Download Mieczysław Weinberg (1919-1996)

Concerts of Thursday, April 26, Friday, April 27 and Saturday, April 28, 2012, at
8:00pm.
Michael Christie, Conductor
Behzod Abduraimov, Piano
Franz Schubert (1797-1828)
Symphony No. 8 in B minor, D. 759 (“Unfinished”) (1822) (Completed, Marcel
Tyberg)
I. Allegro moderato
II. Andante con moto
III. Scherzo. Allegro
IV. Finale. Allegro vivace
Intermission
Felix Mendelssohn (1809-1847)
Concerto No. 1 in G minor for Piano and Orchestra, Opus 25 (1831)
I. Molto Allegro con fuoco
II. Andante
III. Presto; Molto Allegro e vivace
Behzod Abduraimov, Piano
Mieczysław Weinberg (1919-1996)
Rhapsody on Moldavian Themes, Opus 47, No. 1 (1949)
Notes on the Program by Ken Meltzer
Symphony No. 8 in B minor, D. 759 (“Unfinished”) (1822) (Completed, Marcel
Tyberg)
Franz Schubert was born in Vienna, Austria, on January 31, 1797, and died there
on November 19, 1828. The first performance of the “Unfinished” Symphony took
place in Vienna on December 17, 1865, with Johann Herbeck conducting the
Gesellschaft der Musikfreunde. The Symphony No. 8 is scored for two flutes, two
oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones,
timpani and strings. Approximate performance time (with the Tyberg completion)
is thirty-eight minutes.
These are the first ASO Classical Subscription Performances of the Tyberg
Completion of the Schubert Symphony No. 8.
First ASO Classical Subscription Performances: February 4, 1945, Henry Sopkin,
Conductor.
Most Recent ASO Classical Subscription Performances: March 24, 26 and 27, 2011,
Robert Spano, Conductor.
“A treasure”
No one is certain why Franz Schubert completed only two movements of what, by
tradition, should have been a four-movement symphony. Schubert worked on the Bminor Symphony in October and November of 1822. During that time, he composed and
orchestrated the first two movements. Schubert also sketched the third-movement
Scherzo in almost complete form, and orchestrated its first nine bars. No other music
survives from this Symphony, nicknamed the “Unfinished.”
Schubert originally gave the score to his friend, composer Anselm Hüttenbrenner, as
thanks for securing his Honorary Membership in the Music Society of Graz. Some thirty
years later, Anselm’s brother, Joseph, wrote Johann Herbeck, conductor of the
prestigious Vienna Gesellschaft der Musikfreunde. Anselm informed Herbeck that the
Hüttenbrenners possessed “a treasure in Schubert’s B-minor Symphony, which we put on
a level with the great Symphony in C (No. 9), his instrumental swan song, and any one of
the symphonies by Beethoven.”
Five years after this correspondence, Herbeck visited Anselm Hüttenbrenner in Graz.
Herbeck informed Hüttenbrenner that he wanted to present a concert featuring one of his
works, as well as compositions by Schubert and Franz Lachner. When Herbeck
suggested that it would be “very appropriate to represent Schubert by a new work,”
Hüttenbrenner produced a large stack of papers that included the score of the B-minor
Symphony. One can only imagine Herbeck’s reaction as he perused this unknown
masterpiece!
When Herbeck asked permission to copy the music at his own cost, Hüttenbrenner
graciously told the conductor to take the score with him. Herbeck and the Gesellschaft
der Musikfreunde premiered the B-minor Symphony on December 17, 1865, 37 years
after Schubert’s death.
While Schubert never completed his B-minor Symphony, the two surviving movements
stand proudly on their own as a dramatic and fulfilling work, much like the three
movements of Anton Bruckner’s Ninth (1896). Indeed, Schubert’s “Unfinished”
Symphony is one of the most eloquent and beloved orchestral works of the first half of
the 19th century.
Marcel Tyberg’s Completion of the Schubert 8th
Nevertheless, it is not surprising that there have been attempts to present this unfinished
masterwork in the standard four movements. One frequent solution has been to pair a
completion of the third-movement Scherzo with the B-minor Entr’acte from Schubert’s
incidental music to Rosamunde. The latter, composed around the same time as the
“Unfinished,” features the same orchestration and home key as the Schubert 8th. Indeed,
many scholars have theorized that Schubert intended this Rosamunde music to serve as
the Symphony’s finale.
But another, and quite compelling, take on Schubert’s “Unfinished” has only recently
come to light. During 1927-1928, the Austrian composer, conductor and pianist, Marcel
Tyberg (1893-1944) created his own completion of the Schubert 8th. Tyberg used
Schubert’s sketches for the third movement as the basis for the Symphony’s Scherzo.
Tyberg composed the entirety of the Finale, although it is very much in the spirit of
Schubert’s musical approach.
When Marcel Tyberg authored his completion of the Schubert 8th, he and his mother were
living in Abbazia, located on the Adriatic Sea between Italy and Yugoslavia. There,
Tyberg remained until the close of 1943. Marcel Tyberg’s great-great grandfather was
Jewish. Tyberg realized that it was only a matter of time before the Nazis would come
for him. In anticipation of this impending tragedy, Marcel Tyberg entrusted all his
writings and compositions to his friend, Dr. Milan Mihich. Marcel Tyberg died in the
Auschwitz Concentration Camp on December 31, 1944.
Dr. Mihich later emigrated to the United States, settling in Buffalo, New York. In the
summer of 2005, thanks to the joint efforts of Dr. Mihich, conductor JoAnn Falletta, and
the Foundation for Jewish Philanthropies in Buffalo, New York, Marcel Tyberg’s works
began to be disseminated, through the auspices of the Marcel Tyberg Legacy Fund.
Among these works was Tyberg’s completion of the Schubert “Unfinished” Symphony.
In November of 2010, Michael Christie and the Phoenix Symphony Orchestra gave the
world premiere of the Schubert “Unfinished” Symphony, as completed by Marcel
Tyberg.
There is, of course, a heartbreaking symmetry in the creation, re-discovery and premieres
of Franz Schubert’s “Unfinished” Symphony, and Tyberg’s subsequent completion. The
tragic and untimely deaths of these gifted Austrian composers prevented both from
hearing a performance of their contributions to this masterwork. When listening to the
“Unfinished,” as lovingly completed by Marcel Tyberg, we may well apply to both
composers Franz Grillparzer’s inscription on Schubert’s monument: “The art of music
here entombed a rich possession, but even fairer hopes.”
Musical Analysis
I. Allegro moderato—A brooding motif introduced by the cellos and basses resolves to a
restless string figure, and a plaintive melody, played by the oboe and clarinet. After a
powerful climax, the cellos sing one of the most beloved themes in the symphonic
literature. The tension builds once again as members of the orchestra trade fragments of
the famous theme. A series of pizzicato chords introduces the stormy development
section. A recapitulation of the principal themes is followed by a brief, but imposing
coda, based upon the introductory motif.
II. Andante con moto—The slow movement begins peacefully, with the introduction of
the first principal theme by the violins and violas. After a majestic statement by the
orchestra, the clarinet (followed by the oboe) offers the melancholy second theme. The
sudden onset of an episode of great violence shatters the Andante’s tranquil mood. A
reprise of the two themes (this time the oboe precedes the clarinet) meets with yet another
turbulent outburst. However, the final pages reinstate the serenity with which the
Andante began.
This marks the conclusion of the music Schubert completed for his Eighth Symphony.
III. Scherzo. Allegro—The third movement opens with the ensemble’s fortissimo
introduction of the Scherzo’s bold principal theme. The theme journeys throughout the
orchestra, sometimes adopting a far more genial guise. The key shifts from B minor to B
Major for the lovely central Trio (written by Tyberg). The third movement concludes
with a reprise of the opening Scherzo.
IV. Finale. Allegro vivace—As previously noted, the Finale is entirely Marcel Tyberg’s
creation. The first violins lead the introduction of the Finale’s first principal theme—
marked dolce espressivo, and based upon a repeating eighth-note figure that plays a
unifying role throughout the Finale. The cellos sing the flowing second principal theme,
marked espressivo and in the major key. The eighth-note figure returns to close out the
exposition. The development section focuses more upon the melodic content of the two
principal themes than upon their manipulation. Once again, the first violins inaugurate
the recapitulation of the principal themes. The coda hurtles to a resolute conclusion,
capped by a brief decrescendo.
Concerto No. 1 in G minor for Piano and Orchestra, Opus 25 (1831)
Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and died
in Leipzig, Germany, on November 4, 1847. The first performance of the Piano
Concerto No. 1 took place in Munich, Germany, on October 17, 1831, with the
composer as soloist. In addition to the solo piano, the Concerto No. 1 is scored for
two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani
and strings. Approximate performance time is twenty-one minutes.
First ASO Classical Subscription Performances: February 20, 1954, Rudolf
Firkusny, Piano, Henry Sopkin, Conductor.
Most Recent ASO Classical Subscription Performances: October 2, 3 and 4, 2003,
Valentina Lisitsa, Piano, Yoel Levi, Conductor.
“We flirted dreadfully”
On May 8, 1830, 21-year-old Felix Mendelssohn departed Berlin for Italy. During his
Italian sojourn, Mendelssohn received the inspiration for one of his most famous works,
the Symphony No. 4 in A Major, Opus 90. But in addition to the “Italian” Symphony,
Mendelssohn’s travels during this period led to the creation of yet another work—one
that would prove to be remarkably popular during the German composer’s lifetime.
While en route to Italy, Mendelssohn stopped in Weimar to visit his dear friend, author
Johann Wolfgang von Goethe. After his stay in Weimar, Mendelssohn traveled to
Munich. While there, Mendelssohn encountered a beautiful 16-year-old pianist by the
name of Delphine von Schauroth, whom Mendelssohn described as “adored here—and
deservedly.” Mendelssohn confided to his sister, Fanny: “We flirted dreadfully, but there
isn’t any danger because I’m already in love with a young Scotch girl whose name I don’t
know.”
In any event, while in Rome, Mendelssohn composed a Piano Concerto in G minor,
which he dedicated to Delphine. In September of 1831, Mendelssohn returned to
Munich. On October 17, Mendelssohn took part in a charity concert at the Munich
Odeon Theater. Mendelssohn conducted his Symphony No. 1 in C minor, as well as the
Overture to A Midsummer Night’s Dream. Mendelssohn was also the soloist in the
premiere of his G-minor Piano Concerto.
The concert was a brilliant success. Mendelssohn informed his family:
The whole thing was very animated and everything worked. The orchestra
played wonderfully and the poor must have received a good whopping
sum.
In the evening when I arrived and heard the noise of all the carriages I
began to take pleasure in the whole business. At half-past six the court
arrived; I took my little English baton and conducted my Symphony. The
orchestra played superbly, with love and with fire, such as I have never
heard any orchestra play under my direction: the fortes were all like a
thunder clap and the Scherzo was very delicate and light. The audience
was very pleased and the King led the applause. Then I came to my
Concerto and was applauded long and loud. The orchestra accompanied
well and the work itself was really mad: the audience really liked it. They
applauded to make me come out and take a bow, which is the custom here,
but I was too modest and didn’t. During the intermission the King caught
me by the arm, praised me highly and inquired about everything under the
sun…
One of the King Ludwig’s “inquiries” focused on Delphine von Schauroth.
According to Mendelssohn:
The main thing the King said to me, though, was that I should marry
Fräulein von Schauroth; that would be an excellent match, and why didn’t
I want to do it? That, from a king, annoyed me, and somewhat piqued, I
was going to answer him, when he, not waiting for my answer, jumped to
a different subject and then to a third.
“A dramatic scene for the piano”
Mendelssohn’s Piano Concerto soon enjoyed great success throughout Europe. The
following winter, Mendelssohn traveled to Paris. There, Mendelssohn encountered the
young Franz Liszt, who, while sight-reading the score, gave a dazzling rendition of the
Concerto. In the late spring of 1832, Mendelssohn enthralled London audiences with a
series of performances of his G-minor Piano Concerto. One London critic called the
Concerto “a dramatic scene for the piano, and the performance an astonishing exhibition
of piano playing.”
Mendelssohn declined to follow King Ludwig’s marital advice. Both Mendelssohn and
Delphine von Schauroth later wed others. Still, Delphine neither forgot Mendelssohn,
nor the work he dedicated to her. The composer died in 1847, at the age of 38. Twentythree years later, at a February 3, 1870 concert held to commemorate Mendelssohn’s
birthday, Delphine von Schauroth appeared as soloist. She performed the G-minor Piano
Concerto.
Musical Analysis
I. Molto Allegro con fuoco—After a brief orchestral crescendo, the soloist enters with a
dramatic presentation of the agitated first thematic group. Later, the soloist also
introduces the introspective and lyrical second theme, marked tranquillo. The orchestra
soon takes up this theme, as the movement proceeds to a brief development section.
Another orchestral crescendo heralds the varied recapitulation of the central themes.
Instead of the traditional virtuoso solo cadenza, Mendelssohn concludes the first
movement with a horn and trumpet fanfare, followed by a brief and introspective passage
for the soloist. The slow movement follows without pause.
II. Andante—The violas and cellos sing the slow movement’s lovely central melody. The
soloist soon offers a more elaborate version of the melody. The melody serves as the
basis for a series of lyric flights by the soloist that maintain a rapt, hushed atmosphere
throughout. The Andante concludes with an ethereal ascending passage for the soloist,
leading to the finale, which again follows without pause.
III. Presto; Molto Allegro e vivace—A reprise of the fanfares from the close of the first
movement lead to a rapid-fire dialogue between the soloist and orchestra (Presto). This
episode is prelude to the finale’s main section (Molto Allegro e vivace), which opens with
the soloist’s introduction of the vibrant, principal theme. The concluding movement
features the most overtly virtuoso writing for the soloist throughout, with several
episodes of brilliant passagework. After a concluding flourish, the soloist yields to the
orchestra in the Concerto’s fortissimo closing bars.
Rhapsody on Moldavian Themes, Opus 47, No. 1 (1949)
Mieczysław Weinberg was born in Warsaw, Poland, on December 8, 1919, and died
in Moscow Russia, on February 2, 1996. The first performance of Rhapsody on
Moldavian Themes took place in Moscow on November 30, 1949, with Aleksander
Gauk conducting. The Rhapsody on Moldavian Themes is scored for piccolo, three
flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three
trombones, tuba, timpani, triangle, tambourine, snare drum, cymbals, bass drum,
glockenspiel, harp and strings. Approximate performance time is twelve minutes.
These are the first ASO Classical Subscription Performances.
Mieczysław Weinberg
Mieczysław Weinberg, the son of Jewish parents of Moldavian origin, was born in
Warsaw. Weinberg studied at the Warsaw Conservatory, where he was recognized as a
virtuoso pianist of great promise. When the Nazis invaded Poland in 1939, Weinberg
emigrated to Soviet Russia. He studied at the Minsk Conservatory, graduating in 1941.
On June 21 of that year, Weinberg performed his diploma concert. The next day, the
Nazis invaded Russia, and Weinberg moved to Tashkent.
During the War, Weinberg met Russian composer, Dmitri Shostakovich (1906-1975). As
Weinberg recalled: “It was as if I had been born anew…Although I took no lessons from
him, Dmitri Shostakovich was the first person to whom I would show each of my new
works. Weinberg and Shostakovich remained close friends until Shostakovich’s death in
1975. The two frequently shared their new musical compositions with each other.
Weinberg, who moved to Moscow in 1943, remained in that city until his death in 1996.
Rhapsody on Moldavian Themes
A prolific composer, Weinberg wrote numerous operas, symphonies, chamber works,
ballets, and choral and solo vocal pieces. Weinberg composed his orchestral work,
Rhapsody on Moldavian Themes, in 1949. Weinberg submitted the composition to the
Soviet Composers’ Union. The work received its premiere under the direction of
Aleksander Gauk in Moscow on November 30, 1949, as part of a Plenum of the Soviet
Composers’ Union.
The members of the Union then reviewed Weinberg’s Rhapsody on Moldavian Themes.
The work inspired a mixed reaction. What none of the reviewing composers seemed to
notice was that, despite its title, the Rhapsody’s engaging musical themes had their origin
in Jewish folk music. No doubt this was Weinberg’s intent, as he composed the
Rhapsody during a period when anti-Semitism was raging in the Soviet Union.
Weinberg composed three versions of the Rhapsody on Moldavian Themes. In addition
to the orchestral version performed at these concerts, Weinberg created arrangements
both for solo violin and orchestra, and violin and piano. On February 6, 1953 at the Great
Hall in the Moscow Conservatory, the legendary Russian violinist, David Oistrakh, gave
the premiere of the violin-piano version of the Rhapsody. That night, the secret police
arrested Weinberg as an alleged traitor to Soviet Russia. Weinberg spent three months in
prison, but was finally released after Shostakovich intervened on his behalf.
The Rhapsody on Moldavian Themes, from its atmospheric slow introduction to the
bracing conclusion, is a brilliantly-scored virtuoso orchestral showpiece. The Rhapsody
comprises numerous episodes:
Adagio—Moderato quasi allegretto—Adagio—Moderato quasi allegretto—Allegro
molto—Doppio più lento—Doppio movimento—Presto