2015-16 Jacobs Masterworks Program 02

OCTOBER 2015Yuja Wang

SAN D IEGO SYMPHONY ORCHESTRA WINTER SEASON OCTOBER 2015 PERFORMANCES MAGAZINE P1

FROM THECHIEF EXECUTIVE OFFICER

COVER PHOTO CREDITS:Yuja Wang - Norbert Kniat

Martha GilmerChief Executive Officer

There is almost no time that I like more than the beginning of a season. It’s like curling up in a chair and opening a new book. The anticipation of what lies ahead is palpable, and I’m filled with a new energy and curiosity. It’s a time for new beginnings as Maestro Jahja Ling steps onto the podium and the musicians return to the stage once again. Over the past several months we have welcomed several new faces, including six new orchestra members who are eager to begin their first full indoor season with the San Diego Symphony Orchestra.

I so enjoyed my first summer at our outdoor venue on the Embarcadero. We had record ticket sales with one outstanding statistic in particular: five of the ten highest-selling summer concerts in the past eight years occurred in the summer of 2015! There were so many amazing performances at Summer Pops, providing such wonderful memories that will last for many seasons to come.

A combination of new and familiar is the hallmark of the 2015-16 season. There will be new works by both well-known composers and new composers, along with San Diego Symphony Orchestra debuts by over a dozen acclaimed guest conductors and world-renowned guest artists. Jahja Ling is performing works that have meant a great deal to him throughout his conducting life, as well as works such as Copland’s Appalachian Spring, which he has never conducted before here in San Diego. We are launching a new series called Jazz @ the Jacobs, and we’ve already sold over 600 subscriptions. If you’re a jazz lover, be sure to order your tickets early!

I believe that our mission is to create a vibrant and exciting season for you to experience, which includes familiar music balanced with repertoire designed to surprise and delight, to awaken your curiosity. I hope that this season provides that stimulating journey filled with wonderful new acquaintances and experiences, just like the discovery of a new book waiting to be read.

D E A R F R I E N D S ,

Sincerely,

PHO

TO C

RED

IT: L

AU

REN

RA

DA

CK

Martha Gilmer, Chief Executive Officer


MATTHEW GARBUTTPrincipal Summer Pops Conductor

SAMEER PATELAssistant Conductor

VIOLINJeff Thayer

Concertmaster DEBORAH PATE AND JOHN FORREST CHAIR

Jisun YangActing Associate Concertmaster

Wesley PrecourtActing Assistant Concertmaster

Alexander PalamidisPrincipal II

Jing YanActing Associate Principal II

Nick GrantPrincipal Associate Concertmaster Emeritus

Randall BrintonYumi ChoHernan ConstantinoAlicia EngleyPat FrancisKathryn HatmakerAngela HomnickMei Ching HuangˆAi Nihira*Igor PandurskiJulia PautzSusan RobboyShigeko SasakiYeh Shen Anna SkálováEdmund SteinJohn StubbsPei-Chun TsaiJoan Zelickman

VIOLAChi-Yuan Chen

PrincipalKAREN AND WARREN KESSLER CHAIR

Nancy LochnerAssociate Principal

Rebekah CampbellWanda LawQing LiangCaterina LonghiThomas MorganAdam Neeley* Ethan PernelaDorothy Zeavin

CELLOYao Zhao

PrincipalChia-Ling Chien

Associate PrincipalMarcia BooksteinGlen Campbell

Andrew HayhurstRichard LevineRonald RobboyMary Oda SzantoXian Zhuo

BASSJeremy Kurtz-Harris ˆ

Principal SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR

Susan WulffActing Principal

Samuel HagerActing Associate Principal

W. Gregory Berton ˆP. J. CinqueJory HermanMargaret Johnston+Daniel Smith*Michael WaisSayuri Yamamoto*

FLUTERose Lombardo

PrincipalSarah Tuck Erica Peel

PICCOLOErica Peel

OBOESarah Skuster

Principal Harrison LinseyAndrea Overturf

ENGLISH HORNAndrea Overturf

DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR

CLARINETSheryl Renk

PrincipalTheresa Tunnicliff Frank Renk

BASS CLARINETFrank Renk

BASSOONValentin Martchev

PrincipalRyan SimmonsLeyla Zamora

CONTRABASSOONLeyla Zamora

HORNBenjamin Jaber

Principal Darby Hinshaw

Assistant Principal & Utility

Danielle KuhlmannTricia Skye Douglas Hall

TRUMPETMicah Wilkinson

PrincipalJohn MacFerran WildsRay Nowak

TROMBONEKyle R. Covington

PrincipalLogan ChopykRichard Gordon+Michael Priddy

BASS TROMBONEMichael Priddy

TUBAMatthew Garbutt

Principal

HARPJulie Smith Phillips

Principal

TIMPANIRyan J. DiLisi

Principal Andrew Watkins

Assistant Principal

PERCUSSIONGregory Cohen

PrincipalErin Douglas DowreyAndrew Watkins

PIANO/CELESTEMary Barranger

ORCHESTRA PERSONNEL MANAGER Magdalena O’Neill

ASSISTANT PERSONNEL MANAGER TBA

PRINCIPAL LIBRARIANCourtney Secoy Cohen

LIBRARIANRachel Fields

* Long Term Substitute Musician+ Staff Opera Musician ˆ On leave

All musicians are members of the American Federation of Musicians Local 325.

Financial support is provided by the City of San Diego Commission for Arts and Culture.

SAN DIEGO SYMPHONY ORCHESTRAJAHJA LING, MUSIC DIRECTOR

SAN D IEGO SYMPHONY ORCHESTRA WINTER SEASON OCTOBER 2015 P20 PERFORMANCES MAGAZINE

BEETHOVEN AND ADAMSFRIDAY October 23, 2015 – 8:00pmSATURDAY October 24 2015, 2015 – 8:00pmSUNDAY October 25, 2015 – 2:00pm

conductor Edo de Waart violin James Ehnes

All performances at the Jacobs Music Center’s Copley Symphony Hall

PROGRAM

HarmonielehrePart 1 Part 2: The Anfortas Wound Part 3: Meister Eckhardt and Quackie

I N T E R M I S S I O N

Violin Concerto in D Major, Op. 61Allegro ma non troppo Larghetto Rondo: Allegro James Ehnes, violin

Appearances by Edo de Waart and James Ehnes at these concerts are made possible by Guest Artist Sponsor Sam B. Ersan.

The approximate running time for this program, including intermission, is one hour and fifty-five minutes.

JACOBS MASTER WORKS SERIES

JOHN ADAMS

LUDWIG VAN BEETHOVEN

OCTOBER 23, 24 & 25


EDO DE WAART is Chief Conductor of the Royal Flemish Philharmonic,

Music Director of the Milwaukee Symphony Orchestra and Conductor Laureate of the Netherlands Radio Philharmonic Orchestra. He is also much in demand as a guest con-ductor with the world’s leading orchestras, including the Los Angeles Philharmonic, NHK Symphony Orchestra and Royal Stockholm Philharmonic Orchestra. Following his recent appearance with the Chicago Symphony Orchestra, the Chicago Tribune noted that de Waart “paid the score, and the orchestra’s venerable Brahms tradition, the compliment of letting the music speak for itself.”

As an opera conductor Mr. de Waart has enjoyed success in many of the world’s top opera houses. He has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opéra de Bastille, Santa Fe Opera and The Metropolitan Opera. His most recent appearance at The Met, with Der Rosenkavalier, received rave reviews. In addi-tion to semi-staged and concert performances of opera with his orchestras in the United States, he regularly conducts opera with the Netherlands Radio Philharmonic Orchestra at the Amsterdam Concertgebouw’s matinee series, most recently Richard Strauss’ Salome.

This season Mr. de Waart returns to The Metropolitan Opera to conduct Le Nozze di Figaro. Orchestral engagements include per-formances with the Minnesota Orchestra, the

Cleveland Orchestra at Blossom, the Chicago, New Zealand and Shanghai Symphony orches-tras and the Malaysian Philharmonic Orchestra.

Internationally Mr. de Waart has previously held posts with the Rotterdam Philharmonic Orchestra, San Francisco Symphony, Minnesota Orchestra, Sydney Symphony and Hong Kong Philharmonic Orchestra. He was also Chief Conductor of De Nederlandse Opera.

Mr. Waart’s extensive recording catalogue encompasses releases for Philips, Virgin, EMI, Telarc and RCA. His most recent record-ings are Mahler’s Symphony No. 1 and Elgar’s The Dream of Gerontius, both with the Royal Flemish Philharmonic. He has also long been an exponent of the music of John Adams, hav-ing conducted the fi rst recording of Nixon in China in 1987 with the original cast from the world premiere.

Edo de Waart has received a number of awards for his musical achievements, includ-ing Knight in the Order of the Dutch Lion and Honorary Offi cer in the General Division of the Order of Australia. He was also appointed Honorary Fellow of the Hong Kong Academy for Performing Arts in recognition of his com-mitment to developing future generations of musicians in Hong Kong. n

Born in 1976 in Brandon, Manitoba, Canada, JAMES EHNES has established

himself as one of the foremost violinists of his generation. Gifted with a rare combina-tion of stunning virtuosity, serene lyricism and an unfaltering musicality, Mr. Ehnes is a favorite guest of many of the world’s most respected conductors including Ashkenazy, Alsop, Sir Andrew Davis, Denève, Dutoit, Elder, Ivan Fischer, Paavo Järvi, Maazel, Noseda, Robertson and Runnicles. Mr. Ehnes’s long list of orchestras includes, amongst others, the Boston, Chicago, Cleveland, Philadelphia, Los Angeles, Pittsburgh, New York, London Symphony, Philharmonia, BBC Philharmonic, Czech Philharmonic, DSO Berlin and the NHK Symphony orchestras.

Recent and future orchestral highlights include London Symphony with Alsop, Vienna Symphony with Elder, New York Philharmonic

with Mena, Orchestre National de France with Gardner, Philadelphia and Boston Symphony Orchestra with Denève, Frankfurt Radio Symphony with Orozco-Estrada, Danish and Washington National Symphony with Noseda, Pittsburgh Symphony with Vänskä, Royal Philharmonic with Dutoit, DSO Berlin and Sydney Symphony with Søndergård and Oslo Philharmonic with Petrenko.

Alongside his concerto work, James Ehnes maintains a busy recital schedule. He has appeared at festivals such as City of London, Ravinia, Montreux, Chaise-Dieu, the White Nights in St Petersburg and Festival de Pâques in Aix. In 2009 he made a sensational debut at the Salzburg Festival performing the Paganini Caprices. Mr. Ehnes is a regular guest at the Wigmore Hall in London and at the 2007 BBC Proms he premiered a new work for violin and piano by Aaron Jay Kernis. In May 2016, Mr. Ehnes will embark on a cross-Canada recital tour to celebrate his 40th birthday.

As a chamber musician, Mr. Ehnes has col-laborated with leading artists such as Andsnes, Lortie, Vogler and Yo-Yo Ma. In 2010 he for-mally established the Ehnes Quartet, with whom he made his debut European tour in February 2014 and returns in autumn 2015 for performances at the Wigmore Hall, Auditorium du Louvre in Paris and Théâtre du Jeu de Paume in Aix, amongst others. Ehnes is the Artistic Director of the Seattle Chamber Music Society.

ABOUT THE ARTISTSBEETHOVEN AND ADAMS – OCTOBER 23, 24 & 25

EDO DE WAART, CONDUCTOR

JAMES EHNES , VIOLIN


Mr. Ehnes has an extensive discography and has won many awards for his recordings including a 2008 Gramophone Award for his live record-ing of the Elgar Concerto with Sir Andrew Davis and the Philharmonia Orchestra. His recording of the Korngold, Barber and Walton violin concertos won a 2008 Grammy® Award for Best Instrumental Soloist Performance and a 2008 JUNO award for Best Classical Album of the Year. His 2010 recording of the Paganini Caprices earned him universal praise, with Diapason writing of the disc, “Ehnes confirms the predictions of Erick Friedman, eminent student of Heifetz: ‘there is only one like him born every hundred years’.” Mr. Ehnes’s recent recording of the Bartók Concerti was nomi-nated for a 2012 Gramophone Award in the Concerto category. Recent releases include concertos by Britten, Shostakovich, Prokofiev and Khachaturian.

Mr. Ehnes began violin studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral debut with Orchestre Symphonique de Montréal aged 13 and graduated from The Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada.

James Ehnes plays the “Marsick” Stradivarius of 1715. n

HarmonielehreJOHN ADAMSBorn February 15, 1947, Worcester, MA(Approx. 40 minutes)

When Edo de Waart led the San Francisco Symphony in the premiere

of JOHN ADAMS’ Harmonielehre in March 1985, he could not have foreseen that he was introducing what would become one of the most successful orchestral works composed since World War II. Over the last thirty years, Harmonielehre has been recorded five times and performed around the world. Its popularity is easy to understand: Harmonielehre is a massive work – its three movements span over forty minutes – and across that span this music takes audiences on a powerful symphonic journey and a satisfying emotional journey.

The title Harmonielehre is important in understanding what this music is – and what it is not. In 1911 Arnold Schoenberg published a textbook on harmony and titled it Harmonielehre, which translates roughly as “harmony-doctrine.” Ironically, Schoenberg was about to move beyond that world of harmony and develop his technique of twelve-tone music, which obliterates any sense of a home key or (traditional) harmony. While respecting Schoenberg the thinker, Adams firmly rejected music without a tonal center, and his choice of the title Harmonielehre may be understood as a simultaneous act of homage and a declaration of independence. Adams had originally established his reputation as a minimalist composer with such works as Phrygian Gates (1977) and Shaker Loops (1978), but as he moved into his late thirties he found himself dissatisfied with the limits of minimalism and at an impasse of a composer. A long period of what might be called writer’s block followed, when Adams was unable to compose at all. And suddenly inspiration arrived dramatically.

Adams has described what happened: “I’d just had a dream the night before in which I saw myself driving across the San Francisco Bay Bridge, and looking out saw a huge tanker in the bay. It was an image of immense power and gravity and mass. And while I was observing this tanker, it suddenly took off like a rocket ship with an enormous force of levitation. As it rose out of the water, I could see a beautiful brownish-orange oxide on the bottom part of its hull. When I woke up the next morning, the image of those huge chords came to me, and the piece was off like an explosion.”

While Harmonielehre uses some of the techniques of minimalism (pulsing rhythms, percussive repetition, shimmering textures), Adams here is much more interested in the long-spanned harmonic evolution of his material; he has described his technique as “forward motion that’s colored by its harmonic atmosphere,” and he has described how this music fuses contemporary techniques with music from the past: “Harmonielehre . . . bears a ‘subsidiary relation’ to a model (in this case a number of signal works from the turn of the century like Gurrelieder and the Sibelius Fourth Symphony), but it does so without the intent

to ridicule. It…marries the developmental techniques of Minimalism with the harmonic and expressive world of fin de siècle late Romanticism. It was a conceit that could only be attempted once. The shades of Mahler, Sibelius, Debussy and the young Schoenberg are everywhere in this strange piece. This is a work that looks at the past in what I suspect is ‘post-modernist’ spirit…”

Harmonielehre explodes to life on a series pounding E minor chords for brass and percussion. Instantly the music seems to press ahead even as the fundamental tempo remains the same; Adams’ incredibly fluid rhythmic sense is one of the many pleasures of this piece. This white-hot drive continues for some time, enlivened by swirling figures in the high winds, before the music subsides into the central episode, here introduced by a long melody for cellos that rises out of the depth of the orchestra. This melody gradually soars into the upper strings and crests on a radiant, shimmering climax. A gradual transition leads to the return of the powerful opening material that now drives the movement to its violent – and abrupt – conclusion.

The second and third parts should be considered together, because they are complementary movements. While they are quite different emotionally, each has a title, and each represents a stage in this symphonic journey. Adams titles Part II The Anfortas Wound, evoking the legend of the Fisher King, the ruler whose wound left him impotent and his land devastated. (Wagner based his opera Parsifal on that legend, and T.S. Eliot made it central to The Waste Land.) Adams has said that he understands the wound as “a creativity wound” and that “the entire movement is about impotence and spiritual sickness.” Part II opens with another long cello melody, this one somber in character and somewhat static in direction. A trumpet solo extends that idea, and the movement rises to two huge climaxes. Listeners who know the music of Mahler will recognize the similarity between the second climax here and the screaming, dissonant climax of the Adagio of Mahler’s Tenth Symphony; Adams’ evocation of Mahler’s moment of spiritual agony is intentional. Following this outburst, Part II falls away to a quiet conclusion that resolves none of its tensions.

ABOUT THE COMPOSERBEETHOVEN AND ADAMS – OCTOBER 23, 24 & 25


ABOUT THE COMPOSERBEETHOVEN AND ADAMS – OCTOBER 23, 24 & 25

Part III takes us into a different world entirely – in Adams’ words, in this part “grace arrives.” He names this part Meister Eckhardt and Quackie, a title that needs some explanation. Meister Eckhardt was a German theologian and mystic active at the turn of the fourteenth century. Quackie was the family nickname for Adams’ daughter Emily when she was an infant. Adams notes that the inspiration for this movement was another dream in which he saw “Meister Eckhardt floating through the firmament with a baby on his shoulders as she whispers the secret of grace into his ear.” If Part II had been somber and subdued, that darkness is now replaced by light as Part III opens with shimmering, glistening swirls from three piccolos, celesta and string harmonics. Gradually the tempo moves ahead, and the sound of mallet percussion instruments rises from these swirling textures, quietly at first but then with gathering force. Harmonielehre concludes on a resounding E-flat Major chord. The key of E-flat Major has long been associated with heroism – it is the key of Beethoven’s Eroica and Strauss’ Ein Heldenleben – and it is the fitting harmonic destination for a work that has moved from explosive drama in its first part through the crippling stasis of the second and finally to exhilaration and triumph at its conclusion. n

Violin Concerto in D Major, Op. 61LUDWIG VAN BEETHOVENBorn December 16, 1770, BonnDied March 26, 1827, Vienna(Approx. 42 minutes)

In the spring of 1806 BEETHOVEN finally found time for new projects. For the previous

three years, his energies had been consumed by two huge works – the Eroica and Fidelio. Now with the opera done (for the moment), the floodgates opened. Working at white heat over the rest of 1806, Beethoven turned out a rush of works: the Fourth Piano Concerto, the Fourth Symphony, the Razumovsky Quartets and the Thirty-Two Variations in C minor. He also accepted a commission from violinist Franz Clement for a concerto, and – as was his habit with commissions – put off work on the concerto for as long as possible. Clement had scheduled his concert for December 23, 1806, and Beethoven apparently worked on the music until the last possible instant; legend has it that at the premiere Clement sightread some of the concerto from Beethoven’s manuscript.

Beethoven’s orchestral music from the interval between the powerful Eroica and the violent Fifth Symphony relaxed a little, and the Fourth Piano Concerto, Fourth Symphony, and Violin Concerto are marked by a serenity absent from those symphonies. The Violin Concerto is one of Beethoven’s most regal works, full of easy majesty and spacious in conception. (The first movement alone lasts 24 minutes – his longest symphonic movement.) Yet mere length does not explain the majestic character of this music, which unfolds with a sort of relaxed nobility. Part – but not all – of the reason for this lies in the unusually lyric nature of the music. We do not normally think of Beethoven as a melodist, but in this concerto he makes full use of the violin’s lyric capabilities. Another reason lies in the concerto’s generally broad tempos: the first movement is marked Allegro, but Beethoven specifies ma non troppo, and even the finale is relaxed rather than brilliant. In fact, at no point in this concerto does Beethoven set out to dazzle his listeners; there are no passages here designed to leave an audience gasping, nor any that allow the soloist consciously to show off. This is an extremely difficult concerto, but a non-violinist might never know that, for the difficulties of this noblest of violin concertos are purely at the service of the music itself.

The concerto has a remarkable beginning: Beethoven breaks the silence with five quiet timpani strokes. By itself, this is an extraordinary opening, but those five pulses also perform a variety of roles through the first movement: sometimes they function as accompaniment, sometimes as harsh contrast with the soloist, sometimes as a way of modulating to new keys. The movement is built on two ideas: the dignified chordal melody announced by the woodwinds immediately after the opening timpani strokes and a rising-and-falling second idea, also first stated by the woodwinds. (This theme is quietly accompanied by the five-note pulse in the strings.) Beethoven delays the appearance of the soloist, and this long movement is based exclusively on the two main themes. Beethoven wrote no cadenza for the Violin Concerto, preferring to leave that to Clement at the premiere, and many subsequent musicians have supplied cadenzas of their own. The most famous of these was by Fritz Kreisler, who wrote a majestic, idiomatic

cadenza fully worthy of this concerto, while others – including Leopold Auer, Ferruccio Busoni and Alfred Schnittke – have offered quite different cadenzas.

The Larghetto, in G Major, is a theme-and-variation movement. Muted strings present the theme, and the soloist begins to embellish that simple melody, which grows more and more ornate as the movement proceeds. A brief cadenza leads directly into the finale, a rondo based on the sturdy rhythmic idea announced immediately by the violinist. But this is an unusual rondo: its various episodes begin to develop and take on lives of their own. (For this reason, the movement is sometimes classified as a sonata-rondo.) One of these episodes, in G minor and marked dolce, is exceptionally haunting – Beethoven develops this theme briefly and then it vanishes, never to return. The movement drives to a huge climax, with the violin soaring high above the turbulent orchestra, and the music subsides and comes to its close when Beethoven – almost as an afterthought, it seems – turns the rondo theme into the graceful concluding gesture.

-Program notes by Eric Bromberger

***********

Performance History: by Dr. Melvin G. Goldzband, SDSO Archivist

John Adams’ Harmonielehre is being given its initial San Diego Symphony Orchestra performances at these concerts, significantly under the baton of the conductor who led the world premiere of this remarkable work, Edo de Waart. In contrast, Beethoven’s great Violin Concerto was given its first performance in this city by the original San Diego Symphony Orchestra in 1914, when Arnold Krauss was the soloist and Buren Schryock, the orchestra’s first music director, conducted. Robert Shaw conducted the reconstituted, post-war SDSO when Werner Torkanowsky was the first post-war soloist in this work, in 1953. Most recently, Itzhak Perlman was the soloist during the orchestra’s fourteenth presentation of it in 2014, under Jahja Ling’s direction. n


SAN DIEGO SYMPHONY ORCHESTRAPATRON INFORMATIONTICKET OFFICE HOURSJacobs Music Center Ticket Office (750 B Street)Monday through Friday, 10 am to 6 pmConcert Tuesdays through Fridays: 10 am through intermissionConcert Weekends: 12 noon through intermission

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TICKET EXCHANGE POLICY• Aficionado subscribers may exchange into

most Winter series concerts for free! All exchanges are based on ticket availability.

• Traditional subscribers receive the best available seats and may exchange to another performance within their series for free. Build Your Own subscribers and Non-subscribers can do the same, with a $5 exchange fee per ticket.

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SPECIAL ACCOMMODATIONSSeating: ADA seating for both transfer and non-transfer wheelchairs, as well as restrooms, are available at each performance. Please notify the Ticket Office in advance at 619.235.0804, so that an usher may assist you.Assistive Listening Devices: A limited number of hearing enhancement devices are available at no cost. Please ask an usher for assistance.Large-Print Programs: Large-print program

notes are available for patrons at all Jacobs Masterworks concerts. Copies may be obtained from an usher.

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PRE-CONCERT TALKSPatrons holding tickets to our Jacobs Masterworks Series concerts are invited to come early for “What’s The Score?” pre-performance conversations beginning 45 minutes prior to all Jacobs Masterworks programs (Fridays and Saturdays, 7:15 pm; Sundays, 1:15 pm).

HALL TOURSFree tours of the Jacobs Music Center are given each month of the winter season. Check the “Jacobs Music Center” section of the website, or call 619.615.3955 for more details. No reservations are necessary.

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All artists, programs and dates are subject to change.

2015-16 Jacobs Masterworks Program 02

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