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FABIO LUISI CONDUCTSYEFIM BRONFMAN PIANO

BEETHOVEN Concerto No. 2 for Piano and Orchestra in B-Flat Major, Op. 19

I. Allegro con brio II. Adagio III. Rondo: Molto allegro

YEFIM BRONFMAN PIANO (Approximate duration 28 minutes)

BEETHOVEN Symphony No. 8 in F Major, Op. 93

I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace

(Approximate duration 27 minutes)

SEPTEMBER 10 + 12-13 THURS + SAT | 7:30PM SUN | 2:30PM

LUISI & BRONFMAN PERFORM BEETHOVEN

C E L E B R A T I N G � � � � � � � �A S C L A S S I C A L S E R I E S S P O N S O R

In gratitude, this performance is dedicated to:

THURSDAY D. Gordon Rupe Foundation Annual Endowed Opening Classical Concert

The Dallas Symphony is grateful to and for their extraordinary support of the DSO.

Join us after the concert in Betty Marcus Park/Opus Restaurant for a complimentary dessert and coffee reception.

PROGRAM NOTES

LUISI CONDUCTS BEETHOVEN by René Spencer Saller

Ludwig van Beethoven (1770–1827) Piano Concerto No. 2

Beethoven began his Piano Concerto No. 2 as a teenager in Bonn and continued polishing it during his early years in Vienna, where, in late 1792, he moved to further his career. Completed in 1798, when he substituted a new rondo finale, the B-Flat concerto was a crowd-pleasing staple of the young virtuoso’s repertoire, reflecting his swift transition from student to master. His performance career at the time accounted for more than half of his income.

Cast in the conventional three movements, it starts with a radiant tutti on the tonic chord. The opening Allegro con brio bristles with chromaticism — the soloist embellishes the theme almost past recognition and then resurrects it, bright and transfigured. Beethoven wrote most of the Allegro when he was between 16 and 18, long before he played it in Vienna. He improvised the cadenza at each performance, as was his habit. In 1809, the year Haydn died, Beethoven published a blindingly difficult, intensely disruptive new first-movement cadenza that fully exploited the wider range of cutting-edge piano design. This new cadenza was conceived for a piano that literally did not exist in Mozart and Haydn’s day.

With its nocturnal perfumes and Mozartean allusions, the Adagio, in E-Flat Major, almost begs to be sung. The soloist chases the theme down murky B-Flat minor byways. The piece ends with a pedal-washed shimmer into silence. As with the first movement, Beethoven composed most of the Adagio as a teenager, in Bonn.

He wrote the finale last, in 1795, shortly before his Second Piano Concerto received its public premiere in Vienna. In 6/8 time, the Rondo is a Haydnesque corker, at once playful and cerebral. Before the main theme returns for the last time, the solo piano takes up the obviously wrong-sounding key of G Major. The orchestra coaxes it back to the home key, and order is restored.

Beethoven: Symphony No. 8

Despite being sick, lonely, increasingly deaf and anxious about money, Beethoven was creatively productive in 1812, finishing his Seventh and Eighth Symphonies. Listening to them, you’d never guess that he was fending off thoughts of suicide. His art was greater than his individual suffering; it came from the heart, he once said, so that it might go to the heart.

Like the equally sunny Sixth (“Pastoral”), the Eighth Symphony is in F Major, a generally cheerful key for Beethoven. As Jan Swafford explains in Beethoven: Anguish and Triumph, the Eighth is “a sort of vacation, this time into the past: a beautiful, brief, ironic look backward to Haydn and Mozart.” As a teenager in his native Bonn, Beethoven was urged by his patron Count Waldstein to make a pilgrimage to Vienna and “receive the spirit of Mozart at Haydn’s hands.” The young composer met Mozart and studied with Haydn, on and off, but such advice made him uneasy. On the one hand, he wanted to enter the pantheon; on the other hand, he needed to assert his originality.

Just as Beethoven’s looming presence would both inspire and inhibit his successors— “Who can do anything after Beethoven?” Schubert famously griped—Mozart and Haydn provoked a similar ambivalence in Beethoven. They were his models and idols, and if he once feared that they’d already done everything worth doing, he knew better now, as a seasoned composer of 41. He could make witty quotations, slyly acknowledge his musical debts, yet remain all the while in full command of his unique voice.

Beyond mere escapism, Symphony No. 8 exemplifies the pleasures of engaging with the past. Stylistically, it looks back to the 18th century, particularly during its third movement, a nostalgic minuet and trio. But throughout the symphony the sonorities are big, brash, and decidedly contemporary. The almost mechanically ticking woodwinds in the second movement evoke Haydn’s “Clock” Symphony, and its overall mood buzzes with the zany energy of Mozart’s comic operas. But the symphony’s best jokes are at its own expense, when it deconstructs the very concept of craftsmanship. Consider the anarchic C-Sharp that interrupts the main theme with rude bleats and blurts, wreaks tonal havoc in the finale, and then inspires still more mayhem in the extravagant key-wrenching coda. A carefully conceived celebration of chaos, the Eighth is the symphonic equivalent of a Marx Brothers movie.

ARTIST BIOS

FABIO LUISIMUSIC DIRECTOR Louise W. & Edmund J. Kahn Music Directorship

GRAMMY® Award-winner Fabio Luisi launches his tenure as Louise W. & Edmund J. Kahn Music Director of the Dallas Symphony Orchestra (DSO) this season. A maestro of major international standing, the Italian conductor embarks on his ninth and final season as General Music Director of the Zurich Opera and his fifth as Principal Conductor of the Danish National Symphony Orchestra. He previously served for six seasons as Principal Conductor of the Metropolitan Opera.

Reflecting the realities and health considerations required for live music performance in the age of COVID, Luisi’s three fall programs for the DSO’s NEXT STAGE include revised repertoire for smaller ensembles. Pianist Yefim Bronfman joins Luisi and the DSO for an all-Beethoven program; mezzo-soprano Tamara Mumford and tenor Stuart Skelton are soloists in a chamber version of Mahler’s The Song of the Earth; and a celebration of the operas of Giuseppe Verdi—Luisi has won wide acclaim for his performances of the great Italian composer’s music—featuring soprano Krassimira Stoyanova, mezzo-soprano Jamie Barton, tenor Piero Pretti and bass Wenwei Zhang. In five spring programs, Luisi will conduct symphonies by Tchaikovsky, Brahms, Mahler and Schmidt, concertos with

violinists Leonidas Kavakos and DSO Concertmaster Alexander Kerr, the world premiere of Angélica Negrón’s En otro noche, en otro mundo (On Another Night, In Another World), and an opera-in-concert performance of Verdi’s Otello, Last season, Luisi led a concert performance of Richard Strauss’s opera Salome and Alpine Symphony, the Dallas premieres of Fountain of Youth by DSO composer-in-residence Julia Wolfe and Aureole by Augusta Read Thomas before the pandemic brought the season to a premature end.

Beyond Dallas this season, Luisi will finish his tenure at the Zurich Opera with Verdi’s Simon Boccanegra with Christian Gerhaher in the title role and Jennifer Rowley as Amelia. With the Danish National Symphony Orchestra, where his contract was recently extended until 2026, Luisi will conduct a wide range of repertoire, with a special focus on music by Danish composers of the past and present, especially works by Nielsen and Langgaard as well as Abrahamsen and Sørensen. Luisi’s appearances as guest conductor will include several concerts with the Filarmonica della Scala, Philadelphia Orchestra and NHK Tokyo, as well as concerts with Amsterdam’s Royal Concertgebouw Orchestra that include taking the orchestra to the Mahler Festival in Leipzig in May 2021. Last season, Luisi conducted Richard Strauss’s Arabella in Zurich in a new staging by Robert Carsen. He also returned to the Paris Opera for Aribert Reimann’s Lear and Verdi’s Don Carlo with Roberto Alagna and Michael Fabiano sharing the title role.

The conductor received his first GRAMMY® Award in March 2013 for his leadership of the last two operas of Wagner’s Der Ring des Nibelungen, when Deutsche Grammophon’s DVD release of the full cycle, recorded live at the Met, was named Best Opera Recording of 2012. In February 2015, the Philharmonia Zurich launched its Philharmonia Records label with three Luisi recordings: Berlioz’s Symphonie fantastique; a double album surveying Wagner’s Preludes and Interludes, and a DVD of Verdi’s Rigoletto. Subsequent releases include a survey of Rachmaninov’s Four Piano Concertos and Rhapsody on a Theme of Paganini with soloist Lise de la Salle, and a rare recording of the original version of Bruckner’s monumental Symphony No. 8. Luisi’s extensive discography also includes

YEFIM BRONFMANPIANO

Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

In the wake of world-wide cancellations beginning in Spring 2020 his 2020/21 season will continue in January with the Concertgebouworkest, St. Petersburg Philharmonic and London’s Philharmonia with appearances in Spain, Germany, Paris, Zurich and London. In North America he can be heard in recital in San Francisco, La Jolla and Aliso Viejo and with orchestras in Atlanta, Los Angeles and Montreal.

Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music.

rare Verdi operas (Jérusalem, Alzira and Aroldo), Salieri’s La locandiera, Bellini’s I puritani and I Capuleti e i Montecchi, with Anna Netrebko and Elina Garanča for Deutsche Grammophon, and the symphonic repertoire of Honegger, Respighi and Liszt. He has recorded all the symphonies and the oratorio Das Buch mit sieben Siegeln by neglected Austrian composer Franz Schmidt; several works by Richard Strauss for Sony Classical; and an award-winning account of Bruckner’s Ninth Symphony with the Staatskapelle Dresden.

Born in Genoa in 1959, Luisi began piano studies at the age of four and received his diploma from the Conservatorio Niccolò Paganini in 1978. He later studied conducting with Milan Horvat at the University for Music and performing Arts in Graz. Named both Cavaliere della Repubblica Italiana and Commendatore della Stella d’Italia for his role in promoting Italian culture abroad, in 2014 he was awarded the Grifo d’Oro, the highest honor given by the city of Genoa, for his contributions to the city’s cultural legacy. Off the podium, Luisi is an accomplished composer whose Saint Bonaventure Mass received its world premiere at New York’s St. Bonaventure University, followed by its New York City premiere in the MetLiveArts series, with the Buffalo Philharmonic and Chorus. As reported by the New York Times, CBS Sunday Morning and elsewhere, he is also a passionate maker of perfumes, which he produces in a one-person operation, flparfums.com.

ARTIST BIOS CONTINUED

VIOLIN I Alexander Kerr

ConcertmasterMichael L. Rosenberg Chair

Nathan OlsonCo-ConcertmasterFanchon & Howard Hallam Chair

Gary LevinsonSenior Principal Associate ConcertmasterEnika Schulze Chair

Emmanuelle BoisvertAssociate ConcertmasterRobert E. & Jean Ann Titus Family Chair

Eunice KeemAssociate ConcertmasterMarcella Poppen Chair

Daphne Volle

VIOLIN IIAngela Fuller Heyde

Principal Barbara K. & Seymour R. Thum Chair

Alexandra AdkinsAssociate Principal

Bing Wang

Mariana Cottier-Bucco

Lydia Umlauf

Kaori Yoshida

VIOLA Meredith Kufchak

Principal Hortense & Lawrence S. Pollock Chair

Sarah Kienle Acting Associate Principal

John Geisel

Dan WangDebra & Steve Leven Chair

HORNDavid Heyde

Associate Principal + Acting PrincipalLinda VanSickle Chair

Haley HoopsBecky & Brad Todd Chair

Kevin Haseltine

TRUMPETL. Russell Campbell

Associate Principal + Acting Principal Yon Y. Jorden Chair

Kevin Finamore

TIMPANIBrian Jones

Principal Dr. Eugene & Charlotte Bonelli Chair

CELLOChristopher Adkins

PrincipalFannie & Stephen S. Kahn Chair

Theodore HarveyAssociate Principal Holly & Tom Mayer Chair

Jennifer Yunyoung Choi

Emileigh Vandiver

BASSNicolas Tsolainos

PrincipalAnonymously Endowed Chair

Brian Perry

FLUTE David Buck

Joy & Ronald Mankoff Chair

Jungwan Kang*

OBOE Erin Hannigan

PrincipalNancy P. & John G. Penson Chair

Brent Ross

CLARINETGregory Raden

PrincipalMr. & Mrs. C. Thomas May, Jr. Chair

Andrew SandwickBass Clarinet + Utility

BASSOON Ted Soluri

PrincipalIrene H. Wadel & Robert I. Atha, Jr. Chair

Tom Fleming

MUSICIAN ROSTER

*Guest Artist

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Hallam^ Linda W. Hart and

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