Program - Prague Symphony Orchestra (Wednesday, March 9, 2005 - 8 p.m.)
Contents
Introduction
This performance supported by William and Karen Rubright.
Prague Symphony Orchestra
Petr Altrichter, Principal Conductor
Navah Perlman, Pianist
Program
Program subject to change without notice.
Ludwig von Beethoven, Leonore Overture No. 3, Op. 72
Frederic Chopin, Piano Concerto No. 2 in F Minor, Op. 21
Navah Perlman, pianist
- Maestoso
- Larghetto
- Finale: Allegro vivace
Intermission
Antonín Dvorák, Symphony No. 6 in D Major, Op. 60
- Allegro non tanto
- Adagio
- Furiant: Presto. Trio: Poco meno mosso. Furiant
- Allegro con spirito
Credits
Columbia Artists Management, Llc
Producer: Andrew S. Grossman
Associates: W. Seton Ijams and Robert F. Berretta
165 West 57th Street
New York, NY 10019
Hancher Auditorium thanks William and Karen Rubright for support of the Prague Symphony Orchestra with Navah Perlman.
The generous support of our sponsors enables Hancher Auditorium to bring the world's finest performing artists to our region.
Program
Leonore Overture No. 3, Op. 72, Ludwig van Beethoven (1770-1827)
Even though Beethoven was highly drawn to theater music, Fidelio was the only opera he wrote. The work was based on an actual incident that took place during the Reign of Terror. The plot tells the story of Florestan, a political prisoner who was saved from certain death by his wife, Leonore, disguised as the jailer's helper under the name of Fidelio.
In his long quest for perfection, Beethoven spent a great deal of time revising the opera after its composition, and even after its premiere performance at the Theater an der Wien on November 20, 1805. As part of this revisionist activity, he wrote a total of four different overtures for the work; the first three are known as "Leonore" (corresponding to the original name of the opera), and the fourth is known as the "Fidelio" Overture. The first "Leonore" Overture was written in 1805 and was discarded before the opera even reached the stage, as it was "too light and not sufficiently expressive of the nature of the work." The second overture, performed at the premiere, made direct transitions between melodies on the basis of dramatic logic, ignoring symphonic convention; it was greeted with critical disregard, thus sending the composer back to the drawing board so to speak. The Leonore Overture No. 3 was written for a second version of the opera which was produced March 29, 1806; this overture proved to be so monumental that it tended to dwarf the opera itself. Finally, nine years after the premiere of the opera, Beethoven wrote the comparatively light theatrical piece known as the Fidelio Overture—the one that has been heard since then as the preamble to the opera.
More so than any of the other three overtures, the Leonore Overture No. 3 has attained a life of its own as is often heard on the concert stage; it is also often interpolated as an entr'acte in some performances of the opera following Gustav Mahler's example when he used to conduct Fidelio at the beginning of this century. Like the Overture to Egmont, the third "Leonore" Overture constitutes a powerful orchestral tone poem, written in a compact sonata-allegro form, epitomizing the drama to follow. The Overture begins with a dark Adagio introduction, like a descent into the gloomy dungeon where Florestan is imprisoned. A succeeding arioso theme in A-flat is taken from his Act Two aria where he laments his loss of freedom. We then arrive at the Allegro main body of the overture proper with the appearance of the syncopated main theme, beginning softly but growing progressively agitated. The second theme depicts the tension of the encounter between Leonore and Don Pizarro whose intent is to murder her husband. With dramatic suddenness, there is an off-stage trumpet call, which in the opera announces the arrival of Don Fernando, the Royal Minister and Florestan's friend. As Florestan is liberated in the opera, in the overture we hear a motif associated with thanksgiving for his safety. From here, the music of the overture continues on its own course, independent of the drama, but providing a mirror for the gladness and exultation of the opera's conclusion. With a burst of overwhelming triumph, the glorious coda anticipates the final victory of good over evil.
© 1999 Columbia Artists Management Inc.
Piano Concerto No. 2 in F Minor, Op. 21, Frédéric Chopin (1810-1849)
The Piano Concerto in F minor of Chopin, known the "Second" Piano Concerto, was written in 1829, one year before the so-called Concerto No. 1 in E minor, but was published later. The work was premiered on March 17, 1830 at the National Theater in Warsaw, along with the composer's Fantasia on Polish Airs. As was the practice at the time, the first movement was separated from the other two by another piece, in this instance a divertissement for solo horn. The performance was a great success; a review of the concert stated "Chopin knows what sounds are heard in our fields and woods, he has listened to the song of the Polish villager, he has made it his own and has united the tunes of his native land in skillful composition and elegant execution." The adulation was so great that the concert was repeated five days later. In Polish eyes, Chopin was viewed as a Polish national composer.
The first movement is marked Maestoso and is in common time. Chopin patterned the first movements of his concerti on the style of Hummel, who was in vogue at the time. The exposition is in the "classic" manner, first stated by the orchestra and then by the soloist. The principal subject, played by the strings, is followed by a second theme in A-flat major, which is presented by the oboe, then repeated by the strings. After a few introductory measures, the piano enters abruptly with the first subject and then extends it. A transitional section leads to the reappearance of the second subject. A short orchestral tutti introduces the development section, based on the first four notes of the principal theme. With the recapitulation, the first theme is again presented, this time in a truncated version. The second subject is restated, then transposed to C minor. The movement ends with an orchestral tutti.
In the second movement, in A-flat major, the theme is stated and embellished by the soloist. A middle section in declamatory style is followed by a return of the first theme in a more florid form. A short coda ends the movement. Chopin's inspiration for this movement was his affection for a young singer, Constantia Gladkowska. Calling her "my ideal . . . whom I dream of," he wrote in a letter to a friend in 1829, "while my thoughts were with her, I composed the adagio (actually a larghetto) of my concerto." The piece is dedicated, however, to another singer, Countess Patocka. Liszt, an ardent supporter of Chopin, wrote of this movement, "Passages of surprising grandeur may be found in the adagio of the Second Concerto . . . the accessory designs are in his best manner, while the principal phrase is of an admirable breadth. It alternates with a recitative, which assumes a minor key, and which seems to be its antistrophe. The whole of the piece is of a perfection almost ideal; its expression, now radiant with light, now full of tender pathos."
The third movement, marked Allegro vivace, begins with the soloist announcing the principal subject. Following an orchestral section, the theme returns. After much development and dialogue between the orchestra and soloist, the soloist presents the second theme, with an understated accompaniment in the strings. A horn solo announces the final section, notable for the triplet figures in the piano part.
Unlike some composers, Beethoven and Wagner for example, Chopin's compositional style did not "develop" as he grew older; the elements found in pieces written in his teens, such as this concerto, are evident also in those works from later in his life. Because the concerto is by nature a large work, elements from smaller works can be found in various sections. The listener can detect throughout the piece the lyricism of a nocturne, the vitality of a mazurka and the technical difficulty of an étude.
Following the 1830 performances Chopin left Warsaw, never to return.
© 1999 Columbia Artists Management Inc.
Symphony No. 6 in D Major, Op. 60, Antonín Dvorák (1841-1904)
Dvořák wrote nine symphonies in all. His sixth, the Symphony in D major, Op. 60, holds a special place among them. It was first to be published and performed abroad and for that reason it is sometimes, though misleadingly, numbered as Dvořák's first. Dvořák sketched the D major symphony between August 27 and September 20, 1880 and completed the score on or about October 15 of that year. The work was originally destined for the Vienna Philharmonic Orchestra and its famous conductor, Hans Richter, to whom the work is dedicated. However, the Symphony was first performed on March 25, 1881 in Prague, and Hans Richter's first performance of the work took place in London on May 15, 1882.
The first movement has something of the spirit of Beethoven's first movements and certain details are reminiscent especially of the introductory movement of the Eroica Symphony. It lacks, however, the definitely heroic character of the Eroica although it is energetic and concise. On the whole, it expresses a calm, joyful and balanced outlook on life. The introductory theme, growing out of the first two notes and soon developing in an ingenious manner represents together with the subsidiary melodic motif mainly heard on the cellos, the two main supports upon which rests the broad and splendid structure of this movement. With resourceful prodigality Dvořák brings out a whole range of other themes which, even in minor episodes, are always expressive and truly musical. They impart to the movement first a playful, then a lyrical mood, which others underline its essentially cheerful and energetic character.
The second, slow movement is one of Dvořák's most profound inspirations. Here the composer gives free rein to his feeling. It is superbly lyrical and is like a nocturne in character. A melodic theme of great beauty which imparts virility to the whole movement is repeated three times and is interwoven with an even more moving and emotional subsidiary theme.
In the following third movement, a Furiant leads from this dreamy, enchanted world into the full reality of daylight and sunshine. Strength, defiance and unbounded joyfulness are the main characteristics of this captivating movement where everything resounds with the irresistible rhythm of a fiery popular dance splendidly utilized in a symphonic construction. Dvořák's inventiveness is here deployed with elemental force and full use is made of his marvelous sense of orchestral color, although orchestral means proper are deliberately limited to the necessary minimum. This dance revelry is contrasted with the middle trio, a calmer and more restrained section of a more subdued and delicate color.
The final movement re-echoes the material of the foregoing ones. It too, is vigorous and joyous in character and makes us feel the fullness and richness of the music to the utmost. Freshness, wit, resolution and excitement mark this music which sparkles with vitality. The subsidiary themes accentuate its charm, humor and resolve. Nothing, however, disturbs the fundamentally happy and fresh mood of the movement. Its joyful brilliance reaches a climax in the increased tempo of the finale with the main theme displayed in its full orchestral splendor.
About the Artists
Today's Prague Symphony Orchestra was founded in the autumn of 1934 by the conductor and musical organizer Rudolf Pekárek. He defined the new ensemble's fields of activity with the words Film-Opera-Koncert, which as the abbreviation FOK became part of the orchestra's title. By recording music for the majority of Czech films in the 1930s and performing regularly in live broadcasts of Czechoslovak Radio, the FOK Orchestra made a name for itself and its economic existence was assured. This allowed gradual development of concert activities, whose main promoter from the very beginning was Dr. Václav Smetáček.
Within a very short time Dr. Smetáček managed to build the orchestra into a large symphonic ensemble fully capable of standing up to strong domestic competition. In 1942 he became the orchestra's chief conductor, and he stood at its head for a full 30 years. During the period of his leadership the orchestra achieved a high performance standard and international renown.
After many years of efforts by the orchestra's leadership starting in 1945, the City of Prague followed the model of other European cities and in 1952 established its own professional concert ensemble to represent the city. The traditional acronym "FOK" was retained, and the new title of the orchestra became Symphony Orchestra of the Capital City of Prague—FOK. In 1957 the orchestra departed on its first foreign tours—to Poland, Italy, Austria, and Germany—and thus inaugurated its regular and intensive engagement on the international scene.
After Smetáček's departure from the post of chief conductor, artistic leadership was taken over in succession by Ladislav Slovák (1972-76), Jindřich Rohan (1976-77), and then Jiří Bělohlávek (1977-89), whose work marked an important stage from the standpoint of the ensemble's intensive artistic development. After Bělohlávek came Petr Altrichter (1990-92), Martin Turnovský (1992-95), and Gaetano Delogu (1995-98). Other important Czech conductors who have worked with the orchestra over a long period have included especially Václav Neumann, Zdeněk Košler, and Vladimír Válek.
As of 2001 the orchestra's Music Director is Serge Baudo, while the post of principal conductor is held by Petr Altrichter.
Over the course of the orchestra's history many important conductors of the world have appeared with it as guests, as well as a remarkable range of soloists. The orchestra has performed in most countries of Europe, repeatedly in Japan and the United States, and has also visited South America, Puerto Rico, Taiwan, Korea, Turkey, Israel and other countries.
Another testimony to the orchestra's work is its extensive catalogue of phonograph, radio, and television recordings including both Czech and worldwide repertoire. Most of the commercial recordings have been made for the Supraphon label, but the orchestra's name also appears on recordings for BMG, Conifer, Philips, Erato, Universal, harmonia mundi (Praga), Victor, Koch International, Panton, Music Vars and other labels.
Please note that Maestro Serge Baudo, originally scheduled to conduct this evening's performance, has returned to France due to an illness in his family.
Petr Altrichter, Principal Conductor of the Royal Liverpool Philharmonic Orchestra, was appointed this position in September 1997. Born in 1951 in Czechoslovakia, he studied at the Conservatory in Ostrava and the Janacek Academy of Music in Brno from where he graduated in 1978. By the age of twenty-five, he began to build his conducting career through his successful participation in the International Competition for Conductors in Besancon, France.
In his native country he has held several important posts with a number of orchestras including assistant to the late Vaclav Neumann for three years with the Czech Philharmonic Orchestra. Altrichter was also a guest conductor with orchestras in Brno, Zlin and Pardubice, of which he was chief conductor. In 1987, Altrichter became principal guest conductor of the Prague Symphony Orchestra and by 1990 was appointed principal conductor. He appears regularly in both their main concert season in Prague and on international tours which have taken him and the orchestra to the United States, Germany, Japan, Taiwan, Spain, Italy, France, Greece and Switzerland.
Altrichter has conducted with great success around the world, including concerts in Puerto Rico, Russia and all over Europe. As well as being principal conductor in Liverpool, he has also been the music director of the Sudwestdeutsche Philharmonie in Konstanz, Germany since 1993. He has also conducted many other orchestras world-wide including the Japan Symphone Orchestra, Berlin Symphony Orchestra, Philharmoine Krakow, Orchestra Milano, the Symphony Orchestra Riga, Symfony Orchester RTL Luxemborg, the SWF-Sinfonieorchester Baden-Baden and the Orquesta Filarmonica de Gran Canaria.
Altrichter, along with his various orchestras, is also a very active participant in prestigious festivals in places such as Edinburgh, Paris, Madrid, Seville, St. Etienne, Palermo, Avignon, Zurich, Salzburg, Vienna, Prague, Chicago and Athens.
In Great Britain, Altrichter made his debut appearing with the Prague Symphony Orchestra at the Edinburgh Festival, and his London debut with the English Chamber Orchestra. He then conducted the Royal Liverpool Philharmonic Orchestra in 1994 in Liverpool to great enthusiasm and critical acclaim and the Orchestra insisted on re-inviting him immediately. As a result of this, Altrichter was subsequently appointed RLPO principal conductor.
In October 1996, Altrichter conducted Janacek's Glagolitic Mass with the BBC Symphony Orchestra in the Royal Festival Hall in a live BBC broadcast. Later that month he conducted the Royal Scottish National Orchestra in concerts in Glasgow, Edinburgh and Carlisle. In April 1997, he took over concerts with the London Philharmonic Orchestra at very short notice, which included a concert at the Royal Festival Hall in London.
Highlights of the current season include the opening concert of the Prague Spring Festival, televised around the globe, a performance featuring Smetana's Ma Vlast.
Navah Perlman (Pianist), known for her lyrical eloquence on the stage, has established herself as one of the most poetic and admired pianists of her generation. She has performed to critical acclaim in major concert venues throughout North America, Europe and Asia.
Ms. Perlman began her piano studies at age six with Ronit Amir Lowenthal and later attended the Juilliard School where she worked with Herbert Stessin. She also studied chamber music with Robert Mann, Felix Galimir, and Dorothy DeLay. Ms. Perlman holds an honors degree in Art History from Brown University.
Ms. Perlman has appeared with numerous orchestras throughout the United States including the Chicago Symphony, Toronto Symphony, Philadelphia Orchestra, Pittsburgh Symphony, Nashville Symphony, Oklahoma City Philharmonic, and Arkansas Symphony. Other North American engagements have included performances with the Colorado Springs Symphony, West Virginia Symphony, and Fort Worth Chamber Orchestra. International engagements have included performances with the Barcelona Symphony Orchestra, the National Orchestra of Mexico, the Israel Philharmonic and the New Japan Philharmonic in Suntory Hall. Recital appearances include performances in Washington, D.C., Dallas, Los Angeles, Las Vegas, Scottsdale, and Baltimore. This past season, Ms. Perlman toured the United States with the Moscow State Radio Symphony Orchestra, performing the Rachmaninoff Piano Concerto No. 2. Highlights of her 2004-05 season include performances with the Montréal Symphony and the Prague Symphony both in Prague and on a national tour of the United States, including New York's Metropolitan Museum.
In addition to her successful solo career, Ms. Perlman collaborates frequently in chamber music with violinist Giora Schmidt and cellist Zuill Bailey as the Perlman/Schmidt/Bailey Trio. They continue to present energetic and passionate performances at major halls, festivals and universities across America, including performances at the Kennedy Center, Lincoln Center, and the Ravinia Festival as well as in cities across the U.S. such as San Francisco, Chicago, St. Louis and Houston.
Ms. Perlman is an active and respected performer of residency and educational outreach activities. Communities in which she has given extended residencies include Raleigh, North Carolina and Vancouver, British Columbia. While in residence, Ms. Perlman teaches students of all ages in master classes, speaks to school assemblies and has also conducted pedagogy workshops for teachers. Ms. Perlman has participated in several chamber music residency programs, including those at the University of Kansas in Lawrence, the University of California at Davis and Stanford University.
Ms. Perlman's first recording was released by EMI in February 2001.
Prague Symphony Orchestra
Violin I
- Jiří Hurník
- Antonín Pergler
- Adéla Vondráčková
- Josef Riedlbauch
- Jiří Holub
- Hana Hubatková
- Pavel Hrabánek
- Světlana Pechoušková
- Ericsson-Vlach Maria
- Josef Novotný
- Jaroslava Šaršonová
- Markéta Muzikářová
- Pavel Fajtl
- Marica Ferenčíková
- Renáta Juristová
Violin II
- Miloš Havlík
- Zdeněk Jiroušek
- Hana Sochorová
- Vladimír Kučera
- Vladimír Kučera
- Josef Hampl
- Jiljí Teringer
- Jiří Besperát
- Milan Machačka
- Jiří Drahota
- Ladislava Michálková
- Petra Suková
Viola
- Viola
- Alan Melkus
- Jiří Zajíc
- Milan Vladyka
- Jindřich Moravec
- Vladimír Zajačik
- Mikoláš Čech
- Ludmila Hošková
- Petr Janovský
- Dana Hřebíčková
Violoncello
- Miloš Jahoda
- Jan Chuchro
- Václav Fleissig
- Jan Halama
- Richard Žemlička
- Michaela Kučerová
- Bohuslav Pok
- Zdenka Melkusová
Double Bass
- Martin Zelenka
- Jan Buble
- David Fendrych
- Jiří Rohan
- Radomír Žalud
- Jan Smažík
- Ondřej Landa
Flute
- Václav Michálek
- Petra Benešová
- Martin Klimánek
- Veronika Maková
Oboe
- Martin Beneš
- Martin Beneš
- Vojtěch Kocián
- Bedřich Hejsek
Clarinet
- Jaroslav Marek
- Jaromír Němec
- Petr Čáp
- Josef Lorenc
Bassoon
- Radek Oliva
- Petr Němeček
- Peter Hlucháň
- Jaroslav Jedlička
Horn
- Petr Hernych
- Jan Vítek
- Karel Tauer
- Karel Tauer
- David Minár
- Eva Vinklárová
Trumpet
- Vladislav Kozderka
- Jan Fišer
- František Bayer
- Lubomír Kovařík
Trombone
- Michal Jaško
- Julius Nečásek
- Jan Hynčica
- Pavel Štrobl
- Vít Kořínek
Tuba
- Miroslav Husák
Percussion
- Martin Kopřiva
- René Hokův
- František Čech
- David Růžička
Harp
- Harp
Stage Managers
- Bedřich Hanzl
- Josef Císař
© 2003-2005
The University of Iowa Center for Macular Degeneration
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