bso 13/14 season: five masters

2013 - 2014SEASON

6:30pm pre-concert talk hosted by Jerome Kleinsasser, Professor of Music, Emeritus, CSU Bakersfield

FIVE MASTERS OF ORCHESTRAL BRILLIANCE!

Saturday, November 9, 2013 - 7:30pm - Rabobank Theater

SPECIAL THANKS TO OUR SEASON SPONSOR

Don C. and Diane S. Lake Family LIKE US, FOLLOW US & VISIT BSOnow.org

BAKERSFIELD SYMPHONY ORCHESTRA 2013-2014 SEASON2

TABLE OF CONTENTS

Letter from the President & CEO....................8Letter from the Music Director.......................9BSO Circle of Suporters...................................12Season Sponsor.................................................13Generous Supporters......................................16Concert Sponsor...............................................18Concert Program..............................................19Conductor's Biography...................................20Orchestra Roster...............................................21Program Notes...........................................24-30

THEATER INFORMATION

Photography & Recording - Cameras and recording devices are not allowed in the theater.

Latecomers - As a courtesy to all patrons, latecomers will be seated by ushers in the back of Sections F and B during the first appropriate pause in the program.

Quiet, Please - Please avoid unnecesssary noise during the concert. If you have a paging device, phone, or electronic watch, please turn it to the "Silent" position during the performance.

Refreshments - Beverages are permitted and available only in the lobby.

Lost & Found - During events, any recovered

items can be picked up at guest services at the main doors. Post event, Lost and Found is at Rabobank’s security desk located at the loading dock entrance on the south side of Rabobank Arena. You can contact security directly at 661-852-7391.

Restrooms - Women's and Men's restrooms are located in the main lobby as well as upstairs on the second level.

Drinking Fountains - Drinking fountains are located in the main lobby near the restrooms.

Patrons with Disabilities - There are a number of facilities for our patrons with disabilities. Wheelchair seating may be reserved at the time of ticket purchase.

Lobby Entertainment - Local art and music are on display for your enjoyment before the concert and during intermission. If you would like to highlight your group, art, or non-profit, please contact the BSO's Business Operations Manager, Kari Heilman at 661-323-7928.

BAKERSFIELD SYMPHONY ORCHESTRA 2013 - 2014 SEASON

3VISIT BSOnow.org s CALL 661-323-7928

BOARD OF DIRECTORS

Jim Bell, ChairWayne Deats, Vice ChairIra Cohen, SecretaryKai Wong, TreasurerJoe MacIlvaine, AdvisorHon. Jon Stuebbe, AdvisorJerome Kleinsasser, Ph.D., Advisor

Bradford Anderson, M.D.Bernard C. Barmann, Jr., Esq.W. Michael ChertokMorgan ClaytonJoseph E. DrewChris Hamilton, Esq.Ben HansonAlexandra BateyEleanor HeiskellJ. Nile Kinney, Esq.Elaine LeCainMatthew Malerich, M.D.Marci MaynardNancy Oehler, Esq.Patrick PianezzaSteve SandersDee SladeRick StevensJay TamsiNeil WalkerKai Wong, M.D.

Honorary Life MembersJames CollierC.L. ClarkDonald R. LindsayMilt Younger, Esq.

Contributions to the Bakersfield Symphony Orchestra are tax-deductible for both Federal and State purposes.

CONTACT THE BSO

1328 34th Street, Suite ABakersfield, CA 93301

PHONE: 661-323-7928EMAIL: [email protected]

ADMINISTRATIVE STAFF

John Farrer, Music DirectorM. Bryan Burrow, President & CEOMary Moore, Orchestra Operations ManagerKari Heilman, Business Operations ManagerMary-Frances Langille, Marketing CoordinatoreMedia, Graphic ArtistJerome Kleinsasser, Artistic Consultant,

Program Notes & Concert PreviewDarlan Moore, Stage GuardJim Mueller, Recording Engineer

ORCHESTRA OFFICERS

Marci Maynard, PresidentMike Raney, Vice PresidentElaine LeCain, Orchestra RepresentativeElvira Arambula, Secretary


BAKERSFIELD YOUTH SYMPHONY

The Bakersfield Youth Symphony seeks to serve the accomplished young musicians of the community, as well as providing another source of musical enjoyment for those who are interested in fine music. For information about the BYSO call Rita Gomez at (661) 301-3390 or contact Board Member Regina Pryor at [email protected]. Visit www.bysorocks.org.

Rita Gomez, President / Regina Pryor, Vice President / Lynn Eid, Secretary / Helen Hess, Treasurer / Marci Maynard, Librarian / Maxim Eshkenazy, Conductor

BAKERSFIELD MASTER CHORALE

The Bakersfield Master Chorale is a choral society of adult voices directed by Dr. Robert Provencio. During its concert season, the Chorale seeks to enrich community musical awareness by presenting performances of major choral literature, secular and sacred, from all musical eras. For more information, please call Dave Waterman at (661) 348-4678 or email [email protected]. Visit www.bakersfieldmasterchorale.org.

Judy Houston, President / David Waterman, First Vice President / Susan Guerard, Second Vice President / Bruce Wade, Secretary / Jerry Buzzell, Treasurer / Robert Provencio, Director / Liz Cervantes, Accompanist

BEALE PARK BAND

Today, the Beale Park Band is a 40 piece military styled band, directed by Douglas Kelley, that plays summer concerts in Bakersfield’s Beale Park on Sunday evenings during June of each year. The repertoire revolves around Marches, Overtures, Musicals, Show Tunes, Waltz’s and Polkas, concluding with a Sousa March. Concerts are from 8:00 pm to 9:00 pm beginning on the second Sunday in June culminating with a Patriotic program on the Sunday before the Fourth of July.

Douglas Kelley, Director / Cyndi Hicks, Manager

BSO Affiliated Organizations


ANN AND GORDON GETTY FOUNDATION

CHEVRON

KERN COUNTY SUPERINTENDENT OF SCHOOLS

PELLETIER FOUNDATION

PG&E

TARGET

WELLS FARGO

A standing ovation goes to our Partners in Music Education whose participation helps to enrich the lives of thousands of local children who benefit from the various

Music Education programs that the BSO offers the community. Thank you! For information about becoming a Partner in Music Education, contact the BSO at 661-323-7928.

BSO Affiliated Organizations


AERA ENERGY, LLCBAKERSFIELD SYMPHONY ENDOWMENT FOUNDATION

BARBER ACURACHEVRON

CITY OF BAKERSFIELDCOUNTY OF KERN

KERN COUNTY SUPERINTENDENT OF SCHOOLSKMAP, INC.

OCCIDENTAL OF ELK HILLS, INC.PARAMOUNT FARMING CO.

PELLETIER FOUNDATIONPG&E

STEVENS TRANSPORTATION, INC.TARGET

TEJON RANCHUBS FINANCIAL SERVICES

W.A. THOMPSONWELLS FARGO

WZI, INC.

Corporate SponsorsThe Bakersfield Symphony Orchestra gratefully acknowledges the generous support

of foundations, corporations and businesses whose gifts have helped ensure the continuation of the BSO's many outstanding programs.

For information about becoming a Corporate Sponsor, contact the BSO at 661-323-7928.

BROWN ARMSTRONG Certified Public Accountants

Bakersfield | Fresno | Pasadena | Shafter | Stockton

661.324.4971 www.bacpas.com

Proud supporter of the Bakersfield Symphony Orchestra!

You can’t hide from your taxes, but you can plan for them. Give us a call and let us show you how.


Letter from the President & CEO

Welcome to our November concert where we are thrilled to showcase our wonderful orchestra. As you may know, most of our professional musicians are local to Kern County and work in a variety of careers in our community. Each one has a love for music and are great examples of how music can enhance life. BSO performances have inspired audiences for 81 years. Today we carry on the tradition of inspiring both

young people of Kern County as well as adults who have come to appreciate great music.

Our performances and work through the BSO are made possible through the generous support from our community. Only one third of our revenue comes from ticket sales, which means two thirds are dependent on outside support. Our wonderful donors range from those who start giving at $50 to those who provide life gifts through their estate planning. We also have incredible corporate sponsors who see the value in making our community a better place to live. Every gift allows us to continue the important mission of BSO and will enable growth and greater influence to inspire a new generation to love music in Kern County.

Our mission for performing great concerts and providing music education for the young people of Kern County improves the quality of life in our community and speaks to who we are as a community.

Thank you for being a part of the BSO family and allowing us to thrive for another 80 years.

Sincerely,

M. Bryan BurrowPresident & CEO


Letter from the Music Director

Tonight’s program is designed to spotlight the skill of our fine orchestra. Strauss, Dvořák and Tchaikovsky were masters of orchestration – the art of combining instruments in a way that creates beautiful, colorful and exciting orchestral textures. Each piece we will play this evening is technically demanding, requiring hours of individual practice on the part of each member of the orchestra, as

well as careful preparation in the three full rehearsals and one string rehearsal preceding the concert.

Richard Strauss’ “Death and Transfiguration” remains one of the most beautiful and moving works in the orchestra repertoire. It is filled with one challenging page after another. The Dvořák “Scherzo Capriccioso” is less frequently played than it should be and, like Strauss, is filled with one technically demanding passage after another. Tchaikovsky’s “Romeo and Juliet” is very familiar to concert goers, and includes one of the most familiar melodies in the orchestra repertoire. These works, as well as Beethoven’s “Fidelio” Overture, and Lutoslawski’s “Fanfare for Los Angeles Philharmonic” make up our program tonight.

The point of this powerful music is to move you to an emotional plane that is special, and not frequently encountered. We will be trying to take you there with our performance this evening.

Musically Yours,

John FarrerMusic Director

SAVE THE DATE - MAY 16, 2014

Over 600 community leaders, politicians, advocates, organizations and individuals like you will join us at the

Amphitheatre at California State University, Bakersfield to celebrate and support the BSO at the Annual Spring Gala.

MARK YOUR CALENDARS FOR MAY 16, 2014!

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BSO Circle of SupportersWe gratefully acknowledge the following individuals,

businesses and foundations for their generous support.

STRADIVARIUS CIRCLE

$25,000 and above

County of KernCity of Bakersfield

Don C. and Diane S. Lake Family

Kern County Superintendent of Schools

Pelletier Foundation

MAESTRO'S CIRCLE$10,000 and above

Aera Energy LLC Chevron

Claire O'Connor Frisch KMAP, Inc.

Paramount FarmsMargaret Urner

Wells Fargo Bank

ENCORE CIRCLE$5,000 and above

Bakersfield MagazineMr. and Mrs. Ira CohenJoe & Suzan MacIlvaine

Occidental of Elk Hills, Inc Rabobank

TargetUBS Financial Services

W.A. ThompsonWZI, Inc.

Mr. and Mrs. Milton Younger


The Bakersfield Symphony Orchestra graciously thanks the

Don C. and Diane S.

Lake Familyfor uniting individuals and cultures in our

community and supporting the education of our youth through the power of music.

Making beautiful music takes dedication, passion and years of hard work.



Making beautiful music takes dedication, passion

Rosewood Retirement Communityapplauds the Bakersfi eld Symphonyfor bringing extraordinary music toBakersfi eld for more than 80 years.

1301 New Stine Road • Bakersfi eld, CA 933091-888-719-2150 • www.RosewoodRetirement.org

Rosewood in Bakersfi eld, California, is owned and managed by ABHOW, a California nonprofi t public benefi t corporation. ABHOW is a nonsectarian corporation, serving seniors through quality retirement housing since 1949. State of California License #150400536, DHS License #120000165, Certifi cate of Authority #114.

VOLUNTEER WITH THE BSO

Start the season off on a high note and volunteer for the BSO! We have a place for you in our family. No musical experience

necessary – just a passion for sharing the arts with our

community.

Call us! 661-323-7928

Music can help all people feel more in control and more connected to their surroundings.Every day since 1995, Continuum Senior Care has helped families by planning for, securing, and managing the right quality of care for their elderly parents and disabled loved ones in Bakersfield.

4800 Stockdale Highway, Suite 308 Bakersfield, CA 93309 Phone (661) 861-8628www.continuumseniorcare.com

Connections. Control. Continuum Quality of Care.

STAY UP TO DATE WITH THE BSO

For special offers, news and more, sign up for the BSO's e-newsletter.

To join, fill out a contact card located in the lobby.

Thank you and enjoy the concert!


CONCERTMASTER

$2,500 and above

Ann & Gordon Getty FoundationDavid and Ardath AlbizoGarden District FlowersTwilla KlassenStevens Transportation, Inc.Tejon RanchCarl and Avanelle WoodyMr. and Mrs. Robert Young

VIRTUOSO

$1000 and above

Barber AcuraMr. and Mrs. Bernard Barmann, Sr.Mr. and Mrs. Jim BellW. Michael and Dona ChertokLois ChaneyPeggy DarlingDr. and Mrs. Doug DavisMr. and Mrs. Wayne DeatsMr. and Mrs. Stan EschnerEleanor HeiskellRoger and Helen HessBarbara JohnsonMr. and Mrs. Wayne KirschenmanJerome Kleinsasser and

Jeanne HarrieMr. and Mrs. Thomas LarwoodMr. and Mrs. Steve LaytonDonald LindsayDr. and Mrs. Mark Miller

George and Charlotte PinheiroJames and Thelma Royer-CartwrightJames Ross and Linda Fiddler Helen T. RummelsburgDiane SandidgeSherlo and Ila ShivelyMr. and Mrs. John StovallHon. and Mrs. Jon StuebbeMr. and Mrs. Mark VanVoorhis Mr. and Mrs. James WeddleDr. and Mrs. Kai WongDr. and Mrs. Tai P. Yoo

FRIENDS OF THE SYMPHONY

$100 and above

Mr. and Mrs. Bob AbramsBeverly Banks Ann BiglerShirley BringJeanne BurdickJudith CaratanKatina Chan Dr. and Mrs. Jess DiamondDr. Richard Long DoanElizabeth DownieDr. and Mrs. Ronald Eaves Hildegard ElgesJohn FriaufMr. and Mrs. Ben GoossenDr. and Mrs. Steven JacobsMichael KnowlesAlbert LoebJames E. and Maxine LoveSara Masuda

Generous Supporters of the SymphonyWe gratefully acknowledge the following individuals, businesses and foundations for their generous support. This listing includes contributions received October 1, 2013.

Gifts received after October 1, 2013 will be acknowledged in the December program.


IN MEMORY OFSHIRLEY HARRIS

Diane SandidgeMr. and Mrs. Graffius

Ann BiglerMr. and Mrs. KinneyLouise Henderson

IN MEMORY OF OUR DAUGHTER

KAREN BLOCKLEYSherlo and Ila Shively

IN MEMORY OFKAREN BLOCKLEY

Jerome Kleinsasser and Jeanne Harrie

Barbara Johnson

IN MEMORY OF DR. GORDON K. JOHNSON

Barbara Johnson

IN MEMORY OF BEVERLY LAMBOURNE

Barbara Johnson

IN MEMORY OF COLONEL WESLEY MOORE

Mary Moore

Dr. and Mrs. Tom MeyerChuck and Lillian MichelMr. and Mrs. Warren MinnerMary MooreJim ParksPaul T. Sheldon, Jr.Cynthia SmizerMr. and Mrs. Richard SouthwickJo TriplettPhilip Zander

IN-KIND

American General MediaBARCBrown Armstrong CPA'seMediaGarden District FlowersKMAP, Inc.Mike Willis Designs New City Cleaners

Memorials & HonorariumMemorials and honorariums are gifts given to honor family and friends in a lasting and meaningful way.

Gifts received after October 1, 2013 will be acknowledged in the December program.Gifts received after October 1, 2013 will be acknowledged in the December program.


Pelletier FoundationBakersfield Magazine

ValleyPBS


Saturday, November 9, 2013 - 7:30pm - Rabobank Theater

FIVE MASTERS OF ORCHESTRAL BRILLIANCE!John Farrer conducts the Bakersfield Symphony Orchestra

No photography or recording of any kind is permitted during any part of the concert.

WITOLD LUTOSLAWSKI Fanfare for the Los Angeles Philharmonic

LUDWIG VAN BEETHOVEN Overture to Fidelio, Op. 72b

RICHARD STRAUSS "Death and Transfiguration", Op. 24I. Largo II. Allegro molto agitatoIII. Meno mossoIV. Moderato

- INTERMISSION -

ANTONÍN DVOŘÁK Scherzo Capriccioso, Op. 66

PYOTR ILYICH TCHAIKOVSKY Romeo and Juliet Fantasy Overture

6:30pm Concert Preview presented by Jerome Kleinsasser, Professor of Music, Emeritus, California State University, Bakersfield

Lobby Displays Highlight Performing Arts Organizations in Kern County


John Farrer, Music DirectorJohn Farrer is now in his thirty-ninth season as the music director of the Bakersfield Symphony Orchestra. In that time, Maestro Farrer has conducted over 400 works on the Orchestra’s subscription programs and has collaborated with some of the world’s finest soloists. He is also Music Director of the Roswell Symphony Orchestra and the Santa Maria Philharmonic and is a frequent guest conductor with orchestras in England. As senior guest conductor of the English Sinfonia, he has toured with the orchestra throughout England and northern France. His nine recordings with the London Philharmonic, Royal Philharmonic, Bournemouth Symphony, and English Sinfonia have received high praise from critics around the world. Mr. Farrer is recording the four symphonies of Johannes Brahms with the New Queen’s Hall Orchestra of London.

In March 2006 Maestro Farrer served as Music Mentor of Singapore. In this capacity, he conducted several orchestras including a concert of the Singapore National Youth Orchestra. This program was attended by S. R. Nathan, president of Singapore. In May, 2006, Maestro Farrer conducted the New Queens Hall Orchestra of London in a special program benefiting the National Osteoporosis Society of Britain. This concert was attended by the orchestra’s patron, Camilla, Her Royal Highness the Duchess of Cornwall.

Mr. Farrer was associated with the San Francisco Symphony for five seasons as a cover conductor for the Orchestra's subscription concerts. He was a speaker in the San Francisco Symphony's series of Inside Music talks, led the Orchestra in Concerts for Kids, and conducted a program at Stern Grove which attracted 20,000 listeners.

John Farrer is director of the California Conducting Institute, an international training program held in Bakersfield. Mr. Farrer is also director of the London Conducting Workshop at the Royal Academy of Music. He is also the director of a conducting master class held in Paris each January.

Mr. Farrer is a member of the music advisory committee of the Young Musicians Foundation of Los Angeles, a board member of the Chamber Orchestra of New York, and a national trustee of the National Symphony Orchestra of the John F. Kennedy Center in Washington D.C. Mr. Farrer is President elect of the Conductors Guild, the international organization representing the interests of conductors.

Maestro Farrer is an advisor to the graduate conducting programs of the Peabody Institute of the Johns Hopkins University in Baltimore, Maryland.


BAKERSFIELD SYMPHONY ORCHESTRAJOHN FARRER, MUSIC DIRECTOR

VIOLIN I Julia L. Haney,

ConcertmasterDorothy Nobles Chair

Lee SmithElizabeth KinneyDonna FraserTim SwansonLisa FritzJeff FritzSharon CooperChristine SnipesDebbie EllisLynne GarrettRudolfina

SjostrandMatthias RykertMarissa

McCloudSally BermanAnna PapipkyanCosima Luther

VIOLIN IIAmy McGuire,

PrincipalDeborah PerkinsNorman OlsenMary MansfieldMarcia MaynardElvira ArambulaElaine LeCainAndrea von

SchriltzNicole BarnettPeter MarcosKay SandersonJason GarciaTracy Fessia

VIOLA Paulette Shires,

PrincipalStan HolcombeElizabeth FerrierAlex Navarro

Helen CrosbyTom MeyerSandra CaudelLauren EllridgeIsabel ThirouxKim WilkinsHugh NeelyMatthew WitmerNina

Manchorova

CELLO Diane Malecki,

PrincipalCarl & Avanelle Woody Chair

Alex WilsonAaron ConnorAnna McCoyMary EckartCaroline

BordinarroMadlin

SarkissianErin EssesAniela PerryBeth ParkPam DeAlmeidaKristin Garbeff

BASS Barry Newton,

PrincipalPeter Scaffidi,

Co-PrincipalJohn HesterIgor StebaevJay RubottomWhitney HerbstHarvey

NewmarkGabriel GoldenMark

BreitenbachCarla CapolupoManuel

Quintero

Janet DavisAndrew Flores

FLUTENancy Wallace,

PrincipalAudrey BoyleRhonda MartinMary Cervantes

PICCOLOJeanne Johnson

OBOEBrett Clausen,

PrincipalAaron MillerJulie Calvo

ENGLISH HORNPaula Dublinski

CLARINETMary Moore,

PrincipalMarc TiptonPatricia Jensen

E-FLAT CLARINETJeff Dundas

BASS CLARINETSandra Garcia

SAXOPHONESheri TiptonBen Horton

BASSOONAmy Gillick,

Co-PrincipalMelissa Frey,

Co-PrincipalMichael Kreiner

CONTRA BASSOONSteve Thiroux

HORNBrian Smith,

PrincipalPeggy CoppLucy AdamsMartin GoniTim McFaddenSusan HelfterKristin MorrisonAndrea Allen

TRUMPETMichael C.

Raney, Principal

Steve O’ConnorSal PanelliDan BoyleBrad PickettKris TinerLeo Sakomoto

TROMBONERon Christian*,

PrincipalJay Jarrett,

ActingPrincipal

Marisa AokiNorm CampbellCaroline HayesMartha

RedstoneFred ChynowethDennis Herbst

TUBAGlenn Bowles,

PrincipalEric FarrenkopfDavid PitzerAdam Clements

TIMPANIErnie Cervantes,

PrincipalClaire O'Connor Frisch Chair

PERCUSSIONCyndi HicksRay AyalaMatt BornongRobert

CervantesRebecca SpicklerDeanna HudginsMichael

DowningKelly WeaverAmanda PoseySimon CarrollMichael DeutschBeverly DorseyChris BishopJoe MuskatZanne Zarow

HARPLaura Porter,

Co-PrincipalKathleen Moon,

Co-PrincipalJennifer

FarrenkopfAndrea PuenteElaine LitsterJennifer Duke

KEYBOARDSBonnie Farrer,

PrincipalElizabeth

Cervantes______________________

CONCERTMASTER EMERITARebecca Brooks

*LEAVE OF ABSENCE

The BSO is grateful for the endowed chairs established in honor or memory of loved ones by family and friends.

1083834_09670

Full page 5x8

4c

wellsfargo.com

© 2013 Wells Fargo Bank, N.A. All rights reserved. Member FDIC. (1083834_09670)

From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.

We’re proud to salute Bakersfield Symphony Orchestra.

Ben Hanson • SVP, Regional Manager • 661-637-2605

Music touches the heart

1083834_09670 5x8 4c.indd 1 9/17/13 4:36 PM


Fanfare for the Los Angeles Philharmonic (1993)Witold Lutoslawski (1913 - 1994)

Cold War restrictions upon artistic innovation in Iron Curtain countries in the mid-20th century did not deter a genera-tion of fiercely adventuresome composers in the nation of Poland. Principal among these figures was Warsaw native Witold Lutoslawski, whose early works reflect the influence of Hungarian composer Béla Bartók. Subsequently his music became widely known for its nationalistic, twelve-tone, and improvisatory elements. Still later, after moving to the

United States, he was greatly influenced by the radical American composer John Cage.

Late in life Lutoslawski developed a deep association with the orchestra in Cage’s hometown, namely the Los Angeles Philharmonic, then led by Esa Pekka Salonen. The orchestra commissioned Lutoslawski’s Fanfare as the first among a series Lutoslawski often structured his music around "harmonic aggregates," collections containing all twelve tones of the chromatic scale. His Fanfare packs an enormous sonic wallop within the space of about one minute. The Philharmonic program annotator describes:

The Fanfare opens on a diminished fifth that immediately expands as a chro-matic wedge through a major seventh in both directions. In one bar it reaches a typically Lutoslawskian ad libitum passage where the pitches and rhythms of each part are fully notated but unsynchronized. A chordal, metrically goosed passage roughly reverses the shape of the wedge, followed by another ad libitum section, this one static in pitch but rhythmically hyperactive. A synco-pated tussle pitting trumpets and horns against trombones and tuba opens another musical wedge, reaching a fresh take on the first ad libitum section. In the final bars the brass confirm the arrival point with staccato chords built on seconds and sevenths that come to a rest on a major third – in context surpris-ingly consonant but characteristically both logical and ambiguous – while the timpani with three notes tersely summarizes the main direction of the piece.

Conductor Salonen (left) with Lutoslawski


Overture to Fidelio, Op. 72bLudwig van Beethoven (1770-1827)

"My crown of martyrdom" - Beethoven on his opera Fidelio

Freedom from governmental tyranny, a theme as current as today’s headlines, continually inspired Beethoven, especially in an operatic context. A righteous message should be enshrined in noble music, he thought. Frivolous music held little interest for him, and he considered most operatic music to be thus. Given what was produced between the death of Mozart and the eleva-tion of Rossini, his attitude was probably justified.

Of his many works, none caused him greater grief than his one opera Fidelio. It is a sermonic tale of political oppression and intrigue, which, nonetheless, contains some of his finest music. Fashioning an appropriate overture, for which he pro-vided no less than four examples, proved most difficult for him.

The composer preferred to name the opera after the heroine, Leonore, but the theatre manager for the 1805 production changed it to Fidelio, the character’s pseudonym in the drama, so as to avoid confusion with two other well-known "Leonore" operas. Nevertheless, three of Beethoven’s attempts at an appropriate overture retain his preferred title.

The prelude used at the November 20, 1805 premiere became known as the Leonore Overture No. 2. After revising the opera from three acts to two, on March 29, 1806, it reappeared as the Leonore Overture No. 3. The Leonore Overture No. 1, probably from 1803, obvi-ously displeased the composer, and he set it aside; it languished unheard until nine years after his death. Each of these preludes is in C major and shares one prominent theme from the opera, drawn from the principal aria of the heroic victim Florestan. The common problem among them is that their impres-sive symphonic dimensions dwarf the lighthearted scenes that open the opera.

Unlike its three older sisters, what we know as the Fidelio overture is in E major and was first heard at the May 26, 1814 performance. It contains no themes from the opera itself, but successfully captures the heroic character of the drama in more compact form.

Anna Milder, sang Leonore in the first two productions of Fidelio

Portrait by Joseph Karl Stieler, 1820


"Death and Transfiguration", Op. 24 (1888-9)Richard Strauss (1864 – 1949)

After the passing of Richard Wagner in 1883 and cessation of or-chestral works by Johannes Brahms, Richard Strauss emerged as the foremost composer of the German school. His several early works aroused interest but little excitement, until in 1888 Don Juan vaulted him to the front ranks of contemporary symphonic figures. Flushed with success, the 24-year old Strauss that year confounded both his fans and critics by delving into a deeply philosophical subject for his next work.

His friendship with composer and esthete Alexander Ritter thrust Strauss into the revolutionary operatic ideals of Richard Wagner and the symphonic poems of Franz Liszt. Strauss became master of both forms in the next generation. As the foremost practitioner of Wagner's "Music of the Future," critics dubbed him "Richard II."

In addition to deepening his understanding of the music of Liszt and Wagner, Rit-ter's influence on Strauss extended to his contemplation of the writings of Scho-penhauer and other influential thinkers of the past generation. There is little indi-cation, however, that anyone but Strauss contributed to the design and meaning of Death and Transfiguration. Nonetheless, after Strauss explained his orchestral essay to Ritter and encouraged his friend to write for it an accompanying literary component, Ritter complied. The following is a paraphrase of Ritter's poem: I. Largo. In a small, squalid room, dimly illumined by a candle stub, a deathly ill man lies on a cot. Exhausted by his struggle with death, he has fallen into a deep sleep, the only sound the ticking clock on the wall. Around his pale features plays a rueful smile; perhaps he dreams of a carefree childhood.

II. Allegro molto agitato. Unwilling to grant him rest, death cruelly shakes him awake and renews the battle with life. Neither life nor death gains the victory, and all becomes quiet again

III. Meno mosso. Wearied from the battle, and in sleepless delirium, the man's life passes before his eyes. The sweet innocence of childhood, the brashness of youth, and the gathering strength of maturity, to take it all and mold it into a transcendent meaning, this alone is the noble impulse that impels his striving. The scornful world places one barrier after another in his path, but he strives and climbs, unwilling to abandon his sacred impulse. But death's iron hammer breaks the earthly body, and covers his eyes with night.


IV. Moderato. That for which he sought and struggled here below now resounds mightily from on high: world-redemption, world-transfiguration.

Beginning with hints of Wagner's Tristan and Isolde in the somber key of C minor, the death theme eventually is transfigured into C major as the soul departs this life.

Death and Transfiguration was first heard in Eisenach, Germany, on June 21, 1890. Bits and pieces of it reappeared in the composer's autobiographical tone poem Ein Heldenleben (A Hero's Life, 1897) and his Four Last Songs (1948). On his death-bed nearly 60 years after its composition, Strauss told his daughter in-law, "Dying is just as I composed it in Death and Transfiguration."

Scherzo Capriccioso, Op. 66 (1883)Antonín Dvořák (1841-1904)

The term “scherzo” (Ital. for “joke”) generally denotes a composi-tion that is light-hearted and contrasts in character the more serious nature of its accompanying siblings in a sonata cycle (i. e., symphony, string quartet, solo sonata, etc). Beethoven is usu-ally credited with having established the orchestral scherzo as a lively substitute for the more reserved third-movement minuet and trio found in symphonies by Mozart or Haydn. Divorced from its setting in the symphony format, it took until the mid-

19th century for composers to use the term with reference to an independent, one-movement orchestral work. (Berlioz’s “Queen Mab Scherzo” of 1839 does not qualify as it had a home in that composer’s Romeo et Juliette for chorus, vocal soloists and orchestra.) An oddity for its time was an orchestral scherzo composed in 1831 by the 11-year old Clara Wieck (later renowned as Clara Schumann). In his scherzo of 1883 Antonín Dvořák doubled the ante by adding the adjective “Capriccioso” (i. e., “whimsical”) to the title. His Scherzo Capriccioso was first heard in concert at the New Czech Theatre in Prague on November 18, 1883. Dvořák’s former student and old friend, Adolph Cech, conducted.

By then Dvořák, along with Brahms, was riding the crest of a wave of public appe-tite for Bohemian music. Popularization of Czech orchestral music took wing with the rise of nationalism in Moravia and Bohemia in the late 18th century. Bedrich Smetana, the individual most responsible for honoring the musical traditions of the homeland, exalted its folk traditions in operatic and orchestral music. But


Smetana’s international exposure was limited; it was up to Antonín Dvořák to carry Bohemian rhythms and melody abroad and garner their international acceptance.

The Scherzo Capriccioso is essentially in three major divisions, with the outer sec-tions using the same melodic material. There are three basic melodic ideas from which the entire piece is hewn, beginning with a very brief opening fanfare for solo horn that will shortly be taken up by the entire ensemble:

As contrast in this opening section, the strings offer a graceful waltz tune some-what reminiscent of a Slavonic dance. It will reappear midway through the Scherzo:

The middle section of the work is initially set off by a wistful sounding melody in the English horn:

A free-wheeling and delightful expansion of these ideas ensues as Dvořák dis-plays his developmental skill in mixing and matching themes. A brief cadenza for horns and harp introduces an emerging coda with a Poco piu mosso followed by an enjoyable Presto finish.

Romeo and Juliet Fantasy OverturePeter Tchaikovsky (1840-1893)

The passions of 19th-century composers were easily inflamed by the excitement and complexity of Shakespearean drama. The European public was reading the Bard’s plays and attending their dramatizations, thus the emotions inherent in a wordless musical representation of a play, such as Romeo and Juliet, went


directly to the heart of the audience.

There exist three orchestral attempts by Tchaikovsky to capture the play’s drama in music. The first, appearing in 1869, was greeted by listeners with disinterested silence. A few fragments of revisions date from the summer of 1880, while the final and familiar version appeared in September of that year, reorchestrated and with a substantially changed introduction, development and close.

Romeo and Juliet is one of the few creations by this composer that seems to please a broad range of listeners. It brims with the unmistakable rhetorical flavor of Tchaikovsky, and makes use of thematic and formal structures that exhibit both compositional technique and inspiration to the full. The introduction corresponds directly to the close, and in between we have a fully formed sonata structure that embodies the emotions of Shakespeare’s tragedy. It is, however, the story itself that brings this tone poem to life.

Following the lead of Hector Berlioz’s 1839 dramatic symphony of the same name, Tchaikovsky viewed the drama retroactively through the reflective mind of Friar Lawrence. The solemn opening chords, stereotypically for this composer pre-sented in the low woodwinds, represent the cleric’s theme as he ruminates on the tragedy just ended:

Theme of Friar Lawrence

The following allegro evokes the conflict of warring Capulet and Montague fami-lies:

Disputes of the families


The graceful subject of the lovers soon provides welcome contrast to the strife.

Lovers’ theme

All three ideas compete in the agitated midsection. In the restatement the chords of the Friar, now in sturdy brass, valiantly attempt to stem the conflict between the houses of Capulet and Montague, but it is only the broken, tragically mis-shapen theme of the doomed lovers that brings peace.

Copyright J. S. Kleinsasser 2013

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