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St. Louis Symphony Program - Nov. 16-18, 2012

St. Louis Symphony Program - Nov. 16-18, 2012

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A program for the concerts of the St. Louis Symphony for the weekend of Nov. 16-18, 2012.
A program for the concerts of the St. Louis Symphony for the weekend of Nov. 16-18, 2012.

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Published by: St. Louis Public Radio on Nov 16, 2012
Copyright:Attribution Non-commercial


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November 16-18, 2012
Andrey Boreyko, conductorVadim Gluzman, violin
Symphonic Ballad after Mickiewicz
Violin Concerto in D major, op. 35
Allegro moderatoCanzonetta: Andante—Finale: Allegro vivacissimoVadim Gluzman, violin 
Symphony No. 1 in G minor, op. 13, “Winter Dreams”
(1866, rev. 1874)
Dreams o a Winter Journey: Allegro tranquilloLand o Gloom, Land o Mist: Adagio cantabile ma non tantoScherzo: Allegro scherzando giocosoFinale: Andante lugubre; Allegro maestoso
 Andrey Boreyko is the Daniel, Mary, and Francis O’Keefe Guest Artist. Vadim Gluzman is the Ann and Paul Lux Guest Artist.The concert of Friday, November 16, is underwritten in part by a generous gift from Mrs.Beatrice Rothberg.The concert of Saturday, November 17, is underwritten in part by a generous gift from Mr. andMrs. Peter M. Miller.The concert of Sunday, November 18, is underwritten in part by a generous gift from Mr. andMrs. Ted W. Beaty.These concerts are presented by Thompson Coburn.Pre-Concert Conversations are presented by Washington University Physicians.These concerts are part of the Wells Fargo Advisors Series.Large print program notes are available through the generosity of Mosby Building Arts and arelocated at the Customer Service table in the foyer.
Symphony No. 1 in Gminor, op. 13,“Winter Dreams
 Johann Strauss, Jr’s opera
Die Fledermaus
produced in Vienna1878
Violin Concerto inD major, op. 35
Russo-Turkish war ends,with Ottoman Empirelosing signicantterritories1890-91
SymphonicBallad after Mickiewicz
Anton Chekhov visits theRussian penal colony atSakhalin
This weekend’s St. Louis Symphony concertspresent a program devoted entirely to music by Tchaikovsky. The Russian composer is hardly unknown to present-day concertgoers. Hisballets—
Swan Lake 
The Sleeping Beauty
, and
especially that perennial xture of the Christmas
The Nutcracker 
—are widely familiar. And
orchestral pieces such as his B-at minor Piano
Concerto and the
1812 Overture 
have reachedmany listeners apart from regular symphony audiences. The appeal of these and other of Tchaikovsky’s works is understandable. “I write,”the composer once told a correspondent, “so that I may pour my feelings into my music.” Whetherconveying tragic sentiments or joyous ones,melancholy, or dreamy rapture, Tchaikovsky brought greater intensity of feeling to his work than nearly any other composer, which goes farin explaining the enduring appeal of his music.
Our program includes the rst and
probably the least known of the composer’ssix symphonies, as well as a rarely-played piecebased on a spooky verse story. Between these two works we hear the composer’s Violin Concerto,one of the great works of its kind.
Symphonic Ballad after MickiewiczA STORY OF JEALOUSY AND DEATH
Tchaikovsky composed
in 1890 after reading anarrative poem of the same title by the Polishpoet Adam Mickiewicz (1798-1855). Poland’sprincipal representative of Romanticism inliterature, Mickiewicz wrote plays, novels, andother large works. But he also penned a number of  verse ballads, many imbued with Romantic irony.(His admiring compatriot, Fryderyk Chopin,based his superb Ballades for solo piano on fourof these stories.) Tchaikovsky read Mickiewicz’s“The Voyevoda” in a Russian translation by hisrevered Pushkin.
The poem’s title refers to a provincialgovernor and military commander. InMickiewicz’s tale, this Voyevoda returns homefrom war to discover his wife in their garden
 with a lover. Handing a rie to his servant, the
 Voyevoda instructs him to aim it at his rival whilehe goes to surprise the couple from the other side
of the garden. The gun res. But instead of the
 young lover, it is the Voyevoda himself who fallsdead. Mickiewicz leaves uncertain whether the
servant misred or deliberately killed his master.
Like his
Romeo and Juliet
Fantasy-Overture,Tchaikovsky’s “symphonic ballad” does not attempt a musical recounting of the entire story on which it is based. Instead, the composerrenders only a few key episodes. The initialsection clearly suggests the Voyevoda gallopinghome and is heavy with intimations of tragedy. A central episode brings love music, initialldream-like but growing quite ardent. The
brief nal passage evokes the ballad’s grim
conclusion. Upon completing this composition,Tchaikovsky wrote to his brother Anatoly that “I’m very pleased with it.” But after hearing themusic, the highly self-critical composer changedhis mind and resolved to do away with the work.He destroyed the score, but the orchestral partssurvived, allowing
to be reconstructedafter his death.
Violin Concerto in D major, op. 35SPIRITS RESTORED
Tchaikovsky composedhis Violin Concerto in the spring of 1878,immediately after completing his shattering
Symphony No. 4. That latter work reected the
harrowing emotional crisis brought on by thecomposer’s hasty and ill-considered marriage toa young conservatory student the year before.Their union was brief and disastrous; within weeks, Tchaikovsky suffered an almost completenervous collapse and attempted suicide. He saved
himself by eeing to Switzerland but emerged
shaken and convinced that he was destined toa life of torment. The Symphony No. 4, with itsominous “fate theme” and intimations of doom,
May 7, 1840, Kamsko-Votkinsk, Russia
November 6, 1893, St.Petersburg
First Performance
November 18, 1891, inMoscow, conducted by thecomposer
STL Symphony Premiere
 January 27, 1990, LeonardSlatkin conducting the onlyprevious perormance
3 futes2 oboesEnglish horn2 clarinetsbass clarinet2 bassoons4 horns2 trumpets3 trombonestubatimpanipercussionharpcelestastrings
Performance Time
approximately 10 minutes

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