BEETHOVEN PIANO & PICTURES AT AN EXHIBITION

BEETHOVEN PIANO & PICTURES AT AN EXHIBITION Friday, February 9, 2024 at 7:30 pm Saturday, February 10, 2024 at 7:30 pm ALLEN-BRADLEY HALL Iván López-Reynoso, conductor Jorge Federico Osorio, piano SILVESTRE REVUELTAS/arr. Erich Kleiber Suite from Redes [Nets] for small orchestra

I. The Fishermen; The Child’s Funeral

II. Segunda Parte: Molto adagio – Allegro agitato LUDWIG VAN BEETHOVEN Concerto No. 1 in C major for Piano and Orchestra, Opus 15

I. Allegro con brio

II. Largo

III. Rondo: Allegro Jorge Federico Osorio, piano INTERMISSION

MODEST MUSSORGSKY/orch. Maurice Ravel Pictures at an Exhibition

Promenade

I. The Gnome

Promenade II. The Old Castle

Promenade III. Tuileries (Children’s Quarrel after Games) IV. Cattle

Promenade V. Ballet of Little Chicks in their Shells VI.“Samuel” Goldenberg and “Schmuÿle” VII. Limoges – The Market (The Good News) VIII. Catacombs: Roman Tomb

With the Dead in a Dead Language IX. The Hut on Hen’s Legs (Baba Yaga) X. The Great Gate of Kiev The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. The length of this concert is approximately 2 hours.

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Guest Artist Biographies IVÁN LÓPEZ-REYNOSO Iván López-Reynoso serves as the chief conductor of the Orchestra of Teatro Bellas Artes in Mexico City and is proud of being the youngest conductor to have assumed this position. Additionally, he has held the post of principal guest conductor of the Oviedo Filarmonía in Spain since 2017. Prior to these positions, he held various roles with orchestras in Germany and Mexico.

He has led performances with renowned orchestras such as the Philharmonia Zürich, Oviedo Filarmonía, Santa Fe Opera Orchestra, Filarmonica Gioachino Rossini, Navarra Symphony Orchestra, Orquesta Sinfónica de Madrid, Real Orquesta Sinfónica de Sevilla, Staatsorchester Braunschweig, Orquesta de la Comunidad de Madrid, National Symphony Orchestra of Mexico, Orchestra and Choir of Mexico’s Bellas Artes Theater, Mexico State Symphony Orchestra, Xalapa Symphony Orchestra, Philharmonic Orchestra of Mexico City, Symphony Orchestra of Mineria, Philharmonic Orchestra of National University OFUNAM, and Jalisco Philharmonic, performing at venues like Opernhaus Zürich, Santa Fe Opera, Teatro Real de Madrid, Rossini Opera Festival, Teatro de la Maestranza de Sevilla, and the Royal Opera House Muscat.

López-Reynoso’s symphonic repertoire showcases remarkable versatility, spanning from the late Baroque to contemporary composers like Thomas Adés, Sofia Gubaidulina, and Kaija Saariaho.

Notably, he has been praised by the press for his performances of Strauss’s Eine Alpensinfonie and Don Quixote, along with Shostakovich’s Symphony No. 7 (“Leningrad”) and Ravel’s suite from Daphnis et Chloe.

A frequent collaborator in concerts with Javier Camarena, López-Reynoso has also partnered with pianists Yulianna Avdeeva, Gabriela Montero, and Conrad Tao, as well as Chicago Symphony Orchestra cellist Alex Klein, violinist Michael Barenboim, and vocalists Ildar Abdrazakov, Alessandro Corbelli, Irina Lungu, Ute Lemper, and Ramón Vargas.

His conducting career commenced early after graduating summa cum laude from the Conservatorio de las Rosas in Mexico City, complemented by studies in piano, violin, voice, and percussion. Among his upcoming endeavors are multiple projects to return to the U.S., his debut with Spain’s National Symphony, his debut in Austria and Bergamo (Italy), and his return to Zurich.

Education in music and fostering emerging artists hold significant importance for LópezReynoso, who frequently conducts masterclasses, serves as a competition jury member, and involves young artists and composers in his projects. In recognition of his contributions to music, he received the Diego Rivera State Prize of the Arts in 2018.

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Guest Artist Biographies JORGE FEDERICO OSORIO Recipient of the prestigious Medalla Bellas Artes, the highest honor granted by Mexico’s National Institute of Fine Arts, Jorge Federico Osorio has been lauded throughout the world for his superb musicianship, powerful technique, vibrant imagination, and deep passion. He has performed with many of the world’s leading orchestras and has collaborated with such distinguished conductors as Alsop, Frühbeck de Burgos, Conlon, Haitink, Honeck, Maazel, Ken-David Masur, Mester, Prieto, Spano, and van Zweden, among others. He has performed at Amsterdam’s Concertgebouw, London’s Royal Festival Hall, and Leipzig’s Gewandhaus, to name a few.

Osorio has appeared on Chicago’s distinguished Symphony Center Piano Series on four occasions. He has also given two recitals in New York City at Lincoln Center’s Alice Tully Hall, both highly acclaimed by Allan Kozinn of The New York Times. North American festival appearances have included the Hollywood Bowl, Mainly Mozart, Bard, Newport, Grant Park, and Ravinia, where he performed all five Beethoven concerti with the Chicago Symphony Orchestra.

Osorio has recorded a wide variety of repertoire. Orchestral recordings include Beethoven’s five piano concerti and Choral Fantasy; both Brahms concerti; and concerti by Chávez, Mozart, Rachmaninov, Ravel, Rodrigo, Schumann, Tchaikovsky, and Weinberg. Osorio’s acclaimed solo recordings on Cedille Records include Final Thoughts – The Last Piano Works of Schubert & Brahms; Russian Recital; Salón Mexicano; a disc of music by Ponce; a set of Debussy and Liszt; Piano Español; The French Album, and the recently released Conciertos románticos, with concerti

by Manuel M. Ponce and Ricardo Castro.

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Program notes by Elaine Schmidt SILVESTRE REVUELTAS/arr. Erich Kleiber

Born 31 December 1899; Santiago Papasquiaro, Mexico Died 5 October 1940; Mexico City, Mexico

Suite from Redes [Nets] for Small Orchestra

Composed: 1934 – 1935 First performance: 1936 Last MSO performance: 15 November 2008; Carlos Miguel Prieto, conductor Instrumentation: flute; piccolo; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 2 trombones; tuba; timpani; percussion (cymbals, Indian drum, tam-tam); strings Approximate duration: 15 minutes Born in Santiago Papasquiaro, Mexico, composer, teacher, and violinist Silvestre Revueltas was a violin prodigy in his youth. He left Mexico in 1916, at age 17, to continue his musical studies in Austin, Texas, and then at the Chicago Musical College. He built a career as a violinist and conductor in the United States until 1929, at which time he returned to Mexico to become the assistant conductor of the Orquesta Sinfónica de México. He continued composing and teaching in Mexico, as well. By 1936, Revueltas had shifted his attention to film music. In 1937, he followed his political leanings to Europe, where he became involved with the Socialists, who were fighting fascism during the Spanish Civil War. Revueltas died in Mexico City in 1940 from the effects of alcoholism.

As a composer, Revueltas blended creative, colorful orchestrations with an expressive, engaging use of rhythm, and had a signature style of referencing folk idioms without actually quoting specific songs. Aaron Copland, known as “the dean of American composers,” said, after Revueltas’s death, “Revueltas was a man of the people, with a wonderfully keen ear for the sounds of the people’s music.”

Redes, which Revueltas began working on in 1934, was the composer’s first film score. Redes (the word means “nets,” but the film was released in the United States as The Wave) premiered in 1936, as did the composer’s concert arrangement of the score. The film tells the story of exploited fishermen fighting the businessman, the politician, and the system that are exploiting them. They devolve into two arguing factions until one of their leaders is killed, which ends the infighting and unites the fishermen.

Today, the concert version of the Redes score that is most often heard is not the one Revueltas created, but an arrangement of it by Austrian-Argentine conductor Erich Kleiber, who left the prestigious post of music director at the Berlin State Opera in 1933 in protest of Nazi policies. He moved his family to Argentina and spent the rest of his life guest conducting internationally and championing new music.

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LUDWIG VAN BEETHOVEN

Born 17 December 1770; Bonn, Germany Died 26 March 1827; Vienna, Austria

Concerto No. 1 in C major for Piano and Orchestra, Opus 15

Composed: 1795 (revised 1800) First performance: 18 December 1795; Vienna, Austria Last MSO performance: 16 April 2011; Gilbert Varga, conductor; Kirill Gerstein, piano Instrumentation: flute; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings Approximate duration: 36 minutes Beethoven’s Piano Concerto No. 1 is not the first piano concerto he wrote. He wrote one at age 14, and another as an adult, before writing what we know as the Concerto No. 1 in 1795. He liked it more than the actual first concerto of his adulthood, so he revised it a bit and published it first — hence the non-chronological numbering.

Born and raised in Bonn, Beethoven arrived in Vienna in November 1792, the year after Mozart’s death. He intended to study music with the best possible instructors, which included Franz Joseph Haydn, and to eventually make a name for himself in the imperial capital. Count Ferdinand von Waldstein, who had befriended Beethoven in Bonn and had provided financial support to him, wrote to the young musician as he was preparing to leave for Vienna, saying, “…you shall receive Mozart’s spirit from Haydn’s hands.” Waldstein was right. One can hear the structure, clarity, and character of Mozart’s later works in Beethoven’s Concerto No. 1, but also some of the mercurial personality and expressive fire that we know Beethoven would develop — as though he had one foot in the Classical era and one in the Romantic era that lay ahead.

Understanding that his first impression on Viennese audiences and critics would be critical, Beethoven studied, practiced, and waited to perform in Vienna until he felt quite ready.

He introduced himself to audiences as a pianist, often playing his own works because they showcased his prowess at the piano.

We cannot, of course, listen to a recording of his playing, but we can take note of what was written about his performances at the time. Czech pianist, teacher, and composer Carl Czerny, who studied with Beethoven and later became known as “the father of modern piano technique,” wrote, “Nobody equaled him in the rapidity of his scales, double trills, skips, etc.” He also wrote, “Beethoven’s performance of slow and sustained passages produced a magical effect on every listener.” Czech pianist Václav Jan Tomášek also heard Beethoven play, writing afterward, “Beethoven’s magnificent playing and particularly the daring flights of his improvisation moved me strangely; indeed, I felt so humbled that I did not touch my own piano for several days.”

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MODEST MUSSORGSKY/orch. Maurice Ravel Born 21 March 1839; Karevo, Russia Died 28 March 1881; St. Petersburg, Russia

Pictures at an Exhibition

Composed: 2 – 22 June 1874 (orchestrated by Ravel in 1922) First performance: 19 October 1922; Paris, France Last MSO performance: 18 January 2020 (orch. Gorchakov); Ken-David Masur, conductor Instrumentation: 3 flutes (2nd doubling on 2nd piccolo, 3rd doubling on 1st piccolo); 3 oboes (3rd doubling on English horn); 2 clarinets; bass clarinet; alto saxophone; 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, chimes, cymbals, glockenspiel, gong, ratchet, slapstick, snare drum, triangle, xylophone); 2 harps; celeste; strings Approximate duration: 35 minutes Russian composer Modest Mussorgsky is familiar to audiences today for Night on Bald Mountain, his opera Boris Godunov, and, of course, his Pictures at an Exhibition. He was an innovator in creating a uniquely Russian Romantic sound in his music and was particularly respected for his vocal writing and the deft way he tailored music to suit Russian lyrics. For quite a while after his 1881 death, much of his music was known only in arrangements by other composers, or, in the case of pieces he left unfinished, in versions completed by other composers. Over time, much of his music eventually became known and respected in his original versions.

Mussorgsky originally wrote Pictures at an Exhibition as an homage of sorts to his dear friend, the artist, architect, and designer Victor Hartmann, who died of an aneurysm in 1873 at age 39. Mussorgsky, who was a very active composer at the time, and had joined forces with composers Nikolai Rimsky-Korsakov, Alexander Borodin, César Cui, and Mily Balakirev to form a group known as “The Mighty Handful,” “The Mighty Five,” or simply “The Five,” slid into a deep depression after Hartmann’s death.

The following spring, Mussorgsky loaned two of Hartmann’s paintings that were in his possession to a Saint Petersburg exhibition of 400 of his friend’s painting. In June 1874, he documented his time walking through the collection in Pictures at an Exhibition, writing it for solo piano. Although it is played by several virtuoso pianists today, the piece was not performed during Mussorgsky’s lifetime. In the early 1920s, Maurice Ravel came upon it, thought it was fabulous, and brought it to the attention of Russian-born Serge Koussevitzky, who was a well-established conductor, composer, and double-bassist by then. Koussevitzky promptly commissioned Ravel to orchestrate the piece and then toured the work around the world, popularizing it by conducting it wherever he could, beginning with its 1922 premiere with the Boston Symphony.

Several other composers have orchestrated Pictures, but none of those versions have become nearly as popular with orchestras and audiences as Ravel’s. Mussorgsky included several promenades in the piece, which depict his walk through the exhibit of Hartmann’s paintings.

The remaining movements are titled for paintings within the exhibit. Ravel’s later orchestration is built of rich sonorities, driving accents, feather-light, delicate passages, and plenty of ringing brass lines.

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2023.24 SEASON KEN-DAVID MASUR Music Director Polly and Bill Van Dyke Music Director Chair EDO DE WAART Music Director Laureate RYAN TANI Assistant Conductor CHERYL FRAZES HILL Chorus Director Margaret Hawkins Chorus Director Chair TIMOTHY J. BENSON Assistant Chorus Director FIRST VIOLINS Jinwoo Lee, Concertmaster, Charles and Marie Caestecker Concertmaster Chair Ilana Setapen, First Associate Concertmaster Jeanyi Kim, Associate Concertmaster Alexander Ayers Yuka Kadota Elliot Lee** Ji-Yeon Lee Dylana Leung Allison Lovera Kyung Ah Oh Lijia Phang Yuanhui Fiona Zheng SECOND VIOLINS Jennifer Startt, Principal, Andrea and Woodrow Leung Second Violin Chair Timothy Klabunde, Assistant Principal John Bian, Assistant Principal (3rd chair) Glenn Asch Lisa Johnson Fuller Paul Hauer Hyewon Kim Alejandra Switala** Mary Terranova VIOLAS Robert Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair Georgi Dimitrov, Assistant Principal (2nd chair), Friends of Janet F. Ruggeri Viola Chair Samantha Rodriguez, Assistant Principal (3rd chair) Alejandro Duque, Acting Assistant Principal (3rd chair) Elizabeth Breslin Nathan Hackett Erin H. Pipal Helen Reich

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CELLOS Susan Babini, Principal, Dorothea C. Mayer Cello Chair Nicholas Mariscal, Assistant Principal* Shinae Ra, Acting Assistant Principal (2nd chair) Scott Tisdel, Associate Principal Emeritus Madeleine Kabat Peter Szczepanek Peter J. Thomas Adrien Zitoun

CONTRABASSOON Beth W. Giacobassi

BASSES Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair* Andrew Raciti, Acting Principal Nash Tomey, Acting Assistant Principal (2nd chair) Brittany Conrad Teddy Gabrieledes** Peter Hatch* Paris Myers

TRUMPETS Matthew Ernst, Principal, Walter L. Robb Family Trumpet Chair David Cohen, Associate Principal, Martin J. Krebs Associate Principal Trumpet Chair

HARP Julia Coronelli, Principal, Walter Schroeder Harp Chair FLUTES Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair Heather Zinninger, Assistant Principal Jennifer Bouton Schaub PICCOLO Jennifer Bouton Schaub OBOES Katherine Young Steele, Principal, Milwaukee Symphony League Oboe Chair Kevin Pearl, Assistant Principal Margaret Butler ENGLISH HORN Margaret Butler, Philip and Beatrice Blank English Horn Chair in memoriam to John Martin CLARINETS Todd Levy, Principal, Franklyn Esenberg Clarinet Chair Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair* Taylor Eiffert* Madison Freed** E-FLAT CLARINET Benjamin Adler* BASS CLARINET Taylor Eiffert* Madison Freed** BASSOONS Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi

MILWAUKEE SYMPHONY ORCHESTRA

HORNS Matthew Annin, Principal, Krause Family French Horn Chair Krystof Pipal, Associate Principal Dietrich Hemann, Andy Nunemaker French Horn Chair Darcy Hamlin Kelsey Williams**

TROMBONES Megumi Kanda, Principal, Marjorie Tiefenthaler Trombone Chair Kirk Ferguson, Assistant Principal BASS TROMBONE John Thevenet, Richard M. Kimball Bass Trombone Chair TUBA Robyn Black, Principal, John and Judith Simonitsch Tuba Chair TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal PERCUSSION Robert Klieger, Principal Chris Riggs PIANO Melitta S. Pick Endowed Piano Chair PERSONNEL MANAGER Françoise Moquin, Director of Orchestra Personnel LIBRARIANS Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair Matthew Geise, Assistant Librarian & Media Archivist PRODUCTION Tristan Wallace, Technical Manager & Live Audio Supervisor * Leave of Absence 2023.24 Season ** Acting member of the Milwaukee Symphony Orchestra 2023.24 Season