Program Notes

THE PHILADELPHIA ORCHESTRA WOLFGANG SAWALLISCH,
MUSIC DIRECTOR
2002-2003 SEASON

SCHUMANN

Märchenerzählungen, Op. 132, for clarinet, viola, and piano
Lebhaft, nicht zu schnell
Lebhaft und sehr markiert
Ruhiges tempo mit zartem Ausdruck
Lebhaft, sehr markiert
Donald Montanaro, clarinet
Burchard Tang, viola
Meng-Chieh Liu, piano (guest)

SCHUMANN

String Quartet in A major, Op. 41, No. 3
Andante espressivo - Allegro molto moderato
Assai agitato
Adagio molto
Finale: Allegro molto vivace
Yayoi Numazawa, violin
Zachary DePue, violin
Che-Hung Chen, viola
John Koen, cello

Intermission

SCHUMANN

Piano Quintet in E-flat major, Op. 44
Allegro brillante
In modo d'una marcia: Un poco largamente - Agitato
Scherzo: Molto vivace
Allegro, ma non troppo
Marc-André Hamelin, piano (guest)
David Kim, violin
Kimberly Fisher, violin
Roberto Díaz, viola
Efe Baltacigil, cello

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The Music

Märchenerzählungen (Fairy Tales), Op. 132, for clarinet, viola, and piano
Composed in 1853

Robert Schumann
Born in Zwickau, Saxony, June 8, 1810
Died in Endenich (near Bonn), July 29, 1856

"He is constantly so filled up with music," said the violinist Joseph Joachim about Robert Schumann in 1853, "that I really can't blame the man for preferring not to be disturbed by the sounds of the outer world." It was a kind judgment, with much truth in it. But in this last year before his suicide attempt and confinement to an asylum, Schumann was also tormented by auditory hallucinations and uproar in his professional life. More than once, when rehearsing his Düsseldorf orchestra, he had become so distracted that he went on conducting after the orchestra had stopped. Each performance was a greater disaster than the last; by October 1853 rebellion was in the air, and the town's music committee was considering asking Schumann to resign.

A great joy appeared among these sorrows, in the person of the 20-year-old Johannes Brahms, who visited the Schumanns and played his compositions for them. With equal parts insight and fantasy, Schumann decided that this shy young pianist-composer was music's great hope for the future, and he said so in an extravagant essay in his music magazine.

But Joachim was right: even amid his external crises and internal demons, Schumann was "filled up with music." In October alone he completed his Violin Concerto for Joachim and composed two movements of a violin sonata, the Gesänge der Frühe for piano solo (Op. 133), and the Märchenerzählungen (Fairy Tales) for clarinet, viola, and piano (Op. 132). Schumann's hypersensitivity to "the sounds of the outer world" may help explain his unusual choice of middle-range instruments for this work; never one to exploit the extreme high and low registers, he now was tortured by such sounds.

Clara Schumann thought her husband's last works unrepresentative, and tried to suppress many of them. Her opinion prevailed until quite recently; the eminent Schumann scholar Joan Chisell, for example, called the Märchenerzählungen "products of a tired mind." But Marcel Brion has found in them "great feeling and profundity ... like a conversation between the Fates on the mystery of darkness." In his valuable (and heartbreaking) 1988 psychobiography of Schumann, the psychiatrist and musician Peter Ostwald writes:

"This almost futuristic music, with its dark melodies, nervous rhythms, and subtly contrapuntal texture, demonstrates not only the soundness of Schumann's composing, even on the brink of psychosis, but also the amazing way in which he was incorporating Brahms's genius into his own musical style.

"At bottom, however, these are fairy tales, and the profundities that lurk in them in no way compromise their youthful, naive character. The first piece, for example, is as playful and tender as a walk in the woods with a child; overlapping figurations create a unique lacy texture, and the moods and colors flit by almost too quickly to catch. This sense of fantasy and play saves the march-like second piece from pomposity, although its robust moments do suggest Brahms. In the third piece, the piano accompanies the nostalgic duet with a downward-rocking figure that is like autumn leaves falling on a placid stream; it is a moment of rare loveliness, and considering the circumstances of its composition, deeply poignant as well. The last piece is another of Schumann's lusty hunting scenes, in which the vigorous music crashes through the undergrowth, announcing its approach with horn calls; in the middle, the galloping dotted rhythm calms down to a gentle canter through a sunny meadow."

-David Wright

String Quartet in A major, Op. 41, No. 3
Composed in 1843

Robert Schumann

"I used to be indifferent to the amount of notice I received," wrote Schumann to a friend in 1843, "but a wife and children put a different complexion on everything." When that wife is Clara Schumann, a piano virtuoso far better known to the public than the shy composer Robert, it complicates matters still further. "It becomes imperative to think of the future," Robert Schumann went on, "desirable to see the fruits of one's labor-not the artistic, but the prosaic fruits necessary to life." The private, poetic world of his piano pieces and songs-the world that lovers of Schumann now treasure above all-would no longer do. The example of the late, great Beethoven was too strong to resist; the road to glory, Schumann thought, was paved with chamber music and symphonies. His efforts in those genres have their awkward moments, but they also exhibit considerable hard-won skill in scoring and counterpoint, infectious melody, and the deep feelings of a man in love with beauty and dogged by mental illness. We wouldn't want to do without them.

Schumann's first major effort along these lines was the set of three string quartets, Op. 41, which won praise from Moritz Hauptmann, a noted conservative composer who hadn't liked Schumann's earlier music: "Here, too, there is no lack of the unusual in content and form, but it is cleverly conceived and held together, and a great deal of it very lovely." It is possible that the first two pieces in this set are reworkings of Schumann's first stumbling efforts in the genre, dating back to 1838; for whatever reason, the last of the three, in A major, represents a significant advance over the others in skill and spontaneity.

"The unusual in content and form" wastes no time presenting itself in the first movement of this Quartet. The brief opening Andante espressivo introduces the two-note motive of a falling fifth that will pervade the movement. Leave it to Schumann to build an entire sonata-form movement on a lover's sigh! (He may have gotten the idea from the similar opening of Beethoven's Piano Sonata in E-flat major, Op. 31, No. 3.) The hesitant beginnings of the Allegro molto moderato finally give way to a theme in long phrases (which ends with the falling-fifth motive) over Schumann's trademark, a syncopated accompaniment. The development section concerns itself exclusively with the first theme, the recapitulation with the second. The identical beginnings of the exposition, development, and coda give this movement a rondo-like shape.

The second movement (Assai agitato) could be called "variations in search of a theme." The opening statement, with its persistent syncopations, sounds like a variation of something itself. The following variations are vividly characterized, from the "hunting scene" of the first variation to the Bach-like counterpoint of the second and the Schubertian Lied of the third. In fact, the spirit of Schubert hangs over the whole movement, in the minor?major ambiguity of its theme and the unexpected tenderness of the coda.

The rich song of the Adagio molto is simply set, yet unpredictable in its turnings and harmonies. An agitated rhythm underlies the two episodes, and imparts some urgency to the song theme when it returns in ever-more-luxuriant polyphonic settings.

Another Schumann trademark, snapping dotted rhythm in a fast tempo, drives the folkdance-like main theme of the rondo finale (Allegro molto vivace). Again the episodes are richly characterized and contrasted, even including a mock-Baroque gavotte that grows into a stomping village dance. When each episode has been heard twice, it is time for the main theme to swing into a long, athletic coda of the sort familiar from Schumann's piano works.

-David Wright

Piano Quintet in E-flat major, Op. 44
Composed in 1842

Robert Schumann

"No lack of the unusual in content and form, but it is cleverly conceived and held together, and a great deal of it very lovely." Moritz Hauptmann's generous assessment of the string quartets is appropriate, but inadequate, to describe the Piano Quintet in E-flat major, Op. 44, composed in September and October 1842, and the Piano Quartet in the same key, Op. 47, which tumbled out right after it. The addition of the piano, the personal instrument of both Robert and Clara Schumann, weds the romantic passions of their younger days to their more "learned" later compositions.

Piano quintets were still a rare item when Robert Schumann took up the form. The association between this genre and piano concertos goes back at least to Mozart, who wrote several of his concertos so as to be playable with only a string quartet for accompaniment. The Op. 44 Quintet, which Schumann composed during the hiatus between the first movement of his Piano Concerto (1841) and the second and third movements (1845), frankly adopts a concerto-like approach, with the piano taking the lead and the strings conversing with it as a unit.

As his Symphony No. 3 ("Rhenish") shows, Schumann loved to launch a sonata-allegro movement (Allegro brillante) with a lusty, forte statement of an uplifting theme; having done so here, he goes on skillfully to derive the entire movement, including the rhapsodic and amorous contrasting subject, from that one theme. The development section sounds a new, darker note, with incessant turbulence in the piano.

That dark mood rules the second movement in C minor (Un poco largamente), its funereal theme evoking muffled drums and long silences. The phrases flow more smoothly in the C major interlude, but offer little comfort. An angry minor-key outburst (the first polyphonic music in the movement-a sign of life at last) adds its agitato character to the return of the main theme, but the movement ends in its original mood of quiet resignation.

The theme of the Scherzo (Molto vivace) is little more than a rocketing scale, but by whirling it and its inversion together in imitation, and spiking it with Beethoven-like offbeat accents, Schumann stirs up a dizzying contrapuntal cocktail. Speaking of inversion, the first trio seems to be based on an upside-down form of the first movement's opening motive, which also appears right-side-up as the bass line of the second trio, an agitated folk dance in G minor.

And speaking of G minor, the sonata-rondo finale (Allegro, ma non troppo) begins in that key and spends considerable time groping for its true tonality. Again, the recurring tune is a first cousin of the theme of the first movement, and, just as there, whole episodes seem to grow out of its phrases as the music hurtles ahead. At last, the original first-movement theme asserts itself in a climactic fugato, the dark shadows are banished, and the music dances on to an exultant conclusion.

-David Wright

Program notes commissioned by The Philadelphia Orchestra; copyright © 2002 David Wright

Efe Baltacigil is the newly appointed assistant principal cellist of The Philadelphia Orchestra. A native of Istanbul, he came to the U.S. to study with Peter Wiley at the Curtis Institute of Music. Mr. Baltacigil began playing the violin at age five and switched to the cello at seven. He studied at Istanbul's Mimar Sinan Conservatory with Ihsan Kartal and Nusret Kayar. Mr. Baltacigil has appeared as an orchestral soloist on many occasions. He won first prize in numerous concerto competitions and recently won the Allentown Schadt String Competition. He is also an active and sought-after chamber music partner. Earlier this year, Yo-Yo Ma invited him to share the stage in the Silk Road Project. Mr. Baltacigil has also spent summers at the Marlboro Music Festival.

Che-Hung Chen joined The Philadelphia Orchestra viola section during the 2000-01 season. He entered the Curtis Institute of Music at age 14 as a student of former Philadelphia Orchestra principal violist Joseph de Pasquale, and graduated in May 2000. Born in Taiwan, Mr. Chen made his solo debut at age nine and was a three-time top-prize winner at the Taiwan National Instrumental Competition. He has performed as soloist with numerous orchestras in Taiwan and has toured throughout Asia. He is an active chamber musician and has performed at chamber music festivals throughout the United States, and he has collaborated with such artists as Felix Galimir, David Soyer, Jaime Laredo, and Richard Goode.

Zachary DePue, violin, joined the Orchestra this season. In May 2002 he graduated from Curtis, where he studied with Ida Kavafian and Jaime Laredo. While at Curtis he was concertmaster of the Curtis Orchestra and the 2000 New York String Seminar Orchestra. He also attended the Cleveland Institute of Music, where he studied with William Preucil. An avid chamber musician, Mr. DePue has performed at such festivals as Angel Fire, Sarasota, La Jolla, Saratoga, and the Isaac Stern Workshops at Carnegie Hall and in Jerusalem. A member of the Grancino Quartet, he has performed at New York's Weill Recital Hall and on the New School Schneider Concert Series. He also performs with Time for Three, a trio that combines bluegrass and folk music.

Roberto Díaz, principal viola, joined The Philadelphia Orchestra in the 1996-97 season. He has been a prize-winner in the Naumburg, Munich, and Washington International competitions. In addition to an active solo career, he has appeared in recital with the Díaz Trio and with such artists as Isaac Stern, Yo-Yo Ma, Emanuel Ax, and Yefim Bronfman. Mr. Díaz began his studies at Chile's Conservatorio de Musica, and continued at the Georgia Academy of Music, where he studied violin and viola with his father; he later studied with Burton Fine at the New England Conservatory and Joseph de Pasquale at Curtis. He also holds a degree in industrial design from Atlanta's DeKalb Technical School. He was recently named to the faculty of the Curtis Institute and will be presenting a number of master classes at the Manhattan School of Music.

Kimberly Fisher has been a member of the Orchestra since 1992. She joined the first violin section one year later and was named principal second violin in November 2000. She has appeared as soloist with the Vancouver, Victoria, and South Jersey symphonies, and the Fredonia Chamber Players, among others, and was twice awarded Canada Council Grants. Ms. Fisher was featured at the Canadian Governor General's Concert and has been heard in recital on the Canadian Broadcasting Company. She was concertmaster of the Curtis and Boulder Bach Festival orchestras and the Northwood Symphony. She received her bachelor's degree from Curtis. She teaches locally and performs in numerous chamber music concerts.

Marc-André Hamelin, piano, won first prize in the Carnegie Hall Competition in 1985. Since then he has appeared throughout North America, Europe, and Asia with orchestras, in chamber music, and in recital. With Hyperion Records he has made 36 recordings that have won numerous awards, including the 2000 Gramophone Instrumental Award and multiple Grammy nominations. Born in Montreal, Mr. Hamelin started playing piano at the age of five and studied at the Vincent d'Indy School of Music. He emigrated to the United States and earned bachelors and masters degrees at Temple University. His principal teachers have been Yvonne Hubert, Harvey Weeden, and Russell Sherman. In addition to performing, Mr. Hamelin is also a composer.

David Kim, first concertmaster, starting playing the violin at age three and began studies with Dorothy DeLay at eight. He later received his bachelor's and master's degrees from Juilliard. In 1986 he was the only American violinist to win a prize at the Tchaikovsky Competition. Prior to his appointment with The Philadelphia Orchestra, Mr. Kim was senior associate concertmaster of the Dallas Symphony. He has appeared with the Pittsburgh, Dallas, Indianapolis, Syracuse, and Moscow State symphonies; the Buffalo and Seoul philharmonics; the Boston Pops; and the national orchestras of Chile, Costa Rica, and the Dominican Republic. He has also given recitals throughout the world and has recorded on the Dorian, Warner, Musical Heritage Society, and SKC labels. He is founder and artistic director of the Kingston Chamber Music Festival at the University of Rhode Island.

John Koen, cello, joined the Orchestra in 1990. He has appeared with the Philadelphia Chamber Ensemble and 1807 & Friends, and since 1992 he has been principal cello of the Lansdowne Symphony. He was a nominee for the 1998 Gay/Lesbian American Music Awards for his performance of Robert Maggio's Winter Toccata, which Mr. Koen commissioned, and he performs the piece on a recording titled Seven Mad Gods. Mr. Koen's teachers have included David Soyer and Orlando Cole. He appeared at the Schleswig-Holstein Festival as solo cellist under Leonard Bernstein, Sergiu Celibidache, and Christoph Eschenbach. Mr. Koen, a Curtis graduate, is the adjunct faculty member for cello at the College of New Jersey (Trenton).

Meng-Chieh Liu, a recipient of the 2002 Avery Fisher Career Grant, first made headlines in 1993 as a 21-year-old piano student at the Curtis Institute of Music when he substituted for André Watts at the Academy of Music. This was followed by a number of performances, including recitals at the Kennedy Center and in Philadelphia. During the 2001-02 season his performance schedule included concerts in New York, Philadelphia, Boston, Seattle, San Diego, Taiwan, Korea, Japan, and Spain. Mr. Liu was born in Kaohsiung, Taiwan, and at age 13 was accepted by Curtis to study with Jorge Bolet, Claude Frank, and Eleanor Sokoloff. He received the 2002 Philadelphia Musical Fund Society Career Advancement Award and first prizes in the Stravinsky, Asia Pacific Piano, and Mieczyslaw Munz competitions. Mr. Liu has been a member of Curtis's faculty since 1993.

Donald Montanaro, associate principal clarinet, is a graduate of the Curtis Institute of Music. For three years prior to joining The Philadelphia Orchestra, he was member of the New Orleans Philharmonic. In 1965 he married Margarita Csonka, who is now co-principal harp of The Philadelphia Orchestra. Mr. Montanaro has made solo appearances in Europe and the Orient, and has participated in the Marlboro and Casals festivals. He is the director and one of the founders of the Philadelphia Chamber Ensemble and is a faculty member of the Curtis Institute of Music.

Yayoi Numazawa joined the Orchestra's second violin section in 1995, and in 2000 became a member of the first violins. A past winner of the Junior and Senior Divisions of the Philadelphia Orchestra Student Competition, she made her Orchestra solo debut in 1984 on a Student Concert. Born in Japan, she studied with Ami Watanabe and Kenji Kobayashi and won Japan's Young Concert Artist Competition. She has also studied with Ivan Galamian, Yumi Ninomiya Scott, Felix Galimir, David Cerone, and Jaime Laredo. Ms. Numazawa received her bachelor's degree from Curtis in 1989. She teaches privately and at Temple's Music Preparatory Division.

Burchard Tang, a native of Maryland, joined the viola section of The Philadelphia Orchestra in 1999 after graduating from the Curtis Institute. He served as principal viola with the Curtis Symphony and the New York String Seminar. He also performed with the Brandenburg Ensemble. A 1993 winner of the Albert M. Greenfield Student Competition, Mr. Tang performed with The Philadelphia Orchestra as a soloist. Other honors include the Temple University Preparatory Divison Concerto Competiton and second prize in the senior division of the Fischoff Competition in 1996. His teachers include Joseph de Pasquale and Choong-Jin Chang.

Copyright 2002 The Philadelphia Orchestra
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