Concerts of Thursday, March 5, at 8:00p, and Friday, March 6, 2015

Concerts of Thursday, March 5, at 8:00p, and Friday, March 6, 2015

Concerts of Thursday, March 5, at 8:00p, and Friday, March 6, 2015, at 6:30p. Donald Runnicles, Conductor Kelley O’Connor, mezzo-­‐soprano Gustav Mahler (1860-­‐1911) Rückert-­‐Lieder (1901-­‐2) “Liebst du um Schönheit” (“If you love for beauty”) “Blicke mir nicht in die Lieder!” (“Do not look into my songs!”) “Ich atmet’ einen linden Duft!” (“I breathed a gentle fragrance!”) “Ich bin der Welt abhanden gekommen” (“I am lost to the world”) “Um Mitternacht” (“At midnight”) Intermission Symphony No. 5 in C-­‐sharp minor (1902) ERSTER TEIL (PART ONE) I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt (Funeral March. With measured pace. Strict. Like a cortège) II. Stürmisch bewegt. Mit grösster Vehemenz (Violently agitated. With the greatest vehemence) ZWEITER TEIL (PART TWO) III. Scherzo. Kräftig, nicht zu schnell (Vigorously, not too fast) DRITTER TEIL (PART THREE) IV. Adagietto. Sehr langsam (Very slow) V. Rondo-­‐Finale. Allegro English surtitles by Ken Meltzer The concert of Friday, March 6, performed without intermission, features the Mahler Fifth Symphony. Notes on the Program by Ken Meltzer Gustav Mahler was born in Kaliště, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. “Last night I nearly passed away” On the afternoon of February 24, 1901, Gustav Mahler conducted the Vienna Philharmonic in a demanding program that featured the monumental Symphony No. 5 of Anton Bruckner. That evening, Mahler was back on the podium at the Court Opera to conduct yet another lengthy work—Mozart’s The Magic Flute. In the audience for both performances was a young Viennese woman by the name of Alma Schindler (1879-­‐
1964). She later recalled that at the concerts, Mahler “looked like Lucifer: a face as white as chalk, eyes like burning coals. I felt sorry for him and said to the people I was with: ‘It’s more than he can stand.’” That night, Mahler suffered a massive hemorrhage. Quick action by Mahler’s sister, Justine, in summoning a physician saved his life. The next day, Mahler confided to his friend, Natalie Bauer-­‐Lechner: You know, last night I nearly passed away. When I saw the faces of the two doctors, I thought my last hour had come...While I was hovering on the border between life and death, I wondered whether it would not be better to have done with it all at once, since everyone must come to that in the end. Besides the prospect of dying did not frighten me in the least, provided my affairs are in order, and to return to life seemed almost a nuisance. Mahler told his brother-­‐in-­‐law, Arnold Rosé: “I lost a third of my blood that night. I shall certainly recover, but the illness will still have cost ten years of my life.” Mahler did indeed recover, and in June of 1901, the composer journeyed to his newly-­‐
constructed vacation home in Maiernigg on Lake Wörth in southern Austria. During his three-­‐month stay in Maiernigg, Mahler began his Fifth Symphony, completing the first two movements. Mahler also composed eight songs for voice and piano/orchestra—
Der Tambourg’sell (The Drummer Boy), and seven based upon poems by Friedrich Rückert (1788-­‐1866). The latter were the start of works that would become the Rückert-­‐Lieder (1901-­‐2) and Kindertotenlieder (Songs on the Death of Children) (1904). Rückert-­‐Lieder (1901-­‐02) The Rückert-­‐Lieder are scored for solo voice, two flutes, two oboes, oboe d’amore, English horn, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, harp, piano/celeste and strings. Approximate performance time is twenty-­‐one minutes. These are the first ASO Classical Subscription Performances. In November of 1901, at the home of a mutual friend, Mahler and Alma Schindler met for the first time. Mahler immediately fell in love with the beautiful young woman, and the two were engaged after a brief courtship. Gustav and Alma Mahler wed in March 1902—he was forty-­‐one, and she, twenty-­‐two. That summer, the Mahlers, expecting their first child, traveled to Maiernigg. There, Mahler added a fifth Rückert song, Liebst du um Schönheit, which he scored for voice and piano. On January 29, 1905 in Vienna, Mahler conducted the premieres of the Kindertotenlieder and the four Rückert-­‐Lieder composed in the summer of 1901. Later, Max Puttmann, an employee of Mahler’s publisher, created an orchestration of Liebst du um Schönheit. It is customary to perform all five orchestrated Rückert-­‐Lieder as a group. Mahler adored Rückert’s verse, which he described as “lyric poetry from the source, all else is lyric poetry of a derivative sort.” In a July 1907 letter to Alma, Gustav Mahler, anxiously awaiting his wife’s arrival in Vienna, implored her to “Bring Rückert.” Alma characterized “Liebst du um Schönheit” (“If you love for beauty”) as the only love song Mahler ever wrote for her. And Gustav delighted in Alma Mahler’s characterization of the song “Ich bin der Welt abhanden gekommen” (“I am lost to the world”) as her husband’s self-­‐portrait. It’s not surprising that Rückert’s verse inspired some of Mahler’s most inspired and moving lyrical creations. German texts by Friedrich Rückert (1788-­‐1866) Liebst du um Schönheit Liebst du um Schönheit, o nicht mich liebe! Liebe die Sonne, sie trägt ein goldnes Haar! Liebst du um Jugend, o nicht mich liebe! Liebe den Frühling, der jung ist jedes Jahr! Liebst du um Schätze, o nicht mich liebe! Liebe die Meerfrau, sie hat viel Perlen klar! Liebst du um Liebe, o ja—mich liebe! Liebe mich immer, dich lieb ich immerdar! If you love for beauty If you love for beauty, oh do not love me! Love the Sun, she has golden hair! If you love for youth, oh do not love me! Love the spring, it is young every year! If you love for treasure, oh do not love me! Love the mermaid, she has clear pearls! If you love for love, oh yes—love me! Love me forever, I will love you evermore! Blicke mir nicht in die Lieder! Blicke mir nicht in die Lieder! Meine Augen schlag’ ich nieder, Wie ertappt auf böser Tat; Selber darf ich nicht getrauen, Ihrem Wachsen zuzuschauen: Deine Neugier ist Verrath. Bienen, wenn sie Zellen bauen, Lassen auch nicht zu sich schauen, Schauen selber auch nicht zu. Wenn die reichen Honigwaben Sie zu Tag gefördert haben, Dann vor allen nasche du! Do not look into my songs! Do not look into my songs! My eyes cast down, As if caught in an evil deed; I cannot even trust myself, To watch them grow. Your curiosity is betrayal. Bees, when they build their cells, Do not let anyone watch, Not even themselves. When the rich honeycombs Are brought into the light of day, Then you may taste them before everyone else! Ich atmet’ einen linden Duft! Ich atmet’ einen linden Duft! Im Zimmer stand Ein Zweig der Linde, Ein Angebinde Von lieber Hand. Wie lieblich war der Lindenduft! Wie lieblich ist der Lindenduft! Das Lindenreis Brachst du gelinde; Ich atme leis Im Duft der Linde Der Liebe linden Duft. I breathed a gentle fragrance! I breathed a gentle fragrance! A lime branch Stood in the room, A gift received from a dear hand. How lovely was the lime fragrance! How sweet is the lime fragrance! The lime branch You plucked so gently; I softly breathe The lime scent The lovely gentle fragrance. Ich bin der Welt abhanden gekommen Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben; Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, ich sei gestorben! Es ist mir auch gar nichts daran gelegen, Ob sie mich für gestorben hält, Ich kann auch gar nichts sagen dagegen, Denn wirklich bin ich gestorben der Welt. Ich bin gestorben dem Weltgetümmel Und ruh’ in einem stillen Gebiet. Ich leb’ allein in meinem Himmel, In meinem Lieben, in meinem Lied. I am lost to the world I am lost to the world, With which I used to waste so much time; It has heard nothing from me for so long, It may very well believe that I am dead! I am not at all concerned Whether it thinks me dead, I cannot even deny it, For really, I am dead to the world. I am dead to the world’s turmoil And I rest in a quiet region. I live alone in my heaven, In my love, in my song. Um Mitternacht Um Mitternacht Hab’ ich gewacht Und aufgeblickt zum Himmel; Kein Stern vom Sterngewimmel Hat mir gelacht Um Mitternacht. Um Mitternacht Hab’ ich gedacht Hinaus in dunkle Schranken. Es hat kein Lichtgedanken Mir Trost gebracht Um Mitternacht. Um Mitternacht Nahm ich in Acht Die Schläge meines Herzens; Ein einz’ger Puls des Schmerzens War angefacht Um Mitternacht. Um Mitternacht Kämpft’ ich die Schlacht, O Menschheit, deiner Leiden; Nicht konnt’ ich sie entscheiden Mit meiner Macht Um Mitternacht. Um Mitternacht Hab' ich die Macht In deine Hand gegeben! Herr über Tod und Leben Du hältst die Wacht Um Mitternacht! At midnight At midnight I lay awake And looked up to the sky. No star among the host Brought me comfort At midnight. At midnight I sent my thoughts Out to the dark barriers. No thought of light Brought me comfort At midnight. At midnight I focused on The beating of my heart. A single pulse of anguish Was fueled At midnight. At midnight I fought the battle, Oh mankind, of your suffering; I could not overcome it With my power At midnight. At midnight I gave my soul Into Your hands! Lord over life and death, It is Your watch At midnight! Symphony No. 5 in C-­‐sharp minor (1902) The first performance of the Fifth Symphony took place in Cologne, Germany, on October 18, 1904, with the composer conducting the Gürzenich Orchestra. The Fifth Symphony is scored for two piccolos, four flutes, three oboes, English horn, E-­‐flat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, tam-­‐tam, orchestra bells, snare drum, triangle, suspended cymbal, cymbals, bass drum, whip, harp, bass drum, and strings. Approximate performance time is seventy-­‐two minutes. First ASO Classical Subscription Performances: January 17, 18 and 19, 1974, Michael Palmer, Conductor. Most Recent ASO Classical Subscription Performances: September 18, 19 and 20, 2003, Robert Spano, Conductor. ASO Recording: Telarc CD-­‐80394, Yoel Levi, Conductor. Gustav Mahler finished the short score of his Fifth Symphony during the summer of 1902, while in Maiernigg. In her memoirs, Alma Mahler described the moment when the proud composer shared his latest creation: In the autumn he played me the completed Fifth Symphony. It was the first time he had ever played a new work to me and we climbed arm in arm up to his hut with all the solemnity for the occasion. When he had done, I told him of all that won my instant love in this magnificent work, but also that I was not sure about the chorale about the end. I said that it was hymnal and boring. He disagreed. It should be noted that Alma Mahler was herself a composer and, obviously, someone who was not hesitant to offer opinions about her husband’s work. Mahler completed the orchestration of his Fifth Symphony in 1903. He conducted the work’s premiere in Cologne at an October 18, 1904 concert. The preceding September, Mahler conducted two run-­‐throughs of the Symphony with the Vienna Philharmonic. Alma, who had assisted her husband in the copying of the score, sat in the gallery: I had heard each theme in my head while copying the score, but now I could not hear them at all. Mahler had overscored the percussion instruments and side drum so madly and persistently that little beyond the rhythm was recognizable. I hurried home sobbing aloud. For a long time I refused to speak. At last I said between sobs: “You’ve written it for percussion and nothing else.” He laughed, and then produced the score. He crossed out the side drum in red chalk and half the percussion instruments too. He had felt the same thing himself, but my passionate protest turned the scale. The completely altered score is still in my possession. The orchestration of the Fifth Symphony preoccupied Mahler throughout the remainder of his life. He penned revisions to the instrumentation after virtually every performance. A few months before his death, Mahler wrote to composer and conductor, Georg Göhler: I have finished the Fifth. I had in fact to re-­‐instrumentate the whole of it. I simply cannot understand how I could have fallen back into such beginner’s errors at that time. (Evidently the routine I had developed in the first four symphonies let me down completely on this occasion—
when a completely new style required a new technique.) Indeed, the Fifth marks a turning point in Mahler’s symphonic output. The initial four Symphonies are all closely related to the composer’s musical settings of texts from a collection of folk-­‐poems known as Des Knaben Wunderhorn (The Youth’s Magic Horn). The Symphonies frequently incorporate Wunderhorn melodies into the orchestral fabric. Symphonies 2-­‐4 also contain movements for vocalists based upon Wunderhorn texts. By contrast, Symphonies Five, Six, and Seven are purely orchestral. During the convalescence after his illness in early 1901, Mahler studied the works of Johann Sebastian Bach. Mahler extolled: this miraculous freedom of Bach’s, which probably no other musician has ever attained and which is based upon his unparalleled skill and command of technique. In Bach, all the vital cells of music are united as the world is in God; there has never been any polyphony greater than this! The influence of Bach may be found in the increased complexity of orchestral voices in the Mahler Fifth Symphony. However, it may be precisely the ambitious use of polyphony that caused Mahler so many difficulties with regard to orchestration. He acknowledged: “In such a very polyphonic work it is not possible beforehand to get everything right down to the last detail.” As with many of Mahler’s works, the Fifth was slow to gain acceptance. One critic scoffed: “Mahler had not much to say in his Fifth Symphony and occupied a wondrous time saying it.” A year after the premiere, Mahler lamented: “The Fifth is an accursed work. No one understands it.” That was not entirely true. The Fifth Symphony did have its early advocates, including Ida Dehmel, widow of poet, Richard Dehmel. She offered the following eloquent appreciation of the Mahler Fifth, reprinted in Alma’s Memoirs: This Fifth Symphony of his carried me through every world of feeling. I heard in it the relation of adult man to everything that lives, heard him cry to mankind out of his loneliness, cry to man, to home, to God, saw him lying prostrate, heard him laugh his defiance and felt his calm triumph. For the first time in my life a work of art made me weep, a strange sense of contrition came over me which almost brought me to my knees. In time, Gustav Mahler’s efforts were vindicated. Today, the Mahler Fifth rightfully enjoys its status as one of the towering achievements of a unique genius. Musical Analysis ERSTER TEIL (PART ONE) I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt (Funeral March. With measured pace. Strict. Like a cortège)—A solo trumpet intones a fanfare that leads to a fortissimo orchestral outburst. The strings introduce a lyrical, but decidedly mournful theme. A varied reprise of the two themes follows. The third appearance of the opening fanfare leads to an extended passage of extraordinary violence and despair. As the tempest subsides, the solo trumpet returns to herald a modified recapitulation of the principal themes. The timpani’s invocation of the fanfare serves to introduce a more restrained version of the tempest section. The mysterious, final statement of the fanfare is capped by an emphatic, pizzicato chord. II. Stürmisch bewegt. Mit grösster Vehemenz (Violently agitated. With the greatest vehemence)—According the Mahler, this is the true opening movement of the Symphony, with the preceding Funeral March serving as an introduction (echoes of the Funeral March do indeed return throughout). The movement opens with tremendous fury. Suddenly, the measured tread of the Funeral March reappears. The lengthy development features an almost schizophrenic contrast of moods, concluding with the hint of a chorale that will return toward the end of the movement. The recapitulation features masterful juxtapositions of the themes from both movements. Suddenly, the chorale emerges, only to yield once again to the storm and stress that has pervaded the second movement. The final pages are quieter, but no less menacing. ZWEITER TEIL (PART TWO) III. Scherzo. Kräftig, nicht zu schnell (Vigorously, not too fast)—In contrast to the opening two movements, the Scherzo—which stands on its own as the Symphony’s second part—radiates optimism. As Mahler commented to Natalie Bauer-­‐Lechner, the Scherzo “is mankind in the full brightness of day, at the zenith of life.” An obbligato horn, playing in counterpoint to the orchestra, introduces the Scherzo’s jovial main theme. A subsequent fugato string passage also plays a central role in the movement. The principal Scherzo themes alternate with contrasting Trio sections (some evoking the grace of a Viennese waltz). Mahler also brilliantly develops and intertwines the Scherzo and Trio themes. A final joyous outburst brings this extraordinary movement to a close. DRITTER TEIL (PART THREE) IV. Adagietto. Sehr langsam (Very slow)—Scored only for strings and harp, the meditative Adagietto is a reflective intermezzo between the exuberant Scherzo and concluding Rondo. According to the composer’s friend, conductor Willem Mengelberg: “This Adagietto was Gustav Mahler’s declaration of love for Alma! Instead of a letter, he sent her this manuscript without further explanation. She understood and wrote back that he should come!!! Both have told me this!” While some question the validity of Mengelberg’s contention, there is no denying the Adagietto’s heartfelt lyricism. The concluding Rondo follows without pause. V. Rondo-­‐Finale. Allegro—A brief introduction provides a glimpse of the Finale’s central themes, the first of which is ultimately presented in a more fully-­‐developed form by the horns. The strings launch a vigorous fugato episode. After a repeat of the initial melody and fugato, the strings offer yet another central theme, based upon the preceding Adagietto. Throughout the Finale, the themes are repeated and manipulated with stunning virtuosity. Toward the Rondo’s conclusion, the second-­‐movement chorale returns in its most triumphant form, and the Fifth Symphony proceeds to a joyous conclusion.