Season 20 Season 2011-2012

15 Pages·2012·0.08 MB·English

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RRRRaaaaffffaaaaeeeellll FFFFrrrrüüüühhhhbbbbeeeecccckkkk ddddeeee BBBBuuuurrrrggggoooossss Conductor
PPPPeeeeppppeeee RRRRoooommmmeeeerrrroooo Guitar

TTTTuuuurrrriiiinnnnaaaa Danzas fantásticas, Op. 22
I. Ecstasy
II. Dream
III. Orgy

RRRRooooddddrrrriiiiggggoooo Concierto de Aranjuez, for guitar and orchestra
I. Allegro con spirito
II. Adagio
III. Allegro gentile

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PPPPaaaalllloooommmmoooo from Andalusian Nocturnes, for guitar and orchestra:
II. Shattered Smile of a Star
IV. Gust of Wind
V. Nocturne of Córdoba
VI. The Flamenco Stage
First Philadelphia Orchestra performances

RRRRaaaavvvveeeellll Bolero

This program runs approximately 1 hour, 40 minutes.
A regular guest with North America’s top orchestras, RRRRaaaaffffaaaaeeeellll FFFFrrrrüüüühhhhbbbbeeeecccckkkk ddddeeee BBBBuuuurrrrggggoooossss conducts
the Cincinnati, Boston, Pittsburgh, Saint Louis, and Montreal symphonies, and the Los
Angeles and New York philharmonics in the 2011-12 season. He appears annually at the
Tanglewood Music Festival and regularly with the National, Chicago, and Toronto
symphonies.

Born in Burgos, Spain, in 1933, Mr. Frühbeck studied violin, piano, music theory, and
composition at the conservatories in Bilbao and Madrid and conducting at Munich’s
Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard
Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the
Dresden Philharmonic. With the 2012-13 season he takes up the post of chief conductor of
the Danish National Orchestra.

Mr. Frühbeck has made extensive tours with such ensembles as London’s Philharmonia
Orchestra, the London Symphony, the National Orchestra of Madrid, and the Swedish Radio
Orchestra, and he has toured North America with the Vienna Symphony, the Spanish
National Orchestra, and the Dresden Philharmonic.

Mr. Frühbeck was named Conductor of the Year by Musical America in 2011. His other
honors and distinctions include the Gold Medal of the City of Vienna, the
Bundesverdienstkreuz of the Republic of Austria and Germany, the Gold Medal from the
Gustav Mahler International Society, and the Jacinto Guerrero Prize, Spain’s most important
musical award, conferred in 1997 by Queen Sofía of Spain. In 1998 Mr. Frühbeck was
appointed emeritus conductor of the Spanish National Orchestra. He has received an
honorary doctorate from the University of Navarra in Spain, and since 1975 he has been a
member of the Royal Academy of Fine Arts of San Fernando.

Mr. Frühbeck has recorded extensively for the EMI, Decca, Deutsche Grammophon, Spanish
Columbia, and Orfeo labels. Among his recordings are Mendelssohn’s Elijah and Saint Paul,
Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of
Manual de Falla. Mr. Frühbeck made his Philadelphia Orchestra debut in 1969.
Guitarist PPPPeeeeppppeeee RRRRoooommmmeeeerrrroooo was born into a musical family in Málaga, Spain, in 1944. His father
was guitarist Celedonio Romero and his brothers are guitarists Celin and Angel Romero,
with whom he frequently performs as a member of the Romero Quartet. Mr. Romero made
his debut at age seven at the Teatro Lope de Vega in Seville.

In the 2012-13 season Mr. Romero will honor the 100th anniversary of his father’s birth and
in 2013-14 will tour the world celebrating his own 70th year. He has premiered works by
composers including Joaquín Rodrigo, Federico Moreno Torroba, Lorenzo Palomo, Padre
Francisco de Madina, Paul Chihara, Enrique Diemecke, Ernesto Cordero, and his father. Mr.
Romero’s discography includes more than 60 recordings, including 20 concerto recordings
with the Academy of St. Martin in the Fields. His recent recordings include Christmas with
Los Romeros for the Deutsche Grammophon label; Madina’s Concierto vasco para 4
guitarras y orquesta with the Romero Quartet and the Basque National Orchestra for the
Claves label; The Romeros: Generations; a solo recital release, Corazón Español, on the
CPA Hollywood Records label; and another recital recording, Classic Romero. Mr. Romero
has also recorded a disc of works by Mr. Palomo with soprano Maria Bayo, the Romero
Quartet, and Rafael Frühbeck de Burgos conducting the Seville Royal Symphony for the
Naxos label. A new Spanish solo collection will be released this spring by Deutsche
Grammophon. Mr. Romero is also the author of a guitar method soon to be published by
Tuscany Publications.

Mr. Romero has served as professor of guitar at the University of Southern California, the
University of California at San Diego, Southern Methodist University, and the University of
San Diego. He holds honorary doctorates in music from the San Francisco Conservatory of
Music and the University of Victoria, British Columbia. In June 1996 he received the Spanish
Premio Andalucía de la Música. In addition King Juan Carlos I of Spain has knighted Mr.
Romero and his brothers into the Order of Isabel la Católica. He made his Philadelphia
Orchestra debut in 1968 as part of the Romeros; his solo debut was in 1998, at the Mann
Center.
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Today’s concert transports us to Spain and to the distinctive melodies, rhythms, and colors
of its musical heritage, with Maestro Rafael Frühbeck de Burgos as our native guide. The
inspiration of dance in particular unites this program, as do the evocative sounds of the
guitar, an instrument so integrally associated with the Spanish musical tradition.

Joaquín Turina’s Danzas fantásticas offer three contrasting dances, originally written for
piano and later brilliantly orchestrated by the composer. Joaquín Rodrigo’s Concierto de
Aranjuez is an extraordinarily popular and often-performed guitar concerto written in dark
times. It is also a deeply personal work, especially in its heartfelt second movement. Lorenzo
Palomo composed Andalusian Nocturnes for the celebrated guitarist Pepe Romero, the
soloist today, who premiered the six-movement suite in Berlin with Maestro Frübeck in 1996.

Just as many Spanish composers, including some on the program today as well as Isaac
Albéniz and Manuel de Falla, spent extended periods in Paris soaking in French musical
trends, so too French composers like Georges Bizet, Édouard Lalo, Claude Debussy, and
Maurice Ravel were passionately drawn to Spanish music and wrote some of their most
famous pieces based on this inspiration. The concert concludes with Ravel’s dazzling
Bolero, which the composer once described as “a piece lasting 17 minutes and consisting
wholly of orchestral effects without music—one long and very gradual crescendo.”
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Danzas fantásticas
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Elgar
Cello Concerto
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Hesse
Demian
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Klee
Dream Birds
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Prohibition Amendment ratified

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Bolero
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Gershwin
An American in Paris
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Lawrence
Lady Chatterley’s Lover
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Beckmann
Black Lilies
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Fleming discovers penicillin

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Concierto de Aranjuez
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Bartók
Violin Concerto No. 2
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du Maurier
Rebecca
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Dufy
Regatta
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Germany invades Austria
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Toward the end of the 19th century, the pioneering Spanish musicologist, folklorist, and
composer Felipe Pedrell undertook groundbreaking research into Spanish art music from
earlier periods, including editing the complete works of Tomás Luis de Victoria. Pedrell’s
work also fostered an interest in the early folk music traditions of Spain, which had long been
neglected by that country’s music schools and conservatories. His research inspired three of
his students, Isaac Albéniz, Enrique Granados, and Manuel de Falla, to turn their attention to
the remarkable history of Spanish folk and art music. And before long, another young
Spanish composer joined them; from Seville, Joaquín Turina completed the quartet of
emerging composers who sought to raise the international profile of Spanish music to the
level it had once enjoyed long ago.

FFFFiiiirrrrsssstttt MMMMaaaaddddrrrriiiidddd,,,, tttthhhheeeennnn PPPPaaaarrrriiiissss But Turina was different from the other three, in heritage,
temperament, and compositional voice. The son of a painter of northern Italian descent,
young Joaquin was supposed to pursue a career in medicine. But when he expressed a
desire to follow music, and showed a pronounced aptitude for it, the family’s artistic
sympathies led them to support him and he began piano and theory lessons in Seville. By
the age of 15 Turina was already making a name for himself locally as a pianist. Brimming
with confidence, and little else, he journeyed to Madrid with the intent of producing his own
opera at the Teatro Real, the country’s premier opera house. That project didn’t eventuate,
but once in Madrid Turina became better connected with the musical establishment there,
enrolled at the Royal Conservatory, and was befriended by Falla, whose passion for Spanish
music deeply influenced Turina.

At the Madrid Conservatory, both Falla and Turina studied piano with José Tragó, who had
studied at the Paris Conservatory. In turn the young protégés both moved to Paris, as well—
Turina in 1905 and Falla two years later. After piano studies with Moritz Moszkowski, Turina
began composition lessons with Vincent d’Indy at the Scholar Cantorum in Paris, was
befriended by Ravel and Debussy, and produced his first published work, the G-minor Piano
Quintet of 1907.

Turina’s Quintet is closely modeled on César Franck’s, and mostly avoids overt references to
Spanish musical styles as it follows the classicism and French-flavored elegance that was
promoted at the Schola. But Turina’s older compatriot Albéniz attended the Quintet’s
premiere, and afterward invited both Turina and Falla out for drinks and to talk about Spanish
music. Albéniz encouraged his younger Spanish colleagues to avoid the Schola-inspired
style of the Piano Quintet and look instead to Spanish folk music for inspiration. Turina later
recalled, “We were three Spaniards gathered together in that corner of Paris, and it was our
duty to fight bravely for the national music of our country.”
AAAA CCCClllloooosssseeeerrrr LLLLooooooookkkk Turina’s best-known orchestral work is the suite Danzas fantàsticas, a set of
three dances from 1919 written originally for solo piano, but orchestrated later that year. It
was the orchestral version that was first performed, at a concert in Madrid in February 1920.
The composer then premiered the piano version in June 1920. While the melodies and
rhythms are clearly Spanish in flavor, Turina’s rich orchestrations suggest a view of Spain as
seen through the lens of French sensibilities (the kind of “exotic” Spanish music heard, for
example, in works by Ravel, Debussy, Bizet, Lalo, and others).

One of the primary inspirations for this set of three dances was the novella La orgía by the
little-known Seville author José Mas (1885-1941), which had been published earlier in
1919. Turina included epigraphs from the novel in the score at the start of each movement.

1. “Exaltación” (“It seemed as if the figures in that incomparable picture were moving inside
the calyx of a flower.”) In this opening dance, Turina transforms the lively jota, with its
evocation of Aragonese and Castilian folk music, into something decidedly more serious. A
foreboding opening gives way to the lively dance character of the main theme in this rondo-
like structure, with contrasting episodes between statements of the refrain.

2. “Ensueño” (“The guitar’s strings sounded the lament of a soul helpless under the weight
of bitterness.”) Here the composer introduces the traditional 5/8 rhythm of a Basque
zortziko. Although this dance rhythm is from the north of Spain, the melodic motifs are from
Andalusia in the south, while the harmonies and textures are distinctly Impressionistic.

3. “Orgía” (“The perfume of the flowers merged with the odor of manzanilla, and from the
bottom of raised glasses, full of wine incomparable as incense, joy flowed.”) This finale
evokes the lively flamenco style of a gypsy farucca, combined with the seriousness and
energy of the Andalusian cante jondo (deep song).

—Luke Howard

Turina composed his Danzas fantásticas in 1919.

Rafael Frühbeck de Burgos was on the podium for the first Philadelphia Orchestra
performance of the work, at the Robin Hood Dell in 1972. The first, and only other,
subscription performances were also led by Maestro Frühbeck, in November 1982.

The score calls for three flutes (III doubling piccolo), two oboes, English horn, two clarinets,
bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones,
tuba, timpani, percussion (bass drum, chimes, cymbals, glockenspiel, suspended cymbal,
tambourine, triangle), harp, and strings.

Performance time is approximately 17 minutes.
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The most prominent Spanish composer of the postwar period is Joaquín Rodrigo, and the
work that is chiefly responsible for this popularity is his Concierto de Aranjuez. In addition to
being the most widely known concerto for guitar, this neoclassical evocation of courtly life has
become the most popular work by a Spaniard in this century—surpassing even (if available
recordings are an accurate indication) the popular works of Manuel de Falla from earlier in the
century—El amor brujo and The Three-Cornered Hat.

Born into a large family in the province of Valencia (on the eastern Mediterranean seacoast),
Rodrigo was stricken with diphtheria at the age of three and a half, which blinded him almost
totally. When his family moved to the city of Valencia, he was able to attend a sophisticated
school for the blind, where his gift for music was quickly noted. In 1933 he married Victoria
Kamhi, a pianist who would become his amanuensis and scribe as he began to compose more
and more.

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scholarship for study in Paris in the 1930s, and it was through this grace that Rodrigo and his
wife were outside of Spain during the bloody Spanish Civil War (1936-39). He returned to
Spain in 1939 (fleeing, this time, the war in northern Europe), and it was thus in Barcelona that
the Concierto, composed in 1938-39, received a highly successful premiere on November 9,
1940. The guitar soloist was Regino Sainz de la Maza, who had first suggested to Rodrigo
that he compose such a piece, and to whom the Concerto was dedicated. Though Rodrigo
had written several significant works before this, nothing could have prepared him for the
catapult to fame that the Concerto set into motion. The work spread through Spain and the
rest of Europe, and by the 1950s it was conquering the Americas as well.

“The Concierto de Aranjuez takes its title from the famous royal site 50 kilometers from Madrid
on the road to Andalusia,” the composer explained. “It was a place particularly favored by the
Bourbons. Although the piece is not programmatic, it was my intention to evoke a certain
period in the life of Aranjuez—the end of the 18th century and the beginning of the 19th. … It
was an epoch subtly characterized by majas and bullfighters, and by Spanish-American
tunes.” The composer has often referred to the nostalgic elements of the work, its flavor of
days past, of the heady gardens of Aranjuez. “Some perceive Goya’s shadow in the notes of
its music, full of melancholy emotion,” he writes. “In its melody lingers the perfume of
magnolias, the song of birds and the whisper of fountains … the hidden breeze that stirs the
tree tops in the parks that surround the Baroque Palace, and only wishes to be as agile as a
butterfly, and as precise as the pass of a matador’s cape.” Yet on one point the composer is
silent, and it remained the task of his wife to illuminate what is perhaps the essential
significance of Aranjuez for Rodrigo. “It was an evocation of the happy days of our
honeymoon,” she writes, speaking particularly of the slow movement’s haunting tune, “when
we walked in the park at Aranjuez—and at the same time, it was a love song.”

AAAA CCCClllloooosssseeeerrrr LLLLooooooookkkk The AAAAlllllllleeeeggggrrrroooo ccccoooonnnn ssssppppiiiirrrriiiittttoooo is a bright and straightforward sonata form, in which
guitar and orchestra politely “take turns” permitting one another to lead the proceedings. The
celebrated AAAAddddaaaaggggiiiioooo is built from a saeta tune, which one writer has described as “a flamenco-
like arrow of song that bursts from the people spontaneously” during Holy Week processions.
A central section employs fragments of this tune to build to one of the most moving climaxes in
20th-century music—sorrowful but avoiding the tragic, sentimental without being overly
maudlin. The AAAAlllllllleeeeggggrrrroooo ggggeeeennnnttttiiiilllleeee is a stately and elegant rondo, courtly in its stride and resolute in
its conclusion.

—Paul J. Horsley

The Concierto de Aranjuez was composed from 1938 to 1939.

The Australian guitarist John Williams was soloist in the first Philadelphia Orchestra
performances of the Concerto, at a Senior Student concert in December 1965 conducted by
William Smith; the first subscription performances were with Christopher Parkening and Mr.
Smith, in January 1987. The most recent appearance on subscription concerts was in
February 1998, with Mr. Parkening and Rafael Frühbeck de Burgos.

The Philadelphians recorded the work in 1965 for CBS, with Mr. Williams and Eugene
Ormandy.

Rodrigo scored the piece for an orchestra of two flutes (II doubling on piccolo), two oboes,
two clarinets, two bassoons, two horns, two trumpets, strings, and solo guitar.

The Concierto de Aranjuez runs approximately 22 minutes in performance.
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Lorenzo Palomo has gained a reputation as one of the most successful contemporary
Spanish composers. He currently resides in Germany where he worked as a conductor and
pianist at the Deutsche Oper Berlin from 1981 to 2004. His music has been performed
across Europe and the United States, with major commissions and performances continuing
to reinforce his status as a leading figure among Spanish musicians. He has been knighted
by King Juan Carlos I for his work as a worldwide musical ambassador for Spain.

Born in Ciudad Real in central Spain, Palomo moved south with his family while still quite
young to the town of Pozoblanco in the province of Córdoba. It was here that the young
musician witnessed first-hand the improvised flamenco traditions of Andalusia. For centuries
a historic melting-pot of European, Near-Eastern, and North African influences, Córdoba had
long been the center of an especially lively interaction of musical traditions whose
impressions would remain with Palomo throughout his musical career.

Palomo received his first formal musical training at the Córdoba Conservatory of Music
before continuing studies in composition and piano at the Barcelona Conservatory. Later he
studied conducting under Boris Goldovsky in New York City. In 1973 Palomo was
appointed chief conductor of the Valencia Symphony and from here traveled widely as an
opera and concert-hall conductor across Europe, Asia, and the United States.

AAAA RRRReeeettttuuuurrrrnnnn ttttoooo CCCCoooommmmppppoooossssiiiinnnngggg This extensive career as a conductor worked to Palomo’s
advantage when he turned seriously to composition again in the early 1980s, as he drew on
a broad knowledge of the orchestra and its resources. But it was the earlier musical
experiences in Córdoba and Barcelona that most forcefully found their way into Palomo’s
music. In addition to absorbing the traditions and musical heritage of Córdoba and
Andalusia, Palomo was introduced while at the Barcelona Conservatory to the Romero
family, which includes some of the world’s leading performers of classical Spanish and
flamenco guitar music today.

Palomo has written prolifically in many genres, with over 200 compositions to his name, his
greatest successes coming in the overtly Spanish works that speak of the heritage dearest
to his heart. His Memories of Youth, for example, a song cycle originally composed for voice
and piano (though later orchestrated), was written for the great Catalan soprano Montserrat
Caballé, whom Palomo had known since his student days in Barcelona. Caballé premiered
the cycle at Carnegie Hall in 1987 to popular and critical success, and then performed it
again soon after at London’s Covent Garden. She immediately became an enthusiastic
supporter of Palomo’s music, much of which is written for voice.