St. Louis Symphony Extra - October 4, 2014

8/11/2019 St. Louis Symphony Extra - October 4, 2014

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CONCERT PROGRAMOctober 4-5, 2014

Markus Stenz, conductorCarolyn Sampson, soprano

Patrick Carfizzi, bass-baritoneSt. Louis Symphony Chorus

Amy Kaiser, director

BRAHMS Vier Prludien und ernste Gesnge (1833-1897) (Four Preludes and Serious Songs), op. 121(1896/2004-05)

DETLEV GLANERT(b. 1960) Prludium zu Nr. 1 Nr. 1: Denn es gehet dem Menschen Prludium zu Nr. 2

Nr. 2: Ich wandte mich, und sahe an alle Prludium zu Nr. 3 Nr. 3: O Tod, wie bitter bist du Prludium zu Nr. 4 Nr. 4: Wenn ich mit Menschenund mit

Engelszungen redete Postludium

Patrick Carfizzi, bass-baritone

INTERMISSION

BRAHMS Ein deutsches Requiem (A German Requiem),op. 45 (1865-68)

Selig sind, die da Leid tragenDenn alles Fleisch es ist wie Gras

Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit

Denn wir haben hie keine bleibende Statt Selig sind die Toten

Carolyn Sampson, soprano Patrick Carfizzi, bass-baritione St. Louis Symphony Chorus Amy Kaiser, director


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ACKNOWLEDGMENTS

These concerts are part of the Wells Fargo Advisors series.

These concerts are presented by Thompson Coburn LLP.

Markus Stenz is the Blackwell Sanders Peper Martin Guest Conductor.

Amy Kaiser is the AT&T Foundation Chair.

The concert of Saturday, October 4, is underwritten in part by a generous giftfrom Mrs. Pauline Keinath.

The concert of Sunday, October 5, is underwritten in part by a generous giftfrom Ms. Phoebe D. Weil.

The concert of Sunday, October 5, is the Mrs. Richard G. Sisson Concert.

Pre-Concert Conversations are sponsored by Washington University Physicians.

Large print program notes are available through the generosity of the DelmarGardens Family.


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FROM THE STAGEAmy Kaiser, Director of the St. Louis Symphony Chorus, on Ein deutsches Requiem:

Its a major work, full of challenges: complex fugues, expressive segments, richin harmonic details. Its a choral symphony, really.The word requiem makes it sound liturgical, but its not that. Its a very

personal piece. Brahmss mother had died. He wrote the fth movement asconsolation for his mothers death. The work is all about comfort for the living.Blessed are they that carry sorrow, for they shall be comforted. People considerit a healing piece. Theres no Dies irae. There is the sound of the last trumpet, butits joyful, not fearful. A victory over death.

It will be interesting to hear the Requiemcombined with the rst half of

the program: the Preludes and Serious Songs. Those are the last vocal piecesBrahms wrote, very somber, a very different feeling about death at the endof his life. To have this rst on the program will make for a newly createdcomposite work. The seriousness of these songs will make the Requiemmoregentle and tender and joyful.

Amy Kaiser

GERRYLOVE


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TIMELINKS

1896/2004-05BRAHMS/DELTLEV GLANERTVier Prludien undernste Gesnge

(Four Preludes andSerious Songs), op. 121First subway in Europeinstalled in Pest, Hungary(to become Budapest)/Angela Merkel becomesfirst female Germanchancellor

1865-68BRAHMSEin deutsches Requiem(A German Requiem),op. 45Marx publishes firstvolume of Das Kapital

Johannes Brahms loved singers, and singers loved

him. When he wasnt pulling a soprano behindthe bushes or irting with a contralto half his age,he was writing song after song for them. Over theyears, he coached many amateur and professionalwomens and mixed chorusessometimes forpay, always for pleasure. In his blond and beard-less 20s, Brahms made his singing Fruleinsswoon and pine. Even decades later, when hewas a fat old grump in a safety-pinned shawl, he

had game. To understand why, all you need to dois listen to his vocal music. No one was better atbringing out the beauties of every vocal range.Present-day mezzo-sopranos and contraltos areespecially grateful that Brahms wooed severalof their tribe. Most composers give the sopranosall the best parts, but Brahmss fondness for theduskier timbres is evident throughout his vocal

music, particularly inA German Requiem.Both works on tonights program are mile-stones of Brahmss career.A German Requiem,his longest composition, secured his status asa leading European composer. Four SeriousSongs,written less than a year before he died,is his valediction.

SONGS OF LOVE AND DEATHBY REN SPENCER SALLER


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JOHANNES BRAHMS/DETLEV GLANERTVier Prludien und ernste Gesnge (Four Preludesand Serious Songs), op. 121

NOBODY LEFT TO LOSE In a way, all Brahms

is late Brahms, Alex Ross quipped in his essayBlessed Are the Sad. But no Brahms is later thanFour Serious Songs,his last published work. In lateApril of 1896, Brahms received the news that hismost trusted condante, Clara Schumann, hadsuffered a stroke. He wrote one of her daughters,I must ask you, if you think the worst is to beexpected, to be so good as to let me know, so thatI may come while those dear eyes are still open,for when they close so much will end for me! Therst week of May, he drafted four songs for lowvoice and piano. Although they are meditationson death, with texts derived from the LutheranBible, it is signicant that he called them seriousrather than sacred. On May 8, the day after hislast birthday, he wrote his publisher about thelittle songs he had written as a gift to himself:

They are seriously disturbing, and therefore soGodless that the police could prohibit themifthey werent all taken from the Bible.

Brahms was a secretive man, a lover of masks,a burner of letters. He hated extramusical interpre-tations of his work, and he was almost pathologi-cally guarded about his personal life. Consistentwith his prevaricating, contrary nature, he insistedthat the songs had nothing to do with Clara, who

died on May 20. At least ofcially, Four SeriousSongswas dedicated to the artist Max Klinger. Butto his friend Richard Heuberger, Brahms grudg-ingly conrmed what everyone already knew:Dont tell anybody...that I wrote the songs on theoccasion of [Claras] death. I also dont like to hearthat I wrote the Requiemfor my mother! Duringa musical memorial after Claras funeral, Brahms

wept as he performed Four Serious Songs for asmall group of friends. He told one of them, NowI have nobody left to lose. For the remainingmonths of his life, he could not bear to hear thesongs in a public setting.

POSTHUMOUS COLLABORATION Brahms scoredFour Serious Songs for bass-baritone voice andpiano, but tonights performance is a joint effort

Detlev GlanertBornSeptember 6, 1960, Hamburg

First PerformanceBrahms: November 9, 1896,in ViennaGlanert: June 25, 2005, in St.Marys Church in Prenzlau,Germany, with baritoneDietrich Henschel and KentNagano conducting theDeutsches Symphonie-Orchester Berlin

STL Symphony PremiereThis week

Scoringsolo bass-baritone3 flutes2 oboes2 clarinets2 bassoonscontrabassoon

4 horns2 trumpets3 trombonestimpaniharpstrings

Performance Timeapproximately 25 minutes

Iko

Freese


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of Brahms and the 21st-century German composer Detlev Glanert, whoarranged the work for orchestra and added linking preludes and a postlude.It is a reverential treatment that does not attempt to modernize Brahms butinstead reminds us of his enduring modernity. As there are so many Brahmsngerprints in the instrumentation, Glanert explains, I tried to set it for

orchestra as distinctively and scrupulously as he himself would have done.For the supplementary material, Glanert mostly repurposed Brahmss ownmusic: ...I tried to use it and transform it like a stylistic muscle, so that themusic starts in his world, is sliding slowly into our world, and then fallingback again.

This compositional time travel suits Four Serious Songs, the apotheosis ofBrahmss lifelong study of Bach, Mozart, and Beethoven scores, as well as thefugues, canons, and motets that he pored over during his years as a chorus

director. As Brahms biographer Jan Swafford writes, The whole course ofBrahmss life and art resound in these four somber and deceptively straightfor-ward death chants. The rst song, a minor-key dirge that equates the death ofhumans with that of animals, looks back to the pessimism of the Requiems allesh is as grass movement: Who knows if the spirit of man ascends upward,and that of the beast descends into the earth? the singer asks. The concludinglines are another bleak and unanswerable question: For who shall bring himto that place where he may see what shall come after him? Fittingly, Glanertsopening prelude begins with an inverted rendering of the rst songs ending.

It starts out somber and unsettled, mutates to an agitated 12-tone chord, andthen drifts back to Brahmsian melancholy. As with many of Glanerts channel-ings, it is difcult to tell where Brahms ends and Glanert begins.

Glanerts third prelude yanks Brahmss themes into a frenzied waltz, anallusion to the baroque Totentanz(death dance) manuscripts that Brahmscollected. It is an apt introduction to Brahmss third song, which containsthe most explicit reference to Clara. The accompaniment borrows RobertSchumanns C-B-A-G#-A pattern, a notational spelling of his wifes name;Brahms had lifted this progression as a young man, when he was desperatelyin love with her himself. The bitterness of death, lamented in the rst verse,resolves to a stoic consolation: Oh death, how well you comfort.


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BornMay 7, 1833, Hamburg

Died

April 3, 1897, ViennaFirst PerformanceApril 10, 1868, in Bremen,under the composersdirection

STL Symphony PremiereDecember 10, 1960, withsoprano Phyllis Curtin,baritone Gerard Souzay, theUniversity of Missouri Chorusunder director Thomas Mills,Edouard van Remoortelconducting

Most Recent STL SymphonyPerformanceJanuary 22, 2011, with sopranoTwyla Robinson, baritoneStephen Powell, the St. LouisSymphony Chorus under

the direction of Amy Kaiser,David Robertson conducting

Scoringsolo soprano and baritonemixed chorus2 flutespiccolo2 oboes2 clarinets2 bassoons

contrabassoon4 horns2 trumpets3 trombonestubatimpani2 harpsstrings

Performance Timeapproximately 68 minutes

JOHANNES BRAHMSEin deutsches Requiem (A German Requiem), op. 45

A SORT OF WHOLEOn February 2, 1865, Brahmssailing 76-year-old mother died of a stroke. A short

time later, Brahms sent Clara Schumann newsketches for a so-called Deutsches Requiem. Hehad been mulling over the project in a generalway for years, but his mothers death galvanizedhim to work on it in earnest. The draft that hesent Clara was for the fourth movement of theRequiem, How Lovely Is Thy Dwelling Place. Inthe accompanying letter, he wrote, Its probablythe least offensive part.... But since it may havevanished into thin air before you come to Baden,at least have a look at the beautiful words.... Ihope to produce a sort of whole out of the thingand trust I shall retain enough courage and zestto carry it through.

It took him another year and a half, but henished it. In August, during one of his workingvacations with Clara and her children, he wrote,

Baden-Baden in Summer 1866 at the bottomof the Requiem score. That September, in frontof a small gathering at Claras, he performed theentire piece, then only six movements (he addedthe solo soprano movement after the premiere).In her diary, Clara gushed, Johannes has playedme some magnicent numbers from A GermanRequiem.... ...[I]t is full of thoughts at once tenderand bold. The debut performance was a great

success, and the Requiemwent on to be sung bychoruses across the country.

HUMAN, ALL TOO HUMAN The article is crucial:Its a requiem, not the requiem. And althoughits a German requiem, Brahms was referringnot to the nationality but to the language. Ratherthan Latin, the ordained language for the stan-

dard Catholic requiem, Brahms compiled hisfavorite lines from Martin Luthers translation ofthe Bible. Karl Reinthaler, the music director inBremen who would lead the choir at the premiere,fretted that the work glossed over a major theo-logical point: salvation through the death ofChrist. The premiere, after all, was scheduledfor Good Friday. Brahms, who was fundamen-tally agnostic, refused to yield: As far as the text


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is concerned, I confess that I would gladly omit even the word Germanandinstead use Human.... ...I have chosen one thing or another because I am amusician, because I needed it, and because with my venerable authors I cantdelete or dispute anything. But I had better stop before I say too much. AsJan Swafford writes, He fashioned an inwardly spiritual work, full of echoes

of religious music going back hundreds of years, yet there is no bowing to thealtar or smell of incense in it. Even if the words come from the Bible, this washisresponse to death as a secular, skeptical modern man.

A German Requiem shattered nearly every rule for requiems. It nevermentions Jesus Christ by name and completely avoids the topic of JudgmentDay. Its real subject is not divine grace and paradise but human grief and tran-sience. It does not mourn the dead so much as console the living. Despite itsfocus on death, the word that appears most often in the text is, unexpectedly,

Freude, or joy.

CATHEDRAL OF SOUND Brahms made his own lovely dwelling place in thehouse of music; his holy cathedral, a four-part choir and orchestra. The struc-ture is sound, its lines balanced and symmetrical. It begins and ends with theword selig, or blessed. The second and sixth movements are also parallel,with minor-key main sections followed by ecstatic major-key conclusions. Thethird and fth movements feature solo parts, for bass-baritone and soprano,respectively. The fourth movement is both pivot and resting point, with a

lullaby-like theme and a fugato section that dovetails with the more prominentfugues in the third and sixth movements.

Architecture aside, what makes the Requiemso dazzling is its wealth ofgemlike details. From its rst moments, it has a luminous solemnity. Throughthe shadowy strains of the orchestra, the chorus sings softlywhich, as anyvocalist will tell you, is much harder than belting out the notes. The violins areconspicuously absent, darkening the sonic landscape. Near the end of the rstmovement, an arpeggiated harp gure emerges from a radiant cloud of poly-phonic voices. Brahms used harps sparingly, almost always to suggest a stateof grace. The second movementsketched a dozen years earlier, in response tohis mentor Robert Schumanns suicide attemptis a triumph of chiaroscuro.It begins as a death march, while a sepulchral chorus intones that all esh isas grass. When the womens voices converge in a lyrical response, the wordsare still sombergrass withers, owers diebut the gloom is shot throughwith sunlight. Not quite midway through the movement, the singers counselpatience: The husbandman waits for the precious fruits of the earth and ispatient until he receives the morning and evening rain. At the mention of rain,

the doubled ute and harp join pizzicato strings, forming gentle, rejuvenatingdroplets of solace.

Program notes 2014 by Ren Spencer Saller


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MARKUS STENZBLACKWELL SANDERS PEPER MARTIN GUEST CONDUCTOR

Markus Stenz is Principal Conductor of theNetherlands Radio Philharmonic Orchestra,Principal Guest Conductor of the Hall Orchestra,and Principal Guest Conductor designate of theBaltimore Symphony Orchestra.

His previous positions have includedGeneral Music Director of the City of Cologne andGrzenich-Kapellmeister (posts he relinquishedin the summer of 2014), Artistic Director andChief Conductor of the Melbourne SymphonyOrchestra (1998-2004), Principal Conductor

of London Sinfonietta (1994-98) and ArtisticDirector of the Montepulciano Festival (1989-95).In 2000 Markus Stenz took the Melbourne

Symphony on their triumphant rst Europeantour, including concerts in Munich, Cologne,Zurich, and Salzburg. In 2008 he visited Chinawith the Grzenich Orchestra and the same yearconducted its rst ever BBC Proms appearanceat the Royal Albert Hall. He returned to China

in 2010 with Cologne Opera for two cycles ofWagners Ring in Shanghai and Mozarts DonGiovanni in Beijing. He returned to China withthe Grzenich Orchestra in 2014.

MOLINAVISUALS

Markus Stenz debuts withthe St. Louis Symphony thisweekend.


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AMY KAISERAT&T FOUNDATION CHAIR

One of the countrys leading choral direc-tors, Amy Kaiser has conducted the St. LouisSymphony in Handels Messiah, Schuberts Massin E-at, Vivaldis Gloria, and sacred works byHaydn and Mozart as well as Young PeoplesConcerts. She has made eight appearances asguest conductor for the Berkshire Choral Festivalin Shefeld, Massachusetts, Santa Fe, and atCanterbury Cathedral. As Music Director of theDessoff Choirs in New York for 12 seasons, sheconducted many performances of major works

at Lincoln Center. Other conducting engage-ments include concerts at Chicagos GrantPark Music Festival and more than fty perfor-mances with the Metropolitan Opera Guild.Principal Conductor of the New York ChamberSymphonys School Concert Series for sevenseasons, Kaiser also led many programs for the92nd Street Ys acclaimed Schubertiade. She hasconducted over twenty-ve operas, including

eight contemporary premieres.

CAROLYN SAMPSON

Equally at home on the concert and operastages, Carolyn Sampson has enjoyed notablesuccesses in the U.K. as well as throughoutEurope and the U.S.

On the opera stage her roles for EnglishNational Opera have included the title rolein Semele and Pamina in The Magic Flute. ForGlyndebourne Festival Opera she sang variousroles in Purcells The Fairy Queen, now releasedon DVD. In 2012 she sang Anne Truelove inThe Rakes Progress in Sir David McVicars newproduction for Scottish Opera. Internationallyshe has appeared at Opra de Paris, Opra deLille, Opra de Montpellier, and Opra Nationaldu Rhin. She also sang the title role in LullysPsych for the Boston Early Music Festival, whichwas released on CD and was subsequently nomi-nated for a Grammy in 2008.

Most recently she sang in two concerts at the2014 BBC Proms; the rst in Mozarts Requiemwith the BBC Scottish Symphony Orchestra

MARCO

BORGGREVE

Carolyn Sampson debutswith the St. LouisSymphony this weekend.

Amy Kaiser celebrates20 seasons as St. LouisSymphony Chorus Director

in 2014-15.


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conducted by Donald Runnicles, and the secondin Taveners Requiem Fragments with the TallisScholars conducted by Peter Phillips.

In the 2014-15 season Carolyn Sampson willbe featured as one of the artists in residence at the

Wigmore Hall.

PATRICK CARFIZZI

Bass-baritone Patrick Carzzi follows this week-ends concerts with his company debut with theLyric Opera of Kansas City as Mustafa in RossinisLitaliana in Algeri. Carzzi will return to Seattle

Opera as the Music Master and Truffaldino inStrausssAriadne auf Naxos, as well as HoustonGrand Opera as the Speaker in Sir NicholasHytners production of Mozarts The Magic Flute,conducted by Robert Spano.

Patrick Carzzis 2013-14 season celebratedhis 300th performance with the MetropolitanOpera, including the roles of Quince in TimAlberys production of Brittens A MidsummerNights Dream, conducted by James Conlon;Frank in Jeremy Samss new production ofStrausss Die Fledermaus; and Schaunard inZefrellis iconic production of La bohme. Otherhighlights of the recent season included a returnto the Opera Theatre of St. Louis for his role debutas Dulcamara in Donizettis Lelisir damore.

KEN

HOWARD

Patrick Carfizzi was amember of the cast ofthe St. Louis Symphonysperformances of Peter

Grimesat Powell and atCarnegie Hall last season.


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Amy KaiserDirector

Leon Burke IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nicholas W. BearyAnnemarie Bethel-PeltonPaula N. BittleJerry BolainJoy BolandMichael H. BoumanRichard F. BoydKeith BoyerDaniel P. Brodsky

Buron F. Buffkin, Jr.Leon Burke IIICherstin ByersAlyssa CallaghanPeggy CantrellLeslie A. CaplanVictoria A. CarmichaelMark P. CereghinoSteven ChemtobJessica Klingler CissellRhonda Collins CoatesTimothy A. ColeDerek DahlkeLaurel Ellison DantasDeborah DawsonZachary K. DevinMary C. Donald

Stephanie M. EngelmeyerJamie Lynn ErosStephen ErosLadd FaszoldHeather Fehl

Alan E. FreedMark FreimanAmy Telford Garcs

Amy GatschenbergerLara GerassiMegan E. GlassSusan GorisKaren S. GottschalkTyler GreenSusan H. HagenClifton D. HardyNancy J. Helmich

Ellen HenschenJeffrey E. HeylLori HoffmanMatthew HoltAllison HoppeHeather HumphreyKerry H. JenkinsStephanie JohnsonPatricia Kofron

Elena KorpalskiPaul V. KunnathDebby LennonGregory C. LundbergGina MaloneAlicia A. MatkovichPatrick MattiaDaniel MayoRachael McCreeryCelia McManusScott MeidrothKatherine MenkeJeff MillerJei MitchellBrian K. MulderJohanna NordhornDuane L. Olson

Nicole OrrHeather McKenzie PattersonSusan PattersonBrian PezzaShelly Ragan Pickard

Jason PloschSarah PriceAmy Waller Prince

Valerie Christy ReichertKate ReimannGregory J. RiddlePatti Ruff RiggleMichelle Suzanne RoseTerree RowbottomNathan Tulloch RugglesPaul N. RunnionChristina Saalborn

Mark V. ScharffJanice Simmons-JohnsonJohn William SimonCharles G. SmithShirley Bynum SmithAdam D. StefoJ. David StephensMaureen E. TaylorMichelle D. Taylor

Robyn Danielle TheisonNatanja TomichDewayne TrainerPamela M. TriplettDavid R. TrumanGreg UpchurchRobert ValentineKevin VondrakSamantha Dane WagnerNancy Maxwell WaltherKeith WehmeierNicole C. WeissDennis WillhoitPaul A. WilliamsMary M. WissingerKate YandellSusan Donahue Yates

Carl S. ZimmermanDaniel Zipperer

ST. LOUIS SYMPHONY CHORUS 2014-2015


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SINGING BRAHMS:AMY KAISER, DIRECTOR OF THE ST. LOUIS SYMPHONY CHORUS

We have been working on an evenmore beautiful and expressive sound

for the Requiem. Weve been workingon individual moments, to capture theintention of so many special momentsthat are very elusive. It all has to be feltand lived throughand then it will bevery beautiful.

The rst passages the chorus singsare very ethereal and exposed, with awide range from softest to loudest. Its

difcult physically. You dont want towear out by the seventh movement.

A BRIEF EXPLANATIONYou dont need to know what andante means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but its always fun to know stuff. Such

as the signicance of the German text inA German Requiem.

A German Requiem:Brahms not only gave the people of Bremen a stunningchoral symphony when it premiered, he gave the German people theirlanguage, validating the vernacular. The movement titles translated: Blessedare they that mourn; For all esh is as grass; Lord, make me to know;How lovely are thy tabernacles; And ye now therefore have sorrow; Forhere we have no continuing city; Blessed are the dead.

Amy Kaiser


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YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here are suggested sourcematerials with which to continue your explorations.

boosey.comTo learn about Detlev Glanert and hisarrangement of Brahms, nd him viaComposer Index on the music publisherswebsite

Jan Swafford,Johannes Brahms: A BiographyVintage

Published in 1999 and still the Brahms biochampion

Read the program notes online atstlsymphony.org/en/connect/program-notes

Keep up with the backstage life of the St. Louis Symphony, as chronicled bySymphony staffer Eddie Silva, via stlsymphony.org/blog

The St. Louis Symphony is on


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AUDIENCE INFORMATION

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intermission; Sunday concert days12:30pm through intermission.

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If you cant use your season tickets,simply exchange them for another

Wells Fargo Advisors subscriptionconcert up to one hour prior to yourconcert date. To exchange your tickets,please call the Box Ofce at 314-534-1700 and be sure to have your tickets

with you when calling.

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314-286-4155 or 1-800-232-1880 Anygroup of 20 is eligible for a discount ontickets for select Orchestral, Holiday,or Live at Powell Hall concerts. Callfor pricing.

Special discount ticket programs areavailable for students, seniors, andpolice and public-safety employees.

Visit stlsymphony.org for moreinformation.

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Age for admission to STL Symphonyand Live at Powell Hall concerts

varies, however, for most events therequired age is ve or older. All patrons,regardless of age, must have their owntickets and be seated for all concerts.

All children must be seated with anadult. Admission to concerts is at thediscretion of the House Manager.

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Powell Hall is not responsible for

the loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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Documents

St. Louis Symphony Extra - October 4, 2014