PROGRAM HENRY PURCELL / Arr. Benjamin Britten. Chacony in G minor ANTONIO VIVALDI "Winter" in F minor from The Four Seasons, Op. 8, RV 297
AVI AVITAL
Aggiaciatto tremar tra nevi algenti (To shiver, frozen, amid icy snows)
Passar al foco i di quieti (To pass the days of calm)
Camminar sopra il ghiacc (To walk on the ice)
Avi Avital, mandolin
Thursday, December 6 | 6:30PM
BAROQUE AND THE MANDOLIN A Jacobs Masterworks Rush Hour 2.0 Concert
ANTON ARENSKY Variations on a Theme by Tchaikovsky, Op. 35a JOHANN SEBASTIAN BACH / Adapted for Mandolin by Avi Avital Concerto No. 1 in D minor, BWV 1052 (Originally for harpsichord)
Allegro
Adagio Allegro Avi Avital, mandolin
conductor Johannes Debus mandolin Avi Avital
JOHANN STRAUSS, JR AND JOSEF STRAUSS Pizzicato Polka
Performance at the Jacobs Music Center's Copley Symphony Hall
The approximate running time for this concert, which is given without intermission, is one hour.
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PROGRAM HENRY PURCELL / Arr. Benjamin Britten Chacony in G minor ANTONIO VIVALDI "Winter" in F minor from The Four Seasons, Op. 8, RV 297
AVI AVITAL
Friday, December 7 | 8PM Saturday, December 8 | 8PM
VIVALDI AND BACH WITH AVI AVITAL A Jacobs Masterworks Concert conductor Johannes Debus mandolin Avi Avital All performances at the Jacobs Music Center's Copley Symphony Hall
This concert is made possible, in part, through the generosity of Karen and Kit Sickels. S A N D I EG O SYMPHONY ORC HESTRA 2018-19 SE ASON D E C E M B E R 2 0 1 8
Aggiaciatto tremar tra nevi algenti (To shiver, frozen, amid icy snows)
Passar al foco i di quieti (To pass the days of calm)
Camminar sopra il ghiacc (To walk on the ice)
Avi Avital, mandolin ANTON ARENSKY Variations on a Theme by Tchaikovsky, Op. 35a JOHANN SEBASTIAN BACH / Adapted for Mandolin by Avi Avital Concerto No. 1 in D minor, BWV 1052 (Originally for harpsichord) Allegro Adagio Allegro Avi Avital, mandolin
INTERMISSION ANATOL LIADOV The Enchanted Lake, Op. 62 IGOR STRAVINSKY "Divertimento" from Le Baiser de la fée (The Fairy's Kiss) Sinfonia Danses suisses Scherzo Pas de deux
The approximate running time for this concert, including intermission, is one hour and fifty-five minutes. P ERFO RM AN C ES MAG A Z I N E
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ABOUT THE CONDUCTOR JOHANNES DEBUS has been Music Director of the Canadian Opera Company since 2009, having been appointed immediately following his debut. The 2018-19 season includes Debus’s debuts with the ORF Vienna Radio Symphony Orchestra, Hallé Orchestra, and Milwaukee Symphony, and return engagements with the Frankfurt Radio, Toronto and San Diego Symphonies. In summer 2019, Debus makes his Opera Santa Fe debut conducting Jenůfa. Highlights of the 2017-18 season included a return to the Metropolitan Opera conducting The Tales of Hoffmann; debuts with the Seattle, Oregon, and Kansas City Symphonies and the Bilbao Orkestra Sinfonikoa; and a return to the Bregenz Festival conducting the Austrian premiere of Goldschmidt’s Beatrice Cenci with the Vienna Symphony. Debus conducts regularly at the Bayerische Staatsoper Munich, Staatsoper unter den Linden Berlin and Frankfurt Opera. He has appeared in new productions at English National Opera and Opéra National de Lyon. He made his debut at the BBC Proms with Britten’s Sinfonia in 2014, and conducted a new production of The Tales of Hoffmann at the 2015 Bregenz Festival. As guest conductor, he has appeared at several international festivals such as the Biennale di Venezia and Schwetzingen Festivals, Festival d’Automne in Paris, Lincoln Center Festival, Ruhrtriennale, Suntory Summer Festival, and Spoleto Festival. He has appeared with The Cleveland Orchestra, Boston Symphony Orchestra, and the Philharmonia in London. Debus graduated from the Hamburg Conservatoire before being engaged as répétiteur and, subsequently, Kapellmeister by Frankfurt Opera where he acquired an extensive repertoire from Mozart to Thomas Adès. At home in both contemporary music and the core repertoire, he has conducted a wide range of world premieres and works of the twentieth and twenty-first centuries.
Concert Sponsor Spotlight
KAREN AND KIT SICKELS
KAREN AND KIT have been longtime subscribers to the Symphony’s summer concert series and have enjoyed being part of the Partner with the Player program since 2017.
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He has collaborated with internationally-acclaimed ensembles such as Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, and Musikfabrik. He enjoys an ongoing relationship with the Royal Conservatory of Music in Toronto. n
ABOUT THE ARTIST The first mandolin soloist to be nominated for a classical Grammy®, AVI AVITAL is one of the foremost ambassadors for his instrument. Passionate and “explosively charismatic” (New York Times) in live performance, he is a driving force behind the reinvigoration of the mandolin repertory. More than 90 contemporary compositions, 15 of them concertos, have been written for him, while his inspired re-imaginings of music for other instruments include the arrangements heard on his 2014 recording Between Worlds. Enhanced by his infectious spirit of adventure and the warm rapport he fosters with his audience, Avital’s championship of his instrument is taking the mandolin center stage. “The exciting part of being a classical mandolin player,” he says, “is that it opens a wide field for creative freedom. When I commission new pieces and engage with different musical styles, I feel that I am bringing to light new faces of this unique instrument, uncovering what is hiding there.” An exclusive Deutsche Grammophon artist, Avital has made four recordings for the label, including his ECHO Klassik Award-winning Vivaldi (2015). The recently released Avital meets Avital (2017), with oud/bassist Omer Avital, explores their shared cultural heritage and brings their differing classical and jazz musical backgrounds into dialogue. Earlier releases featured his own Bach concerto transcriptions (2012) and Between Worlds (2014), a cross-genre chamber collection exploring the nexus between classical and traditional music. He has also recorded for Naxos and SONY Classical, winning a first ECHO Klassik Award for his 2008 collaboration with the David Orlowsky Trio. Avital’s inspired music-making has electrified audiences in performances around the world, including Beijing’s National Centre for the Performing Arts, London’s Wigmore and Royal Albert Halls, the Berlin Philharmonie, Zurich’s Tonhalle, Barcelona’s Palau de la Música Catalana, Paris Philharmonie, Vienna Konzerthaus, New York’s Carnegie Hall and (with a live telecast on Arte) the Palais de Versailles. He has performed with international orchestras such as the Deutsche Symphonie Orchester Berlin, Maggio Musicale Fiorentino, Tonhalle Zurich, Israel Philharmonic, Dresden Phiharmonic, Orchestre Symphonique de Montréal, and under conductors such as Zubin Mehta, Kent Nagano, Osmo Vänskä, Ton Koopman and Giovanni Antonini. Avital is a favorite on the international festival circuit, having appeared at the Aspen, Salzburg, Tanglewood, Spoleto, Ravenna, Cheltenham and Verbier Festivals, amongst others. He was Portrait Artist at the Schleswig-Holstein Music Festival in 2017, which involved over 20 performances of 10 different programs. Artistic partners in a variety of genres with whom he collaborates include Andreas Scholl, Juan Diego Flórez, Dawn Upshaw, Giora Feidman, Ray Chen, David Greilsammer, Richard Galliano, Ksenija Sidorova, percussionist Itamar Doari and the Dover and Danish String Quartets. S AN DIEG O SYM P H O N Y O RC H ES T RA 2 0 1 8-1 9 S EAS ON D E C E M B E R 20 1 8
PROGRAM NOTES | VIVALDI AND BACH WITH AVI AVITAL – DECEMBER 7 & 8 Highlights of his 2017-18 season included performances with the BBC Symphony, Chicago Symphony, St Louis Symphony, MDR Sinfonieorchester Leipzig, Yomiuri Nippon Symphony Orchestra in Tokyo, Venice Baroque Orchestra, Kremerata Baltica and a U.S. tour with The Knights. He returned to Australia for a Musica Viva tour with the Giocosa Quartet which included a new commission by Elena Kats-Chernin, and he was a featured artist in a “Zeitinsel” at the Dortmund Konzerthaus. In fall 2018 Avital appeared with the Orpheus Chamber Orchestra, the San Diego Symphony, the Norwegian Radio Orchestra, the Los Angeles Chamber Orchestra and (in London) the Venice Baroque Orchestra. Born in Be’er Sheva in southern Israel, Avi Avital began learning the mandolin at the age of eight and soon joined the flourishing mandolin youth orchestra founded and directed by his charismatic teacher, Russian-born violinist Simcha Nathanson. He later graduated from the Jerusalem Music Academy and the Conservatorio Cesare Pollini in Padua, Italy, where he studied original mandolin repertoire with Ugo Orlandi. Winner of Israel’s prestigious Aviv Competition in 2007, Avital is the first mandolinist in the history of the competition to be so honored. He plays on a mandolin made by Israeli luthier Arik Kerman. n
ABOUT THE MUSIC Chacony in G minor (arr. B. Britten) HENRY PURCELL Born 1659, Westminster, London Died November 21, 1695, Westminster, London Known to American audiences primarily as the composer of the theme Benjamin Britten used in his Young Person’s Guide to the Orchestra, Henry Purcell is considered the first of England’s great composers. Born into a musical family, he sang in the Chapel Royal as a boy, became “composer to the King’s violins” at age 18, and was named the organist at Westminster Abbey in 1679, a position he held until his death in 1695 at the age of 36. A prolific composer, he wrote church music, coronation anthems, incidental music for London theatrical productions, and a large number of songs, instrumental compositions and keyboard pieces. His one opera, Dido and Aeneas, written for an amateur production at a girls’ school in 1689, is regarded as the first great English opera. Purcell’s Chaconne in G minor (or “Chacony,” as Purcell spelled it) dates from the 1680s, or roughly from the same time as Bach’s birth. Originally published as the sixth of Purcell’s Ten Sonatas in Four Parts, this music is not a sonata in the classical sense. (During this period “sonata” meant “sounded” and could refer to any purely instrumental composition.) The “four parts” here are first and second violins, viola, and a bass line that might consist of harpsichord, cello and double bass. At this concert the “Chacony” is performed in an edition for string orchestra that Benjamin Britten prepared in 1948 and revised in 1963. This brief and impassioned work is in fact a strict chaconne, built on a set of variations over a repeating eight-bar ground bass; recent scholarship suggests that Purcell derived this bass line from
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the song Scocca Pur by his friend, the Italian composer Giovanni Battista Draghi. This ground bass is announced firmly at the beginning and repeats throughout. Above this chordal progression, Purcell gives the higher string voices a sequence of variations remarkable for their invention and their emotional power – this quite intense music. Purcell also stretches the harmonic language, so that while the Chaconne stays in G minor, it often implies G Major, with a great deal of resulting harmonic ambiguity. n
“Winter” in F minor from The Four Seasons, Op. 8, RV 297 ANTONIO VIVALDI Born March 4, 1678, Venice Died July 26/27, 1741, Vienna The Four Seasons are the first four concertos in the set of twelve Vivaldi published in 1725 as his Opus 8. Each of the four is a small tone poem depicting events of its respective season. The Four Seasons are thus one of the earliest examples of program music, but audiences should not expect the kind of detailed musical depiction of a composer like Richard Strauss. Strauss, who once said that his highest aim was to write fork music that could never be mistaken for a spoon, was a master at painting scenes with an orchestra. Vivaldi’s music, written nearly two centuries earlier, can seem a little innocent by comparison: his fast movements tend to depict storms, the slow movements shepherds falling asleep. But this music is so infectious and appealing, the many little touches so charming, that The Four Seasons seem to have an air of eternal freshness about them. Each of the four is in the standard form of Vivaldi’s concertos. The first movement opens with a ritornello, or refrain, that will recur throughout the movement; between its appearances, the soloist breaks free with florid, virtuoso music of his own. The slow movement is usually a melodic interlude, while the finale – dynamic and extroverted – is sometimes cast in dance forms. This concert offers the last of the four concertos, “Winter,” in an arrangement for mandolin and orchestra. The beginning of “Winter” is one of the most effective moments in The Four Seasons: quick turns in the orchestra “shiver” with the cold, and later vigorous “stamping” marks the effort to keep warm. In the wonderful Largo, a graceful, melodic line sings of the contented who sit inside before a warm fire while outside raindrops (pizzicato strings) fall steadily. In the concluding Allegro, the soloist depicts those trying desperately to walk over ice. The ice shatters and breaks and strong winds blow, but Vivaldi’s music concludes with a sort of fierce joy – this is weather that, however rough, brings pleasure. n
Variations on a Theme by Tchaikovsky, Op. 35a ANTON ARENSKY Born July 12, 1861, Novgorod Died February 25, 1906, Terioki, Finland Despite the emotional torment of his own life, Tchaikovsky found time to be a generous colleague and champion of a generation of young Russian composers. His sudden death at age 53 was P ERFO RM AN C ES MAG A Z I N E
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PROGRAM NOTES | VIVALDI AND BACH WITH AVI AVITAL – DECEMBER 7 & 8 devastating to them, and two of the young composers he had befriended wrote music in his memory. The twenty-year-old Rachmaninoff composed his second Trio élégiaque and dedicated it to the memory of Tchaikovsky, while Anton Arensky – who was then a professor at the Moscow Conservatory – dedicated his String Quartet No. 2 to Tchaikovsky’s memory. Arensky paid tribute to the older composer in a specific way: the second movement of his quartet is a set of variations on a theme by Tchaikovsky. For this theme, Arensky turned to a song Tchaikovsky had written ten years earlier, in the fall of 1883, and which had become famous on its own: Tchaikovsky had published “Legend” (also known as “When Jesus Christ Was but a Little Child”) as the fifth of his Sixteen Children’s Songs, Op. 54. In the song, Jesus as a boy plants a tree in his garden, and that tree eventually furnishes the thorns with which he is crowned at his crucifixion. The song became so popular that Tchaikovsky himself made arrangements of it for orchestra and for a capella chorus. Recognizing the popularity of this movement in the quartet, Arensky quickly arranged it for string orchestra. The Variations on a Theme of Tchaikovsky, as he called the arrangement, became an instant success and has remained one of Arensky’s most popular compositions. Tchaikovsky’s somber little tune is heard immediately, and there follow seven variations. These might be described not so much as variations as “re-presentations” of Tchaikovsky’s theme, because that tune reappears almost literally in every variation: Arensky’s general method is to repeat the theme and change only its speed or coloring. The exception to this is the seventh variation, for here Arensky plays the theme backwards – he claimed that this was in imitation of military funerals, where guns are held upside down. A brief coda recalls bits of the original theme as the music draws to its quiet close. n
Friedemann and Carl Philipp Emanuel to perform with the orchestra. He turned to his library and recycled eight concertos he had written much earlier – often for other instruments – by arranging them as keyboard concertos for the Collegium. The Concerto in D minor (BWV 1052) is one of the works Bach transcribed from an earlier version, and evidence suggests that in its original version this concerto was for violin and may have been written as early as Bach’s tenure as organist in Weimar (1708-17) or while he music director in Cöthen (1717-23). It is heard on this program in an arrangement for mandolin and orchestra by the soloist, Avi Avital. The Allegro bursts to life with a hard-edged ritornello that will be tossed antiphonally between the violin sections over the span of this movement. The soloist makes a distinctive entrance with a passage full of characteristic 32nd-note runs, and listeners will recognize in that part a number of figurations that suggest this music’s origin as a violin concerto. Bach was no believer in virtuosity for its own sake, but at the center of this movement he does write out what amounts to a cadenza for the soloist – a series of brilliant runs – and provides further solo passages before the movement comes to its close on a firm reprise of the ritornello. The expressive Adagio moves to G minor, and Bach opens with a long introduction for the orchestra in octaves before the soloist enters with quite different music – disconsolate and intricate – that is eventually taken up by the orchestra. The concluding Allegro returns to D minor. Its ritornello is full of energy, while the solo passages encompass a wide range of expression – sometimes powerful, sometimes delicate. Bach brings matters to a pause with a brief Adagio before the ritornello leaps up to thrust the movement to its animated cadence. n
The Enchanted Lake, Op. 62 [Dec. 7 & 8 only]
Concerto No. 1 in D minor, BWV 1052
(Originally for harpsicord, adapted for mandolin by A. Avital) JOHANN SEBASTIAN BACH Born March 21, 1685, Eisenach Died July 28, 1750, Leipzig In April 1729 Bach made a significant change in his musical life. After six exhausting years as cantor of the Thomaskirche in Leipzig – during which he had composed cantatas, oratorios and passions for religious observances – Bach was named director of the Leipzig Collegium Musicum. The Collegium Musicum corresponded somewhat to the modern university-community symphony orchestra: it was an ensemble of student, amateur and professional instrumentalists who rehearsed weekly and performed orchestral music. The orchestra gave public concerts on Wednesday afternoons from 4 to 6 in a coffee-garden called Grimmische’s Thor during the warm months and inside Zimmerman’s coffee-house on Friday evenings from 8 to 10 during the winter. After six years of having to produce a new cantata almost every week, Bach was doubtless glad to put his responsibilities for church music behind him and turn to the quite different pleasures of secular music. Bach was responsible for choosing the music the Collegium Musicum performed, and he quickly discovered that he needed new keyboard concertos, probably for his talented sons Wilhelm
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ANATOL LIADOV Born May 10, 1855, St. Petersburg Died August 28, 1914, Novgorod Born into a musical family in St. Petersburg, Anatol Liadov studied with Rimsky-Korsakov and was invited to join the faculty of the St. Petersburg Conservatory at age 23. But for all his talent and training, Liadov was notoriously unable to produce music. Some of this was the product of self-doubt (Liadov was relentlessly selfcritical), but he was also lazy. In the most infamous illustration of this, Liadov had been Diaghilev’s original choice to compose the music for the Ballets Russes’ new production of The Firebird in 1910, but when Liadov was unable to write the music, Diaghilev turned to an unknown young composer named Igor Stravinsky, and the course of music was changed. As a composer, Liadov was essentially a miniaturist, best remembered for his short piano pieces like The Musical Snuffbox. Perhaps understandably, the larger forms proved difficult for him: he wrote no operas, no symphonies, no concertos, no chamber music – his output consists exclusively of a few brief orchestral works, choral music and songs and piano pieces. Liadov, who was very interested in Russian folk music, was happiest when he could enter the magical dream-world of folk legend. He once said: “My ideal is to find the unearthly in art. Art is the realm of the non-existing. Art is a figment, a fairy tale, a phantom. Give S AN DIEG O SYM P H O N Y O RC H ES T RA 2 0 1 8-1 9 S EAS ON D E C E M B E R 20 1 8
PROGRAM NOTES | VIVALDI AND BACH WITH AVI AVITAL – DECEMBER 7 & 8 me a fairy tale, a dragon, a water sprite, a wood demon – give me something that is unreal, and I am happy.” About 1905, Rimsky-Korsakov, trying to get Liadov to produce something worthy of his talents, suggested that he write an opera on folk legends. Liadov liked the idea, made some sketches…and then abandoned the project. Those sketches, however, turned into two brief orchestral pieces that have become his most popular works: both The Enchanted Lake and Kikimora spring from that “realm of the non-existing” where Liadov was happiest. The Enchanted Lake, first performed in 1909, is not crowded with incident or drama. Rather, this muted and evocative music is a mood-piece, and one understands why Diaghilev thought Liadov might have been the right composer for The Firebird. The shimmering sounds of the opening set exactly the right mood for Liadov’s portrait of the magical lake, and throughout this brief piece he shifts colors deftly, so that his lake is by turns misty, moonlit and murmuring. n
was The Fairy’s Kiss, though when Stravinsky made the violinpiano arrangement, he changed its title to the more abstract “Divertimento.” In 1934 Stravinsky returned to the ballet and created a concert suite for orchestra based on the excerpts of the violin/piano suite. The ballet was in four scenes, and Stravinsky kept the order of the original pieces intact but made cuts that reduce the Divertimento to less than half the length of the 45-minute ballet. The Divertimento is in four movements, with the first two performed without pause: the serene opening Sinfonia is the ballet’s first scene, the stately Danses suisses the second. The brief Scherzo is taken from the third scene; some of this music bears a strong resemblance to Stravinsky’s Apollo, completed the same year as The Fairy’s Kiss. The final movement, characterized by great rhythmic variety, is based on three of the four sections of the original ballet’s Pas de Deux: Adagio, Variation and Coda. As ballet or as instrumental suite, this music remains a heartfelt tribute from one artist to another. -Program notes by Eric Bromberger n
“Divertimento” from Le Baiser de la fée (The Fairy’s Kiss) [Dec. 7 & 8 only]
IGOR STRAVINSKY Born June 17, 1882, Oranienbaum Died April 6, 1971, New York City
Performance History
by Dr. Melvin G. Goldzband, San Diego Symphony Archivist
As a small boy, Stravinsky was taken to see a performance of Sleeping Beauty and fell in love with the music of Tchaikovsky on the spot. In one of his autobiographies, Stravinsky recalls an even more intense memory: at a performance of Glinka’s A Life for the Tsar in 1893, the eleven-year-old Stravinsky came out of his family’s box to see a tall figure stride past. His mother leaned down and whispered: “Igor, look, there is Tchaikovsky.” Stravinsky notes: “I looked and saw a man with white hair, large shoulders, a corpulent back, and this image has remained in the retina of my memory all my life.”
Benjamin Britten's orchestration of the Chacony by Purcell is being offered at these concerts for the first time. Arensky’s Variations on a Theme by Tchaikovsky is being offered just the second time, after its SDSO debut in the 2013-14 season under the baton of Jahja Ling. Varied selections from Vivaldi's The Four Seasons have been heard several times at these concerts but never before played by a mandolinist. (In fact, the most recent mandolinist featured on these concerts was a very young Chris Thile, NPR’s current Live from Here host, performing a different Vivaldi concerto in January 2001.)
A love for Tchaikovsky’s music remained with Stravinsky all his life as well, and when in 1927 the dancer Ida Rubinstein suggested that he write a ballet for her new company, Stravinsky quickly accepted her proposal that he compose a score based on themes by Tchaikovsky, much as he had written Pulcinella on themes by Pergolesi in 1920. Stravinsky based the ballet on the Hans Christian Andersen tale The Ice Maiden, in which a fairy finds a boy lost in a snowstorm and imprints a magic kiss upon him. This kiss gives her control of the boy, and 20 years later – on his wedding day – she reappears, kisses him again and takes eternal possession of the young man.
Liadov's enchanting little tone poem, The Enchanted Lake, was played by the San Diego Symphony on only two prior occasions: in August 1941, a week apart, immediately before Balboa Park had to be evacuated for military purposes. Nicolai Sokoloff conducted. Stravinsky's “Divertimento” from his ballet The Fairy's Kiss has been played by the San Diego Symphony only once before, during the 1964-65 season, when Earl Bernard Murray conducted. n
Stravinsky drew his themes for this ballet from five of Tchaikovsky’s songs and about a dozen of his piano pieces, so that the resulting ballet is an amalgam of both composers’ styles – it combines Tchaikovsky’s melodic gift with Stravinsky’s own musical sensibilities. (And not all the music in the ballet is by Tchaikovsky: Stravinsky himself composed a number of short or transitional sections.) First performed in Paris on November 27, 1928, The Fairy’s Kiss has never enjoyed the success of his other ballets, but Stravinsky retained his fondness for the music. Several years later, in the early 1930s, when Stravinsky went on concert tours with the violinist Samuel Dushkin, he needed music for the two of them to play together, and so he arranged several of his orchestral scores for violin and piano to fill out their programs. One of these S A N D I EG O SYMPHONY ORC HESTRA 2018-19 SE ASON D E C E M B E R 2 0 1 8
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