Overture Magazine: 2017-2018 Season January-February 2018 - Page 24

TCHAIKOVSKY PIANO CONCERTO NO . 1 driver behind the front lines . When he was demobilized , his health was broken . The death of his beloved mother early in 1917 sent him into a long depression . La Valse was written by a man who had experienced horrors both on the battlefield and in his personal life . There was no longer any possibility of creating a Romantic apotheosis , only , in Ravel ’ s words , “ the impression of fantastic and fatal whirling .”
TCHAIKOVSKY PIANO CONCERTO NO . 1 driver behind the front lines . When he was demobilized , his health was broken . The death of his beloved mother early in 1917 sent him into a long depression . La Valse was written by a man who had experienced horrors both on the battlefield and in his personal life . There was no longer any possibility of creating a Romantic apotheosis , only , in Ravel ’ s words , “ the impression of fantastic and fatal whirling .”
Like his Daphnis and Chloé , La Valse was originally intended as a ballet for the flamboyant Russian impresario Serge Diaghilev and given the subtitle “ choreographic poem .” But when Ravel and a colleague played it in a two-piano version for Diaghilev in April 1920 , he dismissed it : “ It ’ s a masterpiece … but it ’ s not a ballet .” However , La Valse has been subsequently choreographed several times , with George Balanchine creating a particularly successful version in the 1950s .
Ravel provided a brief synopsis for his ghostly dance : “ Through whirling clouds , waltzing couples may be faintly distinguished . The clouds gradually scatter : one sees … an immense hall peopled with a whirling crowd .… The light of the chandeliers bursts forth at the [ first ] fortissimo .… An imperial court , about 1855 .”
The music opens ominously with the dark rumble of low strings and bassoons , and a nightmarish thud in 3 / 4 time delivered by basses and timpani . A few waltz strains gradually penetrate the mists , then shine forth brilliantly . The dark music returns , and , whirling faster , the waltzes begin to collide with each other in wild harmonic and rhythmic confusion . Finally , even the 3 / 4 beat breaks down in an orgy of self-destruction — the most violent ending in Ravel ’ s music . In just 12 minutes , we have experienced the most vivid sound portrait imaginable of the end of an era .
Instrumentation : Three flutes including piccolo , three oboes including English horn , two clarinets , bass clarinet , two bassoons , contrabassoon , four horns , three trumpets , three trombones , tuba , timpani , percussion , two harps and strings .
JOSEPH MEYERHOFF SYMPHONY HALL
Friday , January 19 , 2018 , 8 pm Sunday , January 21 , 2018 , 3 pm
MUSIC CENTER AT STRATHMORE
Saturday , January 20 , 2018 , 8pm
Marin Alsop , Music Director Gabriela Montero , piano
Béla Bartók Rumanian Folk Dances
( arr . Willner ) Jocul cu bâta ( Stick Dance ) Brâul ( Waistband Dance ) Pe loc ( Stamping Dance , or On the Spot ) Buciumeana ( Hornpipe Dance ) Poarga româneasca ( Rumanian Polka ) Maruntel ( Quick Dance ) Maruntel ( Quick Dance )
Bartók
INTERMISSION
Concerto for Orchestra Introduzione : Andante non troppo - Allegro vivace Giuocco delle coppie : Allegretto scherzando Elegia : Andante non troppo Intermezzo interrotto : Allegretto Finale : Pesante - Presto
Pyotr Ilyich Piano Concerto No . 1 in B-flat Minor , op . 23 Tchaikovsky
Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco
Gabriela Montero
The concert will end at approximately 10:10 pm on Friday and Saturday and 5:10 pm on Sunday .
Friday , January 19 : Join pianist Gabriela Montero in the Meyerhoff lobby after the concert for a post-concert performance .
PRESENTING SPONSORS :
The appearance of pianist Gabriela Montero is made possible through the support of the Sidney M . Friedberg Guest Artist Fund .
Notes by Janet E . Bedell , © 2018
22 OVERTURE / BSOmusic . org
TCHAIKOVSKY PIANO CONCERTO NO. 1 driver behind the front lines. When he was demobilized, his health was broken. The death of his beloved mother early in 1917 sent him into a long depression. La Valse was written by a man who had experienced horrors both on the battlefield and in his personal life. There was no longer any possibility of creating a Romantic apotheosis, only, in Ravel’s words, “the impression of fantastic and fatal whirling.” Like his Daphnis and Chloé, La Valse was originally intended as a ballet for the flamboyant Russian impresario Serge Diaghilev and given the subtitle “choreographic poem.” But when Ravel and a colleague played it in a two-piano version for Diaghilev in April 1920, he dismissed it: “It’s a masterpiece…but it’s not a ballet.” However, La Valse has been subsequently choreographed several times, with George Balanchine creating a particularly successful version in the 1950s. Ravel provided a brief synopsis for his ghostly dance: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees… an immense hall peopled with a whirling crowd.…The light of the chandeliers bursts forth at the [first] fortissimo. …An imperial court, about 1855.” The music opens ominously with the dark rumble of low strings and bassoons, and a nightmarish thud in 3/4 time delivered by basses and timpani. A few waltz strains gradually penetrate the mists, then shine forth brilliantly. The dark music returns, and, whirling faster, the waltzes begin to collide with each other in wild harmonic and rhythmic confusion. Finally, even the 3/4 beat breaks down in an orgy of self-destruction—the most violent ending in Ravel’s music. In just 12 minutes, we have experienced the most vivid sound portrait imaginable of the end of an era. Instrumentation: Qɕѕ́Ց))=MA 5eI!=Me5A!=9d!10)ɥ䰁)Յ䰀ఀ)Mչ䰁)Յİఀ́)5UM% 9QHPMQIQ!5=I)Mɑ䰁)Յఀ)5ɥͽ5ͥɕѽ)ɥ5ѕɼ)  ͬ$)Iյ(ȸ]Ȥ$$))հԁфMѥ($$) հ]щ($$)AMхȁ=ѡMФ($$) Սյ!ɹ($$)Aɝɽ͍IյA($$)5չѕEե($$)5չѕEե) ͬ$) Ѽȁ=ɍɄ$($$)%ɽ饽єɽɼ٥م($$)սɕѼ͍酹$($$)єɽ$($$)%ѕɵ鼁ѕɽѼɕѼ$($$)AͅєAɕѼ$)%9QI5%MM%=8$)Aȁ%奍$)A Ѽ9āЁ5Ȱ$)Qͭ$$)ɼɽѼѽͼ$($$)ѥ͕$($$)ɼս($($)ɥ5ѕɼ)QЁݥЁɽ᥵ѕɥ)Mɑ䁅Mչ)ɥ䰁)Յ)Ёɥ5ѕɼѡ5ɡ)ѕȁѡЁȁеЁəɵ)ѡɕ́Ց͠ɸ)ݼɥ̰́ɥаݼͽ̰)Ʌͽȁɹ̰ѡɕյ̰)ѡɕɽ̰Չѥɍͥ)ݼ́ɥ̸)9ѕ́)Ё Ā()=XHPTH M=ͥɜ)AIM9Q%9MA=9M=IL)QɅЁɥ5ѕɼ́ͥѡɽ՝ѡ)ѡM4ɥɜՕЁѥЁչ