SummerFest 2021 Tchaikovsky Spectacular

PROGRAM NOTESJohn Williams:Liberty FanfareAs we listen to the stirring sound ofthe Liberty Fanfare, we hear a mastercomposer at work. The music of JohnWilliams combines esteemed traditionswith a compositional skill that has kept upwith the times.Born in Queens, N.Y., Williams moved toLos Angeles with his family in 1948. There,he attended UCLA and studied compositionprivately with Mario Castelnuovo-Tedesco—like Williams, a composer who balanced arespect for tradition and a gift for melodywith more modern influences. After servicein the Air Force, he returned to New Yorkto attend The Juilliard School, wherehe studied piano with the distinguishedpedagogue Rosina Lhevinne. While in NewYork, he also worked as a jazz pianist inclubs and on recordings. Returning to LosAngeles, he began his career in the filmindustry, working with such composers asBernard Herrmann, Alfred Newman andFranz Waxman. He went on to write musicfor many television programs in the 1960s,winning two Emmy Awards for his work.Williams has written many concertpieces, including a symphony, a sinfoniettafor wind ensemble, a cello concertopremiered by Yo-Yo Ma and the BostonSymphony Orchestra at Tanglewood in1994, concertos for the flute and violinrecorded by the London SymphonyOrchestra, concertos for the clarinet andtuba and a trumpet concerto, which waspremiered by the Cleveland Orchestra andtheir principal trumpet Michael Sachs inSeptember 1996. His bassoon concerto, TheFive Sacred Trees, which was premiered bythe New York Philharmonic and principalbassoon player Judith LeClair in 1995, wasrecorded for Sony Classical by Williams withLeClair and the London Symphony.In the Liberty Fanfare, composed in1986 to mark the centennial of the Statueof Liberty, Williams provides elementalmelodies in the brasses and strings thatevoke profound feelings of both personaland national freedom. Commenting on thework, Williams said he had “tried to create agroup of American airs and tunes of my owninvention that I hope will give some senseof the event and the occasion.”6S E P T 2 0 2 1 4 3 RD S E A S O N2021-22 Tchaikovsky Program Book.indd 6Stephen Paulus:Irving Berlin:One of the most prominent and prolificcomposers on the current scene, StephenPaulus has composed over 400 worksthat have been performed throughoutthe world, winning acclaim from sourcesincluding The New York Times, Los AngelesTimes, Cleveland Plain Dealer and OperaNews. A native of Summit, N.J., Paulusstudied composition at the University ofMinnesota, earning his doctorate in 1979.He found early success with a commissionfor Opera Theatre of St. Louis, one ofAmerica’s leading opera festivals, and hasnow written 10 operas that have enteredthe repertory of the Boston Lyric Opera,Washington Opera, Minnesota Opera,Sacramento Opera, The Berkshire OperaCompany and others.Paulus’ distinctively Americancompositional style has been described asrugged, angular, lyrical, lean, rhythmicallyaggressive and gorgeous. His deeplymoving song The Road Home, which hasbecome a perennial favorite with academicand professional choral groups, reliesheavily on the pentatonic (five-note) scalewe hear on the black keys of the piano. Ina 2013 note describing the work, Paulusnotes:In the Spring of 2001, I received acommission from the Dale WarlandSingers to write a short “folk” typechoral arrangement. I had discovereda tune in a folk song book called “TheLone Wild Bird.” I fell in love with it,made a short recording and asked mygood friend and colleague MichaelDennis Browne to write new words forthis tune. The tune is taken from TheSouthern Harmony Songbook of 1835.It is pentatonic and that is part of itsattraction. Pentatonic scales have beenextant for centuries and are prevalent inalmost all musical cultures throughoutthe world. They are universal. Michaelcrafted three verses and gave it the titleThe Road Home. He writes so eloquentlyabout “returning” and “coming home”after being lost or wandering. Again,this is another universal theme and ithas resonated well with choirs aroundthe world evidence that often the mostpowerful and beautiful message is oftena simple one.God Bless America is not just one ofthe most familiar and beloved songs inthe Great American Songbook; it is asignature work by a songwriter whoselife is one of the great American successstories. A poor immigrant who overcamereligious intolerance, Berlin—who died in1989 at the age of 101—is widely regardedas one of the greatest of all Americansongwriters. He wrote the indestructible,inspirational favorite God Bless Americaduring World War I and revised it in 1938, inthe dark days before World War II. Havingemigrated to the U.S. from Russia at age5, Berlin remained a steadfast patriot whoexperienced the extremes of persecutionand adulation throughout his long career.God Bless America was introduced to theAmerican public by Kate Smith and wasfamously sung by everyone from Berlinhimself (in his inimitable hoarse croakon the Ed Sullivan Show) to the MormonTabernacle Choir.The Road HomeGod Bless AmericaPyotr Ilyich Tchaikovsky:Romeo and Juliet OvertureFantasyMajor classical composers have alwaysnumbered among Shakespeare’s biggestfans —Verdi, Berlioz, Tchaikovsky,Prokofiev, and of course Britons such asBritten and Walton. But none of thesewere better matched with the bard’sdramas than was Tchaikovsky with Romeoand Juliet. In setting this tragic romancewordlessly to music, Tchaikovsky wasperfectly in his element, or perhaps hiselements—conveying the consequencesof star-crossed love in sweeping melodies,lush orchestration and a general feeling foragonized romance. In his fantasy overtureRomeo and Juliet he fashions all theseelements into a seductively beautifulmixture with a taut narrative line.Romeo and Juliet is developed insonata form following an introduction andconcluding with a tragic epilogue. But theurgency of the drama is so compelling thatwe don’t notice formal structure, muchless the “seams” that bothered Balakirevin “Fatum.” A dark mood prevails from theonset, grounded in the lower strings. AfterPacificSymphony.org9/2/21 3:58 PM

introducing a religious-sounding themerepresenting Friar Laurence, a hangingb-minor chord with all the poignancy ofthwarted love seems to hang in the air.As is so often the case, we listen tothis tone poem with a sense of narrativeincidents taking shape without necessarilyapprehending their specifics, but certainhigh points are unmistakable—mostimportantly the ardent love theme ofRomeo and Juliet, which is introduced in apassage representing their balcony scene.This melody, one of the most powerfulevocations of romantic love in music, isnever quite strong enough to gain fullflight. It begins with a soaring phrase, butquickly descends; it recurs frequently, butagain and again it is interrupted by thatb-minor chord, a reminder of the troublesarrayed against the young lovers.Those troubles are many. In a rathermodern take on Shakespeare’s Verona,Tchaikovsky has rendered the city as adark, violent place, with the bloody conflictbetween the Montagues and the Capuletsprominently foregrounded in the music.Their many swordfights are emphasizedby crashing cymbals. As the tone poemcloses, the sound of the cymbal takeson unifying power and poignancy as itannounces the deaths of Romeo andJuliet, while reminding us of the futilityof the earlier violence. The work’s manystrands of love and violence are resolvedwith serenity and grandeur in the tragicepilogue.Sergei Rachmaninoff:Rhapsody on a Theme ofPaganiniWas Rachmaninoff the greatest pianistwho ever lived? We will never know. But thisunanswerable question is the subject ofrenewed interest among music historiansand keyboard fanciers.Not so long ago, the thrilling powerand sheer dazzle of Rachmaninoff’s pianoworks, along with their gloriously lush,unrestrained romanticism, began toencounter resistance from some pianopurists. But listeners who cherish greatpianism have joined with scholars whohave rediscovered lost Rachmaninoff pianorolls, reconsidered his recordings, andreevaluated contemporary accounts of hisPacificSymphony.org2021-22 Tchaikovsky Program Book.indd 7John WilliamsBorn: 1932. New York CityLiberty FanfareComposed: 1986World premiere: June 4, 1986, with John Williams conducting the Boston PopsFirst Pacific Symphony performance: July 4, 1992Instrumentation: 3 flutes including piccolo, 3 oboes including English horn, 2 clarinets, 3bassoons including contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, percussion,harp, piano; stringsEstimated duration: 5 minutesStephen PaulusBorn: 1949. Summit, New JerseyDied: 2014. Arden Hills, MinnesotraThe Road HomeComposed: 2001World premiere: 2002, with Dale Warland conducting the Dale Warland SingersFirst Pacific Symphony performance: September 11, 2021Instrumentation: A cappella chorus (soprano, alto, tenor, bass)Estimated duration: 4 minutesIrving BerlinBorn: 1888. Tyumen, SiberiaDied: 1989. Manhattan, New YorkGod Bless AmericaComposed: 1918, later revised in 1938World premiere: 1938, sung by Kate SmithFirst Pacific Symphony performance: March 31, 1992Instrumentation: 3 flutes including piccolo, 3 oboes including English horn, 3 clarinets includingbass clarinet, 3 bassoons including contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba;timpani, percussion, harp, piano; stringsEstimated duration: 4 minutesPyotr Ilyich TchaikovskyBorn: May 7, 1840. Votkinsk, RussiaDied: Nov. 6, 1893. St. Petersburg, RussiaRomeo and Juliet Overture-FantasyComposed: October–November 29, 1869; revised in the summer of 1870 and again in the summerof 1880World premiere: March 16, 1870, with Nikolai Rubinstein conducting the Imperial Russian MusicalSociety in Moscow.First Pacific Symphony performance: January 14, 1984Instrumentation: 3 flutes including piccolo, 3 oboes including English horn, 2 clarinets, 2bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, percussion, harp; stringsEstimated duration: 19 minutesSergei RachmaninoffBorn: 1873. Semyonovo, RussiaDied: 1943. Beverly Hills, CaliforniaRhapsody on a Theme of PaganiniComposed: July 3 to August 18, 1934World premiere: November 7, 1934 with Rachmaninoff as soloist with the Philadelphia Orchestraconducted by Leopold StokowskiFirst Pacific Symphony performance: October 27, 2984, with Keith Clark conductingInstrumentation: 3 flutes including piccolo, 3 oboes including English horn, 2 clarinets, 2bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, percussion, harp; stringsEstimated duration: 22 minutesPyotr Ilyich TchaikovskyBorn: May 7, 1840. Votkinsk, RussiaDied: Nov. 6, 1893. St. Petersburg, Russia1812 OvertureComposed: 1880World premiere: August 20, 1882 with Nikolai Rubenstein conducting the Moscow ConservatoryFirst Pacific Symphony performance: August 21, 1987Instrumentation: 3 flutes including piccolo, 3 oboes including English horn, 2 clarinets, 2bassoons; 4 horns, 4 trumpets, 3 trombones, tuba; timpani, percussion; stringsEstimated duration: 13 minutes4 3 RD S E A S O N S E P T 2 0 2 179/2/21 3:58 PM

concerts. These reveal not just the pianistof legend with tremendous hands capableof thundering power and speed, but alsoa poetic, aristocratic interpreter whosesubtleties in performance matched thedense layering and structural ingenuity ofhis compositions.Which is not to gainsay the appealof Rachmaninoff’s technical brilliance.In his Rhapsody on a Theme of Paganiniwe have a perfect convergence of all theelements of instrumental virtuosity: amelodic subject drawn from a violin capriceby Niccolo Paganini, the violinist whohelped invent the very idea of the classicalvirtuoso superstar; an extraordinary suiteof variations designed to showcase bothcompositional and performance skills; aheroic expansion of the original melody’sscale and dynamic range; and specialattention to Rachmaninoff’s particulargifts as a pianist—the blazing speedand thundering power that thrilled hisaudiences.Not just a collection of variations ona theme, the Rhapsody is a concertantethat is formally constructed, with the 24variations dividing themselves into threemovements in which most of the variations,like Paganini’s original theme, are statedand developed in A minor. The result closelyresembles a concerto with traditional fast,slow and faster movements.Listeners who cannot quite placethe formal title of the Rhapsody willimmediately recognize Paganini’s familiarmain subject, which is the best-knownand -loved of his set of 24 violin caprices.It’s built upon a pair of peppery A-minorphrases that sound vaguely demonic,especially on the violin. The melody startswith an emphatic A, and then, after a quickfour-note figure, jumps up to E—thendrops an octave to a lower E, repeats thefour-note figure starting on E rather thanA to arrive back where it began. This basicprogression—start on the tonic, jump up afifth, drop an octave and jump up a fourthto the tonic again—is often called “circular,”and it could be repeated in an endlessloop if a counterbalancing phrase didn’tintervene eventually resolving it on thesame tonic note.In Rachmaninoff’s treatment of thistheme, the first ten variations form anopening movement, with another theme—aquotation of the Dies irae theme of the8S E P T 2 0 2 1 4 3 RD S E A S O N2021-22 Tchaikovsky Program Book.indd 8Latin mass—arising in variations 7, 10, 22and 24. Variation 11 consists of a slow, poetictransition that leads us into a slow movementthat moves gradually from D minor to D-flatminor, culminating in the most famousmusical interlude in the entire Rhapsody,variation 18. You’ll be lost in the beauties ofRachmaninoff’s lush romanticism when thisvariation, vernal and ecstatic, soars forth,literally turning the original theme on itshead—a direct inversion of Paganini’s originalA-minor subject. Understanding its potentialpopularity, Rachmaninoff is reported to havequipped “this [variation] is for my agent.” It isoften played as a stand-alone work.Pyotr Ilyich Tchaikovsky:1812 Overture, Op. 49The sound of national pride is pervasivethroughout the 1812 Overture. The questionis: pride in what nation? Tchaikovsky wasRussian down to his bones, and musichistorians classify him as a founder ofRussian nationalism in classical music.Nothing about America or American historyinformed the composition of this work. Yetin towns across America, the 1812 Overtureis an indispensable part of the celebrationof summer. We almost feel it belongs to us.From the popularly accepted title,many listeners wrongly assume thatthis dramatic overture commemoratessomething about the War of 1812. Instead,the year in the title actually referencesNapoleon’s catastrophic march towardMoscow and Russia’s successful defenseat the Battle of Borodino. In contrast withTchaikovsky’s traditionally structuredsymphonies and chamber pieces,his “1812” Overture and story-basedsymphonic poems such as Romeo andJuliet and Francesco da Rimini make deftuse of leitmotifs — melodies or phrasesthat represent recurrent dramaticelements.As musical storytelling, the 1812Overture is so vivid that we can smell thegunpowder as it limns the progress ofcontending forces. The dynamics are fullof exciting contrasts, building tension withlong crescendos. Melodic themes entwineand shift balance as if battling for control.New elements introduce themselves softlyas if they were distant, then grow louder asif drawing near.As the overture opens, a plaintivechoir of cellos and violas representsthe people of Russia in their homesand churches as the invasion and theirsuffering escalate. One critical elementis the brass-borne strains of the Frenchnational anthem, “La Marseillaise,”which has the characteristic soundof the cavalry riding to the rescue.But remember, France represents theNapoleonic menace; in other words, theyare the bad guys. Victory comes whenthey are countered by louder strains ofthe Russian anthem “God Save the Czar.”And, of course, by the Imperial Army andits cannons—sixteen shots in all.After the battling and the cannon fire,the initial hymn tune returns to the wholeorchestra and triumphant church bellsring out. They remind us that it is not thearmy or the czar but the Russian peoplewho are the hero of the 1812 Overture—asthey are in Shostakovich’s Symphony No.5 depicting the siege of Leningrad, and inMussorgsky’s populist opera of czars andpolitical intrigue, “Boris Godunov.” Thisidea—the common people as hero—is ademocratic ideal that may be the closestlink between America’s national culture andthe historical origins of our beloved 1812Overture.Michael Clive is a cultural reporter livingin the Litchfield Hills of Connecticut.He is program annotator for PacificSymphony and Louisiana Philharmonic, andeditor‑in‑chief for The Santa Fe Opera.PacificSymphony.org9/2/21 3:58 PM

2021-22 Pacific SymphonySEASON CALENDARHAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION SERIES2021–22 CLASSICAL SEASONImmerse yourself in the power of perfectly synchronized musicians performing in the world-classRenée and Henry Segerstrom Concert Hall, celebrated for its acoustical perfection. Savor 12unforgettable Thursday, Friday or Saturday evenings of music’s most moving masterpieces.This series consists of 12 performances.UNDERWRITTEN BY THE SHARON AND TOM MALLOY FAMILY2021–22 POPSEnjoy electrifying performances of popular music’s most enduring favorites—backed by the“Hollywood” sound of Pacific Symphony. Celebrating Principal Pops Conductor Richard Kaufman’s30th Anniversary!This series consists of 7 performances.PRESENTED BY FARMERS & MERCHANTS BANK2021–22 FAMILY MUSICAL MORNINGSFamily Musical Mornings are 45-minute kid-friendly concerts that engage and entertain youngaudiences. Be guided through the secret inner workings of the orchestra with a captivating, multimediaformat as the Symphony is joined by singers, actors and dancers.This series consists of 5 performances.HAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION SERIES2021–22 SUNDAY MATINEESJoin Music Director Carl St.Clair in an intimate and lively behind-the scenes exploration of the classics.These Sunday afternoon concerts are only 90 minutes long and include insightful comments fromMaestro St.Clair.This series consists of 4 performances.PRESENTING SPONSOR - DOT & RICK NELSON2021–22 CAFÉ LUDWIGThree perfect Sunday afternoons curated by host and pianist Orli Shaham. While you sip coffee andindulge in scrumptious desserts, this gifted pianist guides you on a journey exploring how composersinfluenced each other and changed the course of chamber music.This series consists of 3 performances.UNDERWRITTEN BY VALERIE AND BARRY HON2021–22 PEDALS AND PIPESThree perfect Sunday afternoons curated by host and pianist Orli Shaham. While you sip coffee andindulge in scrumptious desserts, this gifted pianist guides you on a journey exploring how composersinfluenced each other and changed the course of chamber music.This series consists of 3 performances.PRESENTED BY TERRI AND

Pacific Symphony in its sold-out Carnegie Hall debut, as the finale to the Carnegie’s yearlong celebration of pre-eminent composer Philip Glass’ 80th birthday, ending in a standing ovation, with . The New York Times . calling the Symphony “a major ensemble!” He led Pacific Symphony on its . first tour to China in May 2018, the orches-