It’s almost minimalist. Such beautiful ideas.”

PERFORMANCE TIME: 18 minutes

François Borne (1840–1920)

Concerto for Flute

BACKGROUND

Composer Marc-André Dalbavie’s affinity for the flute has found a muse in Emmanuel Pahud, to whom he dedicated his flute concerto in October 2005. It was commissioned by the Berlin Philharmonic and the Zurich Tonhalle Orchestra.

Born in Neuilly-sur-Seine, France, Dalbavie began music lessons at age six. After studying at the Paris Conservatory (1980-86), where he received several first prizes, he spent five years as part of the musical research department at IRCAM, the distinguished French organization for research and coordination in the study of modern music. From 1987 to 1988, he studied conducting with Pierre Boulez. He is currently professor of orchestration at the Paris Conservatory and composer in residence with the Cleveland Orchestra.

WHAT TO LISTEN FOR

Dalbavie’s compositional style, which is sometimes categorized as “spectral,” has found wide appeal through its remarkable coloristic effects. Starting in 1982, he and other composers of his generation

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Fantasie Brillante on Themes from Bizet’s Carmen

(based on the opera Carmen by Georges Bizet, 1837–1875) INSTRUMENTATION: 2 flutes, 2nd doubling piccolo,

2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, trombone, bass trombone; timpani; strings PERFORMANCE TIME: 12 minutes

Mozart, Verdi, Rossini, and Wagner rank high among the many composers whose operas have inspired fantasias and transcriptions by their composer-colleagues. “La ci darem la Mano”, a duet from Mozart’s Don Giovanni, is the basis for dozens of theme-and-variations. But since its premiere in 1875, Bizet’s Carmen has surely taken the lead as a subject for virtuosic showpieces by other composers. The opera’s color and passion have given rise to spectacular arrangements for guitar, piano, full orchestra, and—in the case of François Borne—flute.

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Notes on the Program Born in 1840, Borne was a flutist with the principal opera company in Bordeaux as well as a composer and professor at the conservatory in Toulouse. Expert in both instrumental technique and in the development of the flute as an instrument, he is still recognized for his technical contributions to the Böhm flute. His Fantasie Brillante on Themes from Bizet’s Carmen is by far his most famous composition.

WHAT TO LISTEN FOR

Borne’s setting of Carmen’s luscious melodies—like those by Sarasate for the violin, and by Busoni and Horowitz for the piano—combine the virtuoso’s understanding of the solo instrument with a flair for the dance rhythms and passionate colors of the opera. Borne fills his setting with spectacular arpeggios that require fleet fingering and consummate breath control. Carmen’s brilliant Habanera, a traditional dance that she performs with castanets (and with abundant flirting), anchors the work. But the mood of Borne’s Carmen is far brighter than that of the fatalistic Gypsy girl of Bizet’s opera. In Borne’s showpiece, a set of brilliant variations on her showy Habanera leads to a triumphant close—in marked contrast with the opera’s violent, tragic ending.

Joseph Haydn (1732–1809)

Symphony No. 96, “Miracle” INSTRUMENTATION: 2 flutes, 2 oboes, 2 bassoons; 2 horns, 2 trumpets; timpani; strings PERFORMANCE TIME: 21 minutes

BACKGROUND

Joseph Haydn’s 104 symphonies comprise one of the high watermarks in musical composition.

The sheer number staggers us, but it is easier to understand in the context of Haydn’s long,

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productive career and the extreme discipline with which he worked. Writing symphonies was one of the constants of his professional life, starting when he was hired as music director to Count Morzin, an aristocrat of the Austrian Empire, when he was 25 or 27 years old. He continued to compose symphonies until the end of his life. The last 12, known as the “London” Symphonies, are among his finest.

Good music was good business in London, and Haydn was a beloved figure there, known by reputation long before he actually set foot in England. He composed his Symphony No. 96 on his first trip to London, and although its number suggests that it was the fourth of his London symphonies (they run from 93 to 104), it was actually the first one he composed and the first to be performed.

Modern research has shed some light on the symphony’s nickname, which—unlike some— actually has some basis in fact, though history seems to have muddled the numbers a bit. The symphony was completed in 1791, when Haydn was 69, for performance at a hall in London’s trendy Hanover Square. According to legend, at the symphony’s premiere performance on March 11, a chandelier fell from the ceiling of the concert hall, and injuries were averted only because the enthusiastic audience was crowding the stage, out of the chandelier’s reach. The actual incident probably took place at the premiere of Haydn’s Symphony No. 102. (It was common for theatrical chandeliers of that era to be raised and lowered via hand-cranked pulley, raising the possibility of both human error and mechanical failure.)

WHAT TO LISTEN FOR

Like all his “London” Symphonies, Haydn’s Symphony No. 96 presents him at his most confident and accomplished level of composition.

In the first movement, a typically slow, deliberate

801.399.9214 [ symphonyballet.org ]

Notes on the Program introduction—marked adagio—is followed by an upbeat allegro. Two themes take shape, and though one takes a more prominent role in the movement’s development, their complex interplay shows Haydn’s deftness in handling the tools of sonata allegro form.

Throughout the symphony, Haydn’s scoring is light yet inventive and includes expressive writing for the winds, belying the composer’s famous deathbed remark—“What a shame, I was just learning to write for the winds.” All the principal wind players (as well as the two principal violinists) are featured in solo passages, and the oboist takes an eloquent, extended solo in the third movement’s minuet.

Bela Bartók (1881–1945)

Suite from The Miraculous Mandarin INSTRUMENTATION: 2 flutes, 2nd and 3rd doubling

piccolo, 3 oboes, 3rd doubling English horn, 3 clarinets, 2nd doubling E-flat clarinet, 3rd doubling bass clarinet, 3 bassoons, 3rd doubling contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, snare drum, tam tam, triangle, xylophone, crash cymbal, suspended cymbal, bass drum, tenor drum, harpsichord, celeste, piano, organ; strings PERFORMANCE TIME: 21 minutes

BACKGROUND

Born in 1881 in a region that is now part of Romania, the ethnically Hungarian Bela Bartók was one of classical music’s transformative figures—a man whose commitment to aesthetic principles ran as deep as his talent. His creative breakthroughs came precisely when they were needed, in the first half of the 20th century, as music was struggling to find a way to be modern.

Both Bartók and The Miraculous Mandarin invite comparison with their parallels in music history:

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Igor Stravinsky and his Rite of Spring. Though he was born just a year after Bartók and was neither more nor less innovative or “difficult,” the Russian-born Stravinsky occupied a very different place in world culture. Cosmopolitan, confident and effortlessly authoritative, he took his own importance for granted and lived in the expectation of success. The public responded accordingly, making him an international celebrity whose role as a taste-making genius and seminal modernist was understood even by those who never heard a note he’d written. Compared to that kind of fame, Bartók labored in obscurity, his career upheld by a circle of colleagues who understood the enormity of his achievement—most notably the conductor Dimitri Mitropoulos, who was responsible for some of Bartók ‘s most important commissions.

The comparison is even more striking when we consider the respective premieres of Rite of Spring and The Miraculous Mandarin—one a succès de scandale, the other a plain old scandal. The epoch-making events surrounding Stravinsky’s Rite comprise one of the most famous episodes in music history. Its 1913 opening-night audience was goaded to the point of rioting—a rarity at a ballet performance even among finicky Parisians.

Confronted with strange dissonances, complex polyrhythms and a brutal pagan ritual enacted on stage, attendees screamed their derision, drowning out the orchestra. Seatmates who had never met before broke into fistfights. A year later, after the score had further exposure, Stravinsky was a hero of music and Rite was universally acclaimed.

Composition of The Miraculous Mandarin began in 1918, five years after the Rite riot, but by the time of its premiere in Germany in 1926, Stravinsky’s breakthrough was old news. Mandarin is a ballet similar in scope to Rite, but precisely opposite in theme: where Rite plunges us into a tribal culture, with nature and death ever close to the human bone, Mandarin is a disturbing parable of modern urban

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Notes on the Program existence and the ceaseless grind of materialism.

It offers—perhaps secondarily—hope through the redemptive power of love. Both ballets have elements of folk magic, but in Mandarin they oddly inhere in a symbol co-opted from Asia: the Chinese mandarin, icon of limitless wealth, dangerous power and untouchability. The ballet’s scenario pours other cultural elements into the shadowy mandarin, including Jewish folklore’s invulnerable dybbuk, the stone guest we know from Don Giovanni, and even zombie lore, now back by popular demand.

WHAT TO LISTEN FOR

Bartók‘s major works, particularly his two piano concertos, six string quartets and opera Bluebeard, are recognized as 20th-century masterpieces that form a cornerstone of the post-Romantic repertory.

In his ballet suite The Miraculous Mandarin—one of his personal favorites—we hear the essential traits that made his music revolutionary and influential.

Listen, for example, to the sprung intervals that were once considered so dissonant as to be unlistenable.

In Mandarin we repeatedly hear the disturbingly hollow sound of wide-open augmented octaves, along with their opposite: claustrophobic minor seconds, the closest neighbors on a piano keyboard, giving rise to feelings of confinement and menace.

Propelled by violence and sex, the ballet’s story is a grim one, set in an anonymous urban slum.

There, three tramps have schemed to eke out a living by entrapping and jumping likely victims whom they lure through the forced enticements of another victim—a pretty girl. After the first two marks are tossed back on the street (no cash), a third—the mandarin—wanders in, and despite his frightening, mysterious appearance, the girl dances for him. He becomes violently obsessed with her, making him an easy mark for the tramps. But after they rob him, he proves harder to kill than Steven Seagal. When the zombie-like mandarin survives their attempts to suffocate him, beat him and hang him, his body begins to glow an inhuman blue.

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The girl comprehends and signals her henchmen to set the mandarin free, then allows him to embrace her passionately—whereupon his wounds become mortal and he dies.

The orchestral suite of The Miraculous Mandarin encompasses only two-thirds of this harsh narrative, omitting the mandarin’s graphic death scene. But the drama is vividly suggested by Bartók ‘s musical gestures and through its instrumentally coded characters and themes: the girl’s seductiveness represented by solo clarinet (as in Richard Strauss’ Salome), the callow, broke victim represented by solo oboe, and the rake’s and mandarin’s sexual gyrations heard in lurid glissandos on the slide trombone (as in Ravel’s Boléro and the prelude to Strauss’ Der Rosenkavalier, to name just two other examples). And like many other composers, Bartók used the traditional pentatonic scale to create an Asian sound (in this case, to portray the mandarin).

So what made the Cologne premiere of The Miraculous Mandarin, with its superb score and intense drama, a cause for outraged condemnation?

“At the end of the performance there was a concert of whistling and catcalls,” wrote Eugen Szenkár, who conducted. “The uproar was so deafening and lengthy that the fire curtain had to be brought down. Nevertheless, we endured it and weren’t afraid to appear in front of the curtain, at which point the whistles resumed with a vengeance.”

Are we ready for The Miraculous Mandarin? There’s nothing in its scenario that’s not closely paralleled in, say, Alban Berg’s opera Lulu, or in that new thriller down at the multiplex. But never mind the plot details. The best way to hear this brilliant orchestral suite is without preconception—simply knowing that it is a gritty, highly sexualized tale told by a composer of rare genius.

Notes by Michael Clive

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