PROGRAM WOLFGANG AMADEUS MOZART Piano Concerto No. 27 in B-flat Major, K. 595 Allegro Larghetto Allegro
Jeffrey Kahane, piano
SAMUEL BARBER Music for a Scene from Shelley, Op. 7
INTERMISSION ROBERT SCHUMANN Symphony No. 3 in E-flat Major, Op. 97: Rhenish Lebhaft JEFFREY KAHANE
Scherzo: Sehr mässig Nicht schnell
Friday, April 13 | 8PM Saturday, April 14 | 8PM
Feierlich Lebhaft
JEFFREY KAHANE PLAYS MOZART A Jacobs Masterworks Concert
conductor and piano Jeffrey Kahane
Performances at the Jacobs Music Center's Copley Symphony Hall
The approximate running time for this program, including intermission, is one hour and forty minutes.
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PROGRAM NOTES | JEFFREY KAHANE PLAYS MOZART – APRIL 13 & 14
ABOUT THE ARTIST Equally at home at the keyboard or on the podium, JEFFREY KAHANE has established an international reputation as a truly versatile artist, recognized by audiences around the world for his mastery of a diverse repertoire ranging from Bach, Mozart and Beethoven to Gershwin, Golijov and John Adams. Mr. Kahane appears as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra and the Chicago and San Francisco symphonies among many others, and he is also a popular artist at all of the major U.S. summer festivals, including Aspen, Blossom, Caramoor, Mostly Mozart and Ravinia. In August 2016 he was appointed Music Director of the Sarasota Music Festival, which offers master classes and chamber music coaching by a distinguished international faculty and features chamber music performances and orchestral concerts performed by highly advanced students and young professionals as well as faculty members. Since making his Carnegie Hall debut in 1983, he has given recitals in many of the nation’s major music centers including New York, Chicago, Boston, San Francisco, Los Angeles and Atlanta. Equally at home as a chamber musician, Mr. Kahane collaborates with many of today’s most important chamber ensembles and was the Artistic Director of the Green Music Center Chamberfest during the summers of 2015 and 2016. Jeffrey Kahane made his conducting debut at the Oregon Bach Festival in 1988. Since then, he has guest conducted many of the major U.S. orchestras including the New York and Los Angeles Philharmonics, Philadelphia and Cleveland Orchestras, Saint Paul Chamber Orchestra and the Chicago, Detroit, St. Louis, Baltimore, Indianapolis and New World symphonies, among others. He served as the Music Director of the Colorado Symphony from the 2005-06 season through the 2009-10 season, and for ten seasons he was Music Director of the Santa Rosa Symphony, where he is now Conductor Laureate. He has received much recognition for his innovative programming and commitment to education and community involvement. He has received ASCAP Awards for Adventurous Programming for his work in both Los Angeles and Denver. Recent and upcoming engagements include a play/conduct for the fourth time with the New York Philharmonic as well as with the Houston, Indianapolis, Vancouver, Detroit, Milwaukee, Colorado, San Diego and Phoenix symphonies; concerto appearances with the Toronto, Cincinnati, New World, Oregon and Utah symphonies; and appearances at the Aspen, Britt, Oregon Bach and Tippet Rise festivals as well as with the Chicago Symphony at Ravinia and with the Mostly Mozart Festival Orchestra. In May 2017 Mr. Kahane completed his 20th and final season as Music Director of the Los Angeles Chamber Orchestra. To celebrate his final season, Mr. Kahane programmed and oversaw a three week city-wide festival in January 2017. The festival incorporated a major
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educational and outreach project honoring the legacies of composer Kurt Weill and civil rights activist Rabbi Joachim Prinz and culminated in Kahane conducting LACO and a distinguished cast of vocalists in a rare production of Kurt Weill’s final Broadway opera, Lost in the Stars. Jeffrey Kahane has recorded for the SONY, EMI, Telarc, RCA, Nonesuch, Deutsche Grammophon, Virgin Records, Decca/Argo and Haenssler labels in collaboration with the New World, Cincinnati, Bournemouth and Oregon Bach Festival symphonies. He has also recorded works by Gershwin and Bernstein with Yo-Yo Ma, the complete works for violin and piano by Schubert with Joseph Swensen and Bach concertos with LACO and Hilary Hahn. A native of Los Angeles and a graduate of the San Francisco Conservatory of Music, Mr. Kahane's early piano studies were with Howard Weisel and Jakob Gimpel. First Prize winner at the 1983 Rubinstein Competition and a finalist at the 1981 Van Cliburn Competition, he was also the recipient of a 1983 Avery Fisher Career Grant. An avid linguist who reads widely in a number of ancient and modern languages, Mr. Kahane received a Master’s Degree in Classics from the University of Colorado at Boulder in 2011. He is currently a Professor of Keyboard Studies at the University of Southern California Thornton School of Music. Jeffrey Kahane resides in Los Angeles with his wife, Martha, a clinical psychologist in private practice. They have two children – Gabriel, a composer, pianist and singer/songwriter and Annie, a dancer and poet. n
ABOUT THE MUSIC Piano Concerto No. 27 in B-flat Major, K. 595 WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Mozart completed the Concerto in B-flat Major on January 5, 1791, eleven months to the day before his death, and he gave the first performance on March 4. The conditions of that premiere are especially poignant. Mozart’s own concerts in Vienna had done so poorly for the previous several years that he had been forced to abandon them – he played this concerto on a program given by the clarinetist Joseph Bähr. Such dismal circumstances, the expressive mood of the music itself, and the imminence of the composer’s death have led Mozart’s biographers to make some staggering claims for this concerto. Alfred Einstein feels that it “stands at the gate of heaven… [and is] the musical counterpart to the confession he made in his letters to the effect that life had lost attraction for him.” H.C. Robbins Landon suggests that in this music “we meet a new, resigned Mozart, a Mozart who no longer really cared about worldly acclaim.” Painful as the thought of Mozart’s premature death may be for us two centuries later, it is far better to regard this wonderful concerto not as a message of farewell (Mozart had no idea when he wrote it that he would be dead within a year) but as a promise of what might have
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PROGRAM NOTES | JEFFREY KAHANE PLAYS MOZART – APRIL 13 & 14 been, had he been allowed even a few more years, for every measure of this music is suffused with a calm and expressive beauty. Mozart scored the concerto for an orchestra of one flute, pairs of oboes, bassoons and horns, plus strings; the absence of the martial sound of trumpets and drums helps create the restrained, almost understated mood of this music. The opening Allegro is built on two theme groups. After one measure of quietly-rustling accompaniment from second violins, first violins announce the movement’s flowing main idea, and a few moments later they have the second theme as well, built on long, falling chromatic lines and nicely enlivened by chirping grace-notes; the piano will take up both these themes on its entrance. The geniality of this opening does not prepare us for what happens at the beginning of the development. Here piano and orchestra trade phrases that seem to be coming from different worlds harmonically – each new phrase glances obliquely off its predecessor, and the effect is surprising, even unsettling. Yet this extraordinary passage takes place in a very quiet way – everything is done subtly in this music. The development itself is concise, and Mozart offers a cadenza just before the close. Piano alone states the main theme of the Larghetto and then is quickly joined by the orchestra. This ternary-form movement has some of the most intimate music in the concerto; there is something chaste and innocent about the piano’s opening statement, and that mood informs the entire Larghetto. It may be a key to the finale as well. A week after composing this concerto, Mozart wrote three songs for a collection of children’s songs that was to be published in Vienna. Two of these are about the coming of spring, and one of them, Sehnsuct nach dem Frühlinge (“Longing for Spring”), begins with a gently-dancing phrase that sets the words Komm, lieber Mai, und mache die Bäume wieder Grün (“Come, dear spring, and make the trees green once again”). Mozart used the music that sets this phrase as the main theme for the finale of his Piano Concerto in B-flat Major, and perhaps we sense – in music written in the dead of winter – a longing not just for spring and green leaves but for the entire notion of rebirth. The concerto’s concluding rondo, marked simply Allegro, is music of unusual gentleness. It dances gracefully along that lilting opening idea, but beneath the graceful surface is a complex structure. Mozart interrupts the rondo with opportunities for two cadenzas and then begins to develop his themes so extensively that the rondo threatens to become a sonata-form movement. But the gentle mood of the opening prevails, and Mozart’s final piano concerto ends in the mood of calm beauty that has pervaded the entire work. n
Music for a Scene from Shelley, Op. 7 SAMUEL BARBER Born March 9, 1910, West Chester, Pennsylvania Died January 23, 1981, Mt. Kisco, New York Samuel Barber spent the summer of 1933 in the village of Cardegliano on the Italian shore of Lake Lugano. The 23-year-old composer was a voracious reader, and that summer he was reading Shelley’s Prometheus Unbound. In Shelley’s drama, Prometheus – symbol of mankind – is released from bondage and reunited with his wife Asia,
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symbol of ideal love; their union ushers in a golden age for humanity. Barber was particularly drawn to the moment in Act II, Scene 5 when Panthea – atop a snowy mountain – addresses Asia on the capacity of music to evoke the power of love: Hearest thou not sounds i’ in the air which speak the love Of all articulate beings? Feelest thou not The inanimate winds enamoured of thee? List! [Music] Barber composed Music for a Scene from Shelley in response to those lines. It was the young composer’s second work for orchestra, and in a letter written that July Barber stressed that this music was not a tone poem depicting the music that speaks of love but rather the sounds of the “voices in the air” imploring Asia to allow them to hear that music. Atmosphere is everything in Music for a Scene from Shelley. This nineminute work captures the mood of sensuality and longing in Shelley’s lines, and much of its success comes from Barber’s deft handling of the orchestra. At the beginning – marked Adagio, ma non troppo – muted strings establish the murmuring context for the first theme, sung by a quartet of muted horns. Barber identified this descending figure with the distant voices crying “Asia! Asia!” but rather than being ecstatic, their soft theme is full of chromatic tension. Gradually the instruments take off their mutes, the music grows in power, and the soaring second subject is given out by massed violins and violas – here, perhaps, is the power of love associated with Asia. Music for a Scene from Shelley is not in sonata form, nor does Barber “develop” these ideas. Instead, the music builds to a moment of tension, breaks off on a grand pause, and reaches its climax in a series of strident dissonances. This tension falls away on a long coda that recalls parts of both principal themes and finally sinks into silence. Barber had to wait almost two years – and travel a long way – to hear this music. Music for a Scene from Shelley received its first performance in Carnegie Hall on March 24, 1935, when Werner Janssen conducted the New York Philharmonic in a program of music by young American composers. n
Symphony No. 3 in E-flat Major, Op. 97: Rhenish ROBERT SCHUMANN Born June 8, 1810, Zwickau Died July 29, 1856, Endenich On the evening of September 2, 1850, Schumann and his family arrived in Düsseldorf, where he had agreed to take up the position of music director. The previous six years had been spent in various stages of depression in Dresden, and now Schumann was delighted to escape a city he associated with creative blockage and to make a fresh start. He and Clara were feted with a flurry of concerts, dinners and dances in Düsseldorf, and four weeks later they traveled 30 miles up the Rhine for the enthronement of Archbishop Geissel of Cologne as a Cardinal. Though the Schumanns were not Catholic, this solemn ceremony in the still-unfinished cathedral made a deep impression on the composer. With his energies revived in Düsseldorf, Schumann plunged into work, quickly composing his Cello Concerto and beginning to conduct the
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PROGRAM NOTES | JEFFREY KAHANE PLAYS MOZART – APRIL 13 & 14 orchestra in a series of subscription concerts. In the midst of this, he set to work on a new symphony. This would be listed as his Third, even though it was the last of the four he composed: he sketched the first movement between November 2 and 9, made another quick visit to Cologne, and had the entire symphony complete on December 9. The composer led the successful premiere of the Third Symphony in Düsseldorf on February 6, 1851. (Things happened faster in those days: from the time Schumann sat down before a blank sheet of manuscript paper until he led the premiere, only ninety-six days had passed.) Schumann himself contributed the nickname Rhenish for the new symphony, but that name needs to be understood carefully. This music paints no scenes, tells no story, and does not set out to translate that fabled river into sound. Rather, it is music inspired by a return to the river on which Schumann had spent happy student days 20 years earlier and which was now the setting for his new job and (he hoped) a return to health. Several of the symphony’s movements had descriptive titles in Schumann’s original manuscript, but he carefully excluded these from the completed score: he wanted this symphony understood purely as music. To his publisher, Schumann explained the nickname by simply saying that the symphony “perhaps mirrors here and there something of Rhenish life.” The structure of the symphony is unusual: it opens with a huge and dramatic sonata-form movement, which is then followed by four relatively short movements. The opening Lebhaft (“lively”) has no introduction – Schumann plunges directly into this energetic music with an opening theme that swings and thrusts its way forward. The Rhine has become a slow flatland river by the time in reaches Düsseldorf, and one inevitably feels that the Rhine of Schumann’s first movement is the river upstream as it rolls through the deep gorges and past the fabled castles of the mountains of western Germany. The opening is full of a resounding energy that carries all before it, but this music is also remarkable for its syncopations and rhythmic displacements: the accents seem to have little to do with the actual bar-lines, and the effort to beat the downbeats in this opening will quickly end in confusion, so skillfully has Schumann written against the expected pattern of the measures. The second subject is a delicate, waltz-like tune introduced by the woodwinds, but it is the opening material that dominates this movement; pushed on by some terrific horn calls, this theme drives the movement to a splendid close. The next two movements, melodic and charming, function as interludes. Schumann had originally titled the second movement “Morning on the Rhine,” but then canceled that title. Instead, he calls this movement a Scherzo but marks it “very moderate,” and the movement in fact seems to have nothing of the scherzo about it. It is much more like a comfortable country dance that flows along the easy swing of its main theme; the trio section turns a little darker, and Schumann ingeniously combines these themes in the reprise. The third movement, marked simply Nicht schnell, alternates the clarinets’ delicate opening idea with the violas’ expressive second subject. The atmosphere changes completely in the fourth movement, marked Feierlich (“solemn”). Silent until now, three trombones darkly intone the somber main idea in E-flat minor, which Schumann treats to some impressive polyphonic extension, developing this idea in tight canon. In his manuscript Schumann had originally headed this movement “In the character of the accompaniment to a solemn ceremony,” and surely this music was inspired by the ceremonial enthronement of S A N D I EG O SYMPHONY ORC HESTRA 2017-18 SE ASON A P R I L 201 8
Cardinal Geissel in the vast Cologne Cathedral. But Schumann quickly thought better of letting that fact become general knowledge: he erased the heading, saying that “One should not show his heart to the people, for the general impression of a work of art is more effective. Then the listener will at least not set up any absurd connections in his mind.” Yet that connection is inevitable, and this solemn movement drives to a grand close on a series of ringing chords. Out of their echoes, the finale bursts to life. Commentators have universally been unable to resist comparing this moment to stepping from out of a dark cathedral into the sunlight–and they may well be right. This music leaps to energetic life, but it is worth noting that Schumann marks this beginning dolce: “gentle, sweet.” Like the first movement, with which it shares the marking Lebhaft, the finale overflows with energy, and Schumann drives it to a climax that recalls the solemn trombone theme from the fourth movement, now played so loudly that it should shake the hall, and a quick reference to the grand swing of the opening of the first movement. A brisk coda drives this wonderful music to a close fully worthy of its nickname. Despite Schumann’s enthusiastic return to the Rhineland, things did not work out in Düsseldorf: he proved an indifferent conductor, soon there were intrigues against him, and periods of black depression inevitably returned. In a sad irony, Schumann attempted suicide by throwing himself into the Rhine in Düsseldorf in 1854; he was rescued by fishermen but placed in the asylum from which he never emerged. Many critics feel that the music of Schumann’s final years shows a decline, yet everyone who hears the Rhenish Symphony knows that this is an exception to that bleak rule; its power and happiness and assured technique make this the finest work of Schumann’s final period. And how sad it is that a work written at age 40 should have to be from a composer’s “final period.” n -Program notes by Eric Bromberger
Performance History
by Dr. Melvin G. Goldzband, Symphony Archivist George Sementovsky was the soloist when Mozart's 27th Piano Concerto was first played here. Robert Shaw conducted that performance in the summer of 1957. Since then, it has been played here three more times over the seasons, the most recent performance being in the 1994-95 season when Jerzy Semkow conducted and Giancarlo Luisi was the soloist. The Third Symphony of Robert Schumann, known as the Rhenish as a salute to the most romantic composer's beloved river, was introduced to San Diego Symphony audiences when Earl Bernard Murray conducted it in the 1962-63 season. Subsequently, Peter Erős led it twice and Yoav Talmi led it twice, but then it was not heard here for a 16 year gap, until David Robertson conducted it during the 2010-11 season, its most recent performance here. Samuel Barber's Music for a Scene from Shelley is being given here for the first time at these concerts. n
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