CONCERT PROGRAM

February 7-9, 2014

James Gaffigan, conductor David Halen, violin Daniel Lee, cello

MENDELSSOHN Die schne Melusine (The Fair Melusina) (1809-1847) Overture, op. 32 (1833) BRAHMS Concerto in A minor for Violin, Cello, and Orchestra (1833-1897) (Double Concerto), op. 102 (1887)
Allegro Andante Vivace non troppo

David Halen, violin Daniel Lee, cello INTERMISSION

MENDELSSOHN Symphony No. 3 in A minor, op. 56, Scottish (1842)

Andante con moto; Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo; Allegro maestoso assai Performed without pause

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ACKNOWLEDGMENTS
James Gaffigan is the Felix and Eleanor Slatkin Guest Artist. David Halen is the Essman Family Foundation Guest Artist. Daniel Lee is the Ruth and Ed Trusheim Guest Artist. The concert of Friday, February 7, includes coffee and doughnuts provided by Krispy Kreme. The concert of Saturday, February 8, is underwritten in part by a generous gift from Mr. and Mrs. Alyn V. Essman. The concert of Sunday, February 9, is underwritten in part by a generous gift from Mrs. Emily R. Pulitzer. Pre-Concert Conversations are sponsored by Washington University Physicians. These concerts are presented by the St. Louis College of Pharmacy. These concerts are part of the Wells Fargo Advisors series. Large print program notes are available through the generosity of Delmar Gardens and are located at the Customer Service table in the foyer.

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FROM THE STAGE

Lorraine Glass-Harris, second violins, on Mendelssohns Symphony No. 3, Scottish: The symphony evokes the Scottish highlands, the landscape and seascape, very beautifully. The slow third movement is meltingly beautiful. Its a symphony of sunshine and shadows. The conductor Ray Leppard said there is a depiction of Mary Queen of Scots walking to the gallows with her bustle bristling behind. That may be a bit melodramatic, but Mendelssohn is looking to evoke something. The theme is so contained, so sad, so funereal. The symphony reveals Mendelssohns greatest emotional range. Its a piece of perfection for each instrument. It is most gratifying for violinists to play. He was an excellent violinist, and he understood what the strings could do. He was always pushing the instrument all the time.

DILIP VISHWANAT

A view of the second violins

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FANCIFUL FLIGHTS
BY RE N S P E N C E R S AL L E R

FELIX MENDELSSOHN Die schne Melusine (The Fair Melusina) Overture, op. 32

TIMELINKS
1833 MENDELSSOHN Die schne Melusine (The Fair Melusina) Overture, op. 32 Johannes Brahms born in Hamburg 1842 MENDELSSOHN Symphony No. 3 in A minor, op. 56, Scottish City-wide re burns medieval center of Hamburg 1887 BRAHMS Concerto in A minor for Violin, Cello, and Orchestra (Double Concerto), op. 102 Impressionist painters Gauguin, van Gogh, and Monet at work in France

PAINTER IN SOUND Felix Mendelssohn wrote seven freestanding concert overtures, all remarkable. His A Midsummer Nights Dream Overture, completed when he was only 17, translates Shakespeares fairies, sprites, and lovably bumbling humans from the bards blank verse into a purely musical language. His Hebrides Overture, inspired by a wild Scottish seascape, is a tour de force of pictorialismpainting in soundthat helped shape the development of Romantic (and later Impressionist) music. Although Franz Liszt had not yet coined the term symphonic poem to describe a single-movement orchestral work based on a literary or descriptive program, Mendelssohn was working in this genre a decade before it had a name. The Fair Melusina easily fits the definition of a symphonic poem. The eponymous heroine derives from a medieval French tale about a water nymph, or mermaid, who can pass as a human being. She falls in love with a human prince and agrees to marry him on the condition that he leave her alone one day every week, when she secretly reverts to her half-fish form. When her husband discovers her true identity, their happiness ends and Melusina is exiled to an aquatic fairy realm. Although Mendelssohn was inspired by the Melusina legend, he did not want to tell the story so much as evoke its general mood. The Overture does not reenact the plot sequentially, but it dramatizes the central predicament: lovers divided by different realities, driven by elemental needs. The three principal themes convey this idea in broad strokes: the undulant clarinet arpeggios that depict Melusinas fluid grace; her earth-bound husbands assertive, violin-voiced motive; and a lovely hybrid melody proposed by the strings and deepened by a rippling undercurrent of winds, which represents the couples tragic love.
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FROM MELUSINA TO THE RHINEMAIDENS The Fair Melusina Overture is not one of Mendelssohns more famous works, but its influence is undeniable. Widely revered during his lifetime, the composer had a strange power over even his detractors. In his vile pamphlet Judaism in Music, Richard Wagner denounced the recently dead composer, whose wealthy Jewish parents had him baptized as a Lutheran when he was seven, for his pernicious grip on 19th-century music. Although Wagner dismissed his predecessor as a first-class landscape painter whose compositions were sweet and tinkling without depth, his contempt surely stemmed from what literary critic Harold Bloom called the anxiety of influence. Mendelssohns music was inextricably tangled in Wagners creative DNA. Look no further than Das Rheingold: Its prelude lifts the burbling Melusina theme almost note for note to depict the Rhine river, which also happens to be populated by mythical water nymphs.

Born February 3, 1809, Hamburg Died November 4, 1847, Leipzig First Performance April 7, 1834, in London; Mendelssohns close friend, Ignaz Moschelles, conducted the orchestra of the London Philharmonic Society STL Symphony Premiere March 11, 1938, Vladimir Golschmann conducting Most Recent STL Symphony Performance November 2, 2008, Nicholas McGegan conducting Scoring 2 utes 2 oboes 2 clarinets 2 bassoons 2 horns 2 trumpets timpani strings Performance Time approximately 10 minutes

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JOHANNES BRAHMS Concerto in A minor for Violin, Cello, and Orchestra (Double Concerto), op. 102 A STRANGE FLIGHT OF FANCY Composed in the summer of 1887, the Double Concerto was Johannes Brahms final work for orchestra. The structure of the piece was highly unusual, even groundbreaking. In the 19th century the cello was generally not considered a suitable lead instrument for a concerto, and the pairing of solo cello and solo violin was virtually unprecedented. Brahms himself described it as a folly, a prank, a strange flight of fancy. In a letter to his longtime confidante Clara Schumann, he confessed, I ought to have handed on the idea to someone who knows the violin better than I doa rather neurotic qualm in that he had already written a violin concerto nine years earlier. But Brahms had a pressing personal reason to write the Double Concerto: to repair a rift with an old friend and musical collaborator, the violinist and composer Joseph Joachim. FROM FRIEND TO FOE Brahms owed a great deal to Joachim. When they met, Joachim was 22 and already a famous violinist; Brahms, two years his junior, was still unknown. By introducing him to such musical heavyweights as Franz Liszt and Robert and Clara Schumann, Joachim helped launch the younger mans career. In the following decades, Joachim was an invaluable sounding board for the composer, the inspiration for many compositions, and the dedicatee of his only violin concerto. But the friendship imploded when Joachim became convinced that his wife, the contralto Amalie Schneeweiss, was having an affair with Brahms publisher, Fritz Simrock. Brahms wrote Frau Joachim a sympathetic letter, in which he dismissed his old friends suspicions as jealous and unfounded, and she later presented this letter as evidence when her husband sued for divorce. The divorce was denied, the couple separated anyway, and Joachim rejected the composers repeated attempts to make up, although he never stopped performing Brahms music.

Born May 7, 1833, Hamburg Died April 3, 1897, Vienna First Performance September 23, 1887, in BadenBaden at a private concert with Joseph Joachim, violin, Robert Hausmann, cello, the composer conducting STL Symphony Premiere February 3, 1922, with Michel Gusikoff, violin, H. Max Steindel, cello, Rudolf Ganz conducting Most Recent STL Symphony Performance May 22, 1994, with Pamela Frank, violin, Carter Brey, cello, Leonard Slatkin conducting Scoring solo violin solo cello 2 utes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets timpani strings Performance Time approximately 32 minutes

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A WORK OF RECONCILIATION When Robert Hausmann, the Joachim Quartets cellist, asked Brahms to write a cello concerto for him, the composer saw this as an opportunity to try once again to win back Joachim. At least to some extent, he succeeded. Although they would never again be as close as they were before the divorce proceedings, they quickly fell back into their roles as musical partners. Writing in her journal, Clara Schumann described the Double Concerto as a work of reconciliation and noted that the two men had, during the course of its composition, spoken to each other for the first time in years. Its easy to understand why Joachim softened. All three movements honor him and the mens long relationship. Most obviously, a main musical motive is A-E-F, a variation of F-A-E, which stands for Joachims motto, Frei aber einsam (free but lonely). Brahms had used this F-A-E scheme to commemorate Joachim in a collaborative sonata from the earliest days of their friendship, and Joachim would have recognized the compliment as soon as he saw the score. The second theme in the first movement alludes to a Giovanni Battista Viotti violin concerto that both men particularly enjoyed. But what makes the Double Concerto truly a work of reconciliation is the way it resolves its central contradiction: its status as a dual concerto, its insistence that the cello and violin are equal partners, paradoxically both solo, yet conjoined. Like all great pairings, the union engenders something entirely newin this case a crazy hybrid super-stringed instrument that can plummet as low as a cello and soar as high as a violin in one delirious run. The violin, the cello, they arent just alternating soloists, stepping in and out of the spotlight. The violin finishes the cellos sentences; the cello chuckles at the violins jokes. They are having an intimate conversation, really listening to each other, supporting, and forgiving each other. Together they make a better person. FELIX MENDELSSOHN Symphony No. 3 in A minor, op. 56, Scottish GREAT SCOTT! Despite its nickname, there is nothing particularly Scottish about Felix Mendelssohns Symphony No. 3. Earlier versions of the score made no mention of Scotland; Robert Schumann was mortified when a faulty tip led to his describing the work in print as a vivid depiction of Italy. Indeed, Mendelssohn wrote only the introductory theme in Scotland, a full 13 years before he finished the symphony (his fifth and his last, although it was only his third to be published). After drafting the opening melody, the composer put the work aside and traveled on, first to Italy, then back to Germany, then to England again. By 1842, when he finally finished the Scotch, as he then called it, Mendelssohn was back home in Germany, and the Holyrood palace and chapel, where Queen Mary once lived, was a dim memory. The theme inspired by the sight of these ruins at twilight is regal and vaguely mysterious, but it bears only the faintest traces of its misty Scottish origins. EXPECT NO BAGPIPES Mendelssohn had no use for national pride or folk signifiers. Dont expect to hear a Great Highland Bagpipe, or even a tune reminiscent of one. In the letters he wrote during his 1829 walking tour, his rants
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about local music are downright scathing: No national music for me!.... Now I am in Wales and, dear me, a harper sits in the hall of every reputed inn, playing incessantly so-called national melodies; that is to say, the most infamous, vulgar, outof-tune trash, with a hurdy-gurdy going on at the same time. Its maddening, and has given me a toothache already. Scottish bagpipes, Swiss cowhorns, Welsh harps, all playing the Huntsmens Chorus with hideously improvised variations....
First Performance March 3, 1842, in Leipzig, the composer conducted the Gewandhaus Orcherstra STL Symphony Premiere December 6, 1912, Max Zach conducting Most Recent STL Symphony Performance May 4, 2008, Leonidas Kavakos conducting Scoring 2 utes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets timpani strings Performance Time approximately 40 minutes

MOVEMENT BY MOVEMENT Scottish or not, the symphony can stand on its own as absolute music, without any programmatic interpretation. Marked to be played attacca (without a pause), its four movements generate ingenious variations on the solemn opening melody, the 16 measures that Mendelssohn scrawled in a letter after describing his reaction to Holyrood. The introduction glows darkly with oboes, bassoons, clarinets, horns, and violas before the full orchestra emerges; luminous pools of near-silence are disrupted by brash sforzando blurts. The first movement gradually gets louder and faster, propelled by a giddy energy that it sustains to the finish. The quicksilver second movement, marked Vivace non troppo, serves as a kind of scherzo, although it is in sonata form and lacks the typical Trio. Some listeners make much of its Scottish snap, a syncopation common in Scottish folk music, although by no means unique to it. The Adagio contrasts a willowy, songlike main theme with a decidedly martial element that anticipates the warlike finale. Originally marked Allegro guerriero (quick and warlike) and later changed to Allegro vivacissimo, the last movement is feverish and volatile, right up to the big surprise: The simple introductory melody, the Holyrood theme, returns with great majesty, this time in radiant A major, drawing the symphony to a jubilant close.
Program notes 2014 by Ren Spencer Saller

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JAMES GAFFIGAN
FELIX AND ELEANOR SLATKIN GUEST ARTIST

Hailed for the natural ease of his conducting and the compelling insight of his musicianship, James Gaffigan continues to attract international attention. In January 2010, he was appointed Chief Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra and at the beginning of the 2012-13 season, Gaffigan was named the first ever Guest Conductor of Colognes Grzenich Orchestra. Highlights of his 2013-14 season include return appearances at Aspen and the Music Academy of the West, a debut at the Hollywood Bowl, and re-engagements with the Toronto, Atlanta, New World, Houston, and Cincinnati symphonies. Internationally, in addition to his concerts in Lucerne, Amsterdam and Cologne, he debuts with the London Symphony, Vienna Symphony, Konzerthaus Orchester of Berlin, and the Orchestre de Paris, returns to lead the Rotterdam, Czech, and Dresden Philharmonics and the MDR Leipzig, and conducts the prestigious Odeonplatz Klassik open air concert in Munich with the Munich Philharmonic. Born in New York City in 1979, Gaffigan attended the New England Conservatory of Music and the Shepherd School of Music at Rice University in Houston, where he earned his Masters of Music in conducting. He was also chosen to study at the American Academy of Conducting at the Aspen Music Festival and School and was a conducting fellow at the Tanglewood Music Center. In 2009, Gaffigan completed a three-year tenure as Associate Conductor of the San Francisco Symphony where he assisted Michael Tilson Thomas, led subscription concerts and was Artistic Director of the orchestras Summer in the City festival. Prior to that appointment, he was the Assistant Conductor of the Cleveland Orchestra where he worked under Music Director Franz WelserMoest from 2003 through 2006. James Gaffigan resides in Lucerne with his wife, the writer Lee Taylor Gaffigan, and their daughter, Sofia.
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James Gaffigan most recently conducted the St. Louis Symphony in January 2009.

MAT HENNECK

DAVID HALEN
ESSMAN FAMILY FOUNDATION GUEST ARTIST

David Halen most recently performed as a soloist with the St. Louis Symphony in October 2013.

David Halen is living a dream that began as a youth the first time he saw the St. Louis Symphony perform in Warrensburg, Missouri. Halen was named St. Louis Symphony Concertmaster in 1995, without audition, by the orchestra, and with the endorsement of then Music Directors Leonard Slatkin and Hans Vonk. Halen has soloed with the orchestra in many of the major concertos in the violin repertoire. In addition, he has been featured with the Houston, San Francisco, and West German Radio (Cologne) symphonies. During the summer he teaches and performs extensively, serving as Concertmaster at the Aspen Music Festival and School. He has also soloed, taught, and served as Concertmaster extensively at the Pacific Music Festival in Sapporo, Japan, the Orford Arts Centre in Quebec, the Manhattan School of Music, Indiana University, the National Orchestra Institute at the University of Maryland, the Academy of the West in Santa Barbara, and the New World Symphony in Miami Beach. In 2007 he was a Distinguished Visiting Artist at Yale University, and he is a Distinguished Artist at the Robert McDuffie Center for Strings at Mercer University in Macon, Georgia. In the fall of 2012, Halen was also appointed professor of violin at the University of Michigan. As cofounder and artistic director of the Innsbrook Institute, Halen coordinates a weeklong festival, in June, of exciting musical performances and an enclave for aspiring artists. In August, he is artistic director of the Missouri River Festival of the Arts in Boonville, Missouri. His numerous accolades include the 2002 St. Louis Arts and Entertainment Award for Excellence, and an honorary doctorate from Central Missouri State University and from the University of Missouri-Saint Louis. David Halen plays on a 1753 Giovanni Battista Guadagnini violin, made in Milan, Italy. He is married to Korean-born soprano Miran Cha Halen and has a teenage son.

DILIP VISHWANAT

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DANIEL LEE
RUTH AND ED TRUSHEIM GUEST ARTIST

A native of Seattle, Korean-American Daniel Lee started playing the cello at the age of six, studying with Richard Aaron. At age 11, he began his studies at the Curtis Institute of Music in Philadelphia and became the youngest protg of the legendary Russian cellist Mstislav Rostropovich. While at Curtis, Lee also studied with Orlando Cole, William Pleeth, and Peter Wiley. He graduated from the New England Conservatory with an Artist Diploma after studying with Paul Katz of the Cleveland Quartet. In 1994, at the age of 14, he signed an exclusive recording contract with Decca Records. He released two recordings: Schubert Arpegionne sonata and short pieces, and the Brahms sonatas. And in 2001, at the age of 21, he received the prestigious Avery Fisher Career Grant, just one of many awards and competitions that hes won during his career. Lee was also named one of the 2011 40 under 40 by the St. Louis Business Journal. Lee has served as Principal Cello for the St. Louis Symphony since 2005. Solo appearances with the Symphony have included Strausss Don Quixote, Esa-Pekka Salonens Mania, Elgars Cello Concerto, Osvaldo Golijovs Azul, Tchaikovskys Variations on a Rococo Theme, Dvoks Cello Concerto, and Haydns Concerto in D major. That piece is included on an album that was recorded with the Czech Philharmonic and released in 2011 on Sony Classical in Korea. Lee returned to Korea for a concert at the Seoul Arts Center in May 2011 for the official release of that album. In 2010, Lee performed his New York City recital debut at Merkin Hall in a program highlighted by the Sonata for Violoncello Solo, by Zoltn Kodly. During the 2010-11 season, Lee debuted as a soloist with the St. Paul Chamber Orchestra performing the U.S. premiere of James MacMillans Kiss on Wood.

Daniel Lee most recently performed as a soloist with the St. Louis Symphony in November 2012.

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DILIP VISHWANAT

A BRIEF EXPLANATION
You dont need to know what andante means or what a glockenspiel is to enjoy a St. Louis Symphony concert, but its always fun to know stuff. For example, what is sforzando? Sforzando: program notes author Ren Spencer Saller describes how in Mendelssohns Symphony No. 3, luminous pools of near-silence are disrupted by brash sforzando blurts; sforzando is from the Italian sforzare, meaning to force or to compel; the musicians are making strongly accented sounds, causing ripples in that near-silence

MENDELSSOHNS CLARITY:
One of the wonderful things about the Third Symphony is that Mendelssohn asks the second violins to be violinists all the time. We get the tune, and having the tune is always a pleasure. We get individual voices. We provide Mendelssohns color. We become the atmosphere, the soft grass, the turbulent sea. We play the emotional reality of the piece. Mendelssohn really brings a different kind of texture in. His scoring is not so dense. He provides a lot of space around every voice. In Mendelssohn you see a lot of rests. He was interested in texture and clarity. He cared about the individual line, and everyone gets their own line. Just to look at the score is music.

LORRAINE GLASS-HARRIS, SECOND VIOLINS

Lorraine Glass-Harris

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DAN DREYFUS

YOU TAKE IT FROM HERE

If these concerts have inspired you to learn more, here are suggested source materials with which to continue your explorations. R. Larry Todd, Mendelssohn: A Life in Music Oxford University Press Mendelssohn led a brief life but he is deserving of this lengthy biography Jan Swafford, Johannes Brahms: A Biography Vintage Weve probably listed this before, but what can we say, the best Brahms biography out there Brahms Double Concerto: David Oistrakh and Mstislav Rostropovich YouTube YouTube delivers fascinating archival footage of artists from the past, including these two heavy hitters playing the Brahms Double, simply Google the heading above and youll find it

Read the program notes online at stlsymphony.org/planyourvisit/programnotes Keep up with the backstage life of the St. Louis Symphony, as chronicled by Symphony staffer Eddie Silva, via stlsymphony.org/blog The St. Louis Symphony is on

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