PROGRAM
ONE HUNDRED TWENTY-SECOND SEASON
Chicago Symphony Orchestra
Riccardo Muti Music Director
Pierre Boulez Helen Regenstein Conductor Emeritus
Yo-Yo Ma Judson and Joyce Green Creative Consultant
Global Sponsor of the CSO
Wednesday, May 1, 2013, at 6:30 (Afterwork Masterworks, performed with no intermission)
Pablo Heras-Casado Conductor
Marina Heredia Flamenco Singer
Debussy La boîte à joujoux
Falla El amor brujo
Thursday, May 2, 2013, at 8:00
Friday, May 3, 2013, at 8:00
Saturday, May 4, 2013, at 8:00
Pablo Heras-Casado Conductor
Marina Heredia Flamenco Singer
Ravel
Le tombeau de Couperin
Prélude
Forlane
Menuet
Rigaudon
Debussy
La boîte à joujoux
Prélude
Le magasin de jouets
Le champ de bataille
La bergerie à vendre
Après fortune faite
Épilogue
First Chicago Symphony Orchestra performances
INTERMISSION
Ravel
Pavane pour une infante défunte
Falla
El amor brujo
Introduction and Scene
In the Gypsies’ Grotto: Night
Song of Sorrowful Love
The Apparition
Dance of Terror
The Magic Circle: The Fisherman’s Tale
Midnight: The Sorcerers
Ritual Fire Dance: To Drive Away Evil Spirits
Scene
Song of the Will-o’-the-Wisp
Pantomime
Dance of the Game of Love
Finale: The Bells of Dawn
MARINA HEREDIA
The Chicago Symphony Orchestra is grateful to WBBM Newsradio 780 and 105.9 FM for its generous support as media sponsor of the Afterwork
Masterworks series.
This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts.
2
COMMENTS BY PHILLIP HUSCHER
Maurice Ravel
Born March 7, 1875, Ciboure, Basses-Pyrénées, France.
Died December 28, 1937, Paris, France.
Le tombeau de Couperin, Suite for Orchestra
C
onsidered too small and delicate
for military service, Maurice
Ravel realized that he could serve
his country by writing music. But
when his brother Edouard enlisted
at the start of World War I, Ravel
didn’t want to sit on the sidelines.
At the age of thirty-nine, he managed to get accepted as a nurse’s
aide, leaving behind a number of
unfinished scores and his seventyfour-year-old mother. Music was
still on his mind, however. In
October 1914, his first month on
the job, he wrote to his former
pupil, Roland-Manuel, about two
new piano pieces he was planning,
including a French suite—“No, it
isn’t what you think: la Marseillaise
COMPOSED
1914–1917, for piano, in
six movements
1919, orchestration of
four movements
FIRST PERFORMANCE
orchestral suite:
February 28, 1920, Paris
will not be in it, but it will have
a forlane and a gigue; no tango,
however.” That was the beginning
of Le tombeau de Couperin.
In March 1915, Ravel became a
truck driver for the 13th Artillery
Regiment. (He named the truck
Adélaïde and signed his letters
Chauffeur Ravel.) It was a dangerous, exhausting, and stressful
assignment, and his health suffered.
At least for a while, music took
a back seat to the more pressing
concerns of life and death. Early in
1917, his mother died; it was a terrible blow, which contributed even
further to his physical and mental
decline, and he was discharged from
the army a few months later. While
FIRST CSO
PERFORMANCE
January 20, 1928,
Orchestra Hall. The
composer conducting
MOST RECENT CSO
PERFORMANCE
January 12, 2010,
Orchestra Hall. Pierre
Boulez conducting
APPROXIMATE
PERFORMANCE TIME
16 minutes
CSO RECORDINGS
1980. Sir Georg Solti
conducting. London
A 1983 performance under
Rafael Kubelík is included on
From the Archives, vol. 16.
INSTRUMENTATION
two flutes and piccolo, two
oboes and english horn, two
clarinets, two bassoons, two
horns, trumpet, harp, strings
3
recuperating at his godmother’s
country house, Ravel returned to
writing music, beginning with the
French suite for piano.
R
avel had been tempered by his
first-hand experience of war.
A frothy symphonic poem, Vien,
which he abandoned during the
war, now became the bitter La
valse. And the benign piano suite
he had long envisioned, perhaps as
a genial bit of nationalism, now carried the horrible weight of tragedy:
each movement was dedicated to
a friend who had died at the front.
Back in familiar surroundings, but
still haunted by memories of the
war, Ravel completed the suite he
now called Le tombeau de Couperin.
What had begun as a homage to a
golden era of French music—the
age of François Couperin and the
eighteenth century in general—now
paid gentle tribute to the victims
of World War I. Ravel designed
his own title page for the score,
which included a draped funerary
urn. The piano suite contained
six movements; as the composer
promised, there was no hint of
the Marseillaise. (Nor was there
any tango, perhaps because that
popular dance was then thought too
scandalous for the concert hall.)
Before the war, Ravel’s own
orchestrations of his piano pieces
Mother Goose and the Valses nobles et
sentimentales were wildly popular.
In 1919, after the first performance
of Le tombeau de Couperin, he began
to orchestrate four of the six movements. As Roland-Manuel wrote,
“This metamorphosis of piano
pieces into symphonic works was a
4
game for Ravel, a game played to
perfection, so that the transcription
outdid the charm of the original.”
Le tombeau de Couperin is arguably Ravel’s greatest success in the
sport. The translation from piano
to full orchestra is handled with an
almost impossible finesse; Ravel
carefully weighed every choice of
instrument, showing impeccable
concern for color, in all its subtle
modulations, as well as for clarity
and balance. The orchestration is
a work of both enormous care and
extreme economy.
L
e tombeau de Couperin is the
most gentle of war memorials—
it’s about memory, not combat. It
has neither the morbid sadness of
Richard Strauss’s Metamorphosen
nor the anger of Dmitri
Shostakovich’s grand wartime
symphonies. It evokes those it honors, not the tragic circumstances
of their deaths. Ravel borrows the
forms of the baroque dance suite,
beginning with a prelude that sets
the presiding graceful tone. (The
piano version includes a fugue and
a toccata that Ravel chose not to
orchestrate.) The second movement
is a forlane, a Northern Italian
dance; before composing a note of
his own, Ravel transcribed a forlane
by Couperin as a way of getting
to know the style. Ravel’s Menuet
(like the Prélude) gives the oboe
a prominent role. The rigaudon
that concludes Ravel’s suite is an
old dance from Provence that was
sometimes used by Rameau and
Bach, and much later by Grieg in
his Holberg Suite, though seldom
with such brilliance and panache.
Claude Debussy
Born August 22, 1862, Saint-Germain-en-Laye, France.
Died March 25, 1918, Paris, France.
La boîte à joujoux (The Toy Box)
C
laude-Emma Debussy, the
composer’s only child, was
born on Monday, October 30,
1905. Although they were not yet
married, the composer, a first-time
father at the age of forty-three,
and Emma Bardac, the woman for
whom he had left his wife, gave
their daughter both of their first
names on her birth certificate, as
if to certify their own relationship.
Nevertheless, Claude-Emma would
always be known by her pet name,
Chouchou. She grew up to become
a charming and attractive young
girl, although Stravinsky, on the
occasion of his often celebrated
lunch with Debussy in 1912, later
recalled looking at Chouchou and
noticing, with his particular gift for
the cutting remark, “that her teeth
were exactly like her father’s, i.e.
like tusks.”
Through Chouchou, Debussy was
able to revisit the world of childhood, in life and in music. “To the
COMPOSED
1913; orchestration
completed by André Caplet,
1919
FIRST PERFORMANCE
December 10, 1919, Paris
end,” the composer Alfredo Casella
remarked, “he remained what the
French call a grand enfant.” Even
into his fifties, Debussy was a child
at heart; Casella remembers how
the great composer, even more than
Chouchou, delighted in playing
with the toys Emma brought home
for their daughter. “The toy is the
child’s earliest initiation into art,”
Charles Baudelaire wrote, and it
certainly was for both Claude and
Claude-Emma. The first music
Debussy wrote for Chouchou was
the lighthearted Children’s Corner
suite for piano that celebrates her
dolls, her toy elephant Jimbo, and
a kind of fantasy world which
the composer reentered with
ease. Chouchou had become a
kind of muse—an inspiration,
a partner, and a co-conspirator
in this exploration of innocence.
“One of his greatest pleasures,” his
friend Pasteur Vallery-Radot later
wrote, “was to hear his daughter
INSTRUMENTATION
two flutes and piccolo, two
oboes and english horn, two
clarinets, two bassoons,
two horns, two trumpets,
timpani, percussion, harp,
piano, celesta, strings
APPROXIMATE
PERFORMANCE TIME
35 minutes
These are the Chicago
Symphony Orchestra’s
first performances
5
Chouchou speak, sing, or play the
piano, or to see her dance to one of
the rhythms he invented for her.”
I
n 1913, soon after the first performance of his last great orchestral
score, Jeux (a masterpiece that was
completely overshadowed by the
premiere of Stravinsky’s The Rite
of Spring in Paris two weeks later),
Debussy switched gears and began
writing music for a children’s ballet.
It was based on La boîte à joujoux
(The toy box) by André Hallé,
whose watercolor illustrations evidently brought to mind Debussy’s
own memories of childhood. The
sight of Chouchou dancing to
his music was probably both the
generating image for Debussy and
a frequent inspiration as well as he
played through new pages of the
ballet at the piano. Debussy even
studied Chouchou’s doll collection, saying that “the soul of a
doll is more mysterious than even
Maeterlinck [his Pelléas et Mélisande
librettist] supposes; it does not
readily put up with the claptrap
that so many human souls tolerate.”
The piano score was completed in
October: four tableaux framed by a
prelude and epilogue. In February,
Debussy told a reporter that there
was talk of putting La boîte on at
the Opéra-Comique. He began to
orchestrate the score that spring,
but when the war delayed any
further plans for staging the ballet,
he stopped at measure 93 and put
the music aside. Although he wrote
to his publisher in November 1917
that La boîte was almost finished,
in fact, he had done no further
work. After his death in 1918, the
6
orchestral score was completed by
Debussy’s close friend, the composer and conductor André Caplet,
who had already orchestrated parts
of Debussy’s The Martyrdom of Saint
Sebastian with the composer’s blessing (and conducted the premiere
in 1911).
I
n Hellé’s story, a little girl receives
a toy box as a present. When she
takes it home, the toys come to life
and begin a series of adventures.
The plot, in Debussy’s own words,
revolves around a love triangle:
A cardboard soldier falls in
love with a doll; he seeks
to prove this to her, but she
betrays him with Polichinelle.
The soldier learns of her affair
and terrible things begin to
happen: a battle between
wooden soldiers and polichinelles. In brief, the lover
of the beautiful doll is gravely
wounded during the battle. The
doll nurses him and . . . they all
live happily ever.
The music, particularly compared to the intricate complexities
of rhythm, texture, and themes
in Jeux, is simplicity itself. For
this reason, it has sometimes
been misunderstood as a sudden
falling off of inspiration, just as
Mozart’s Magic Flute was once
dismissed as mere child’s play.
But, as with Mozart’s late-in-life
work, it in fact reduces Debussy’s
style and sensibilities to their very
essence. Not a note is wasted. Like
a clever child himself, Debussy
delights in imitating, parodying,
and even quoting other music,
including Mussorgsky’s Pictures
from an Exhibition and the saucy
Golliwog’s Cakewalk from his (and
Chouchou’s) own Children’s Corner.
“La boîte à joujoux is a pantomime
to the kind of music that I have
written in Christmas and New
Year albums for children—a work
to amuse children, nothing more,”
he said while he was beginning the
orchestration. Even then, without
a premiere planned, he was worried that the ballet would be nearly
impossible to stage. “How do you
put across in the theater the natural
simplicity of it,” he wondered.
“The characters have to retain the
angular movements and burlesque
appearance of the cardboard originals, without which the play would
lose all its significance.”
As it turned out, La boîte à
joujoux was never produced during Debussy’s life. It was finally
brought to the stage, and danced,
not by children, as Debussy
envisioned, but by adults, in 1919.
It remains a distinct rarity, even in
the concert hall, where, like many
of the finest ballet scores, it casts its
own purely musical spell and loses
none of its brilliance when divorced
from the highly detailed stage
directions of the original.
A prelude sets the scene in a toy
store. In the first tableau, the dolls
come to life, switch on a record
player, and begin a series of fantasy
dances. The second scene, set on the
battlefield, introduces the central
romantic conflict, and the third, in
a sheepfold, reunites the wounded
soldier and the doll. The last tableau
takes place “twenty years later.” It
is a picture of suburban bliss. The
adversarial Polichinelle has become
a village constable. The soldier,
now with a white beard, and his
doll, slightly plump after years of
easy living, are proud parents. Their
children dance a polka. The ending
brings us back to the beginning
Claude Debussy and Chouchou at Moulleau near
Arcachon, 1916
music, and to the realization that,
as Hellé said, toy boxes are “really
just like towns in which toys live
like people—or maybe towns are
just toy boxes in which people live
like toys.”
A
postscript. Claude-Emma
died of diphtheria at the age
of thirteen in 1919, just one year
after her father. She was buried in
Division 14 of the Passy cemetery
in Paris, next to the grave of the
composer. She is the subject of
a French film released in 1995:
Chouchou: Music of Love.
7
Maurice Ravel
Pavane pour une infante défunte
M
grew up in Madrid. (His Swiss
father inspired in his son a love
for things precise and mechanical
that carried over into
his impeccable music,
provoking Stravinsky
to dismiss him as a
“Swiss watchmaker.”)
One of Ravel’s earliest
pieces—written just
after he left the Paris
Conservatory in 1895—
was a habanera for two
pianos, the first indication that he would join
that group of French
composers, which
includes Bizet, Lalo, and
Lake Oô in the French Pyrenees, between 1890 and 1905
Chabrier, who have written some of our best Spanish music.
geographical boundary he often
The habanera was Ravel’s first
crossed in his music. Even though
music to be performed publicly, in
his family moved to Paris while he
March 1898, and, despite the two
was still a baby, Ravel came by his
pianists’ inability to stay together,
fascination with Spain naturally,
it made a strong impression on
for his mother was Basque and
aurice Ravel was born in the
French Pyrenees, only a few
miles from the Spanish border, a
COMPOSED
1899, for piano
1910, orchestration
FIRST PERFORMANCE
February 27, 1911;
Manchester, England
FIRST CSO
PERFORMANCE
January 11, 1938,
Orchestra Hall (In memory
of the composer). Hans
Lange conducting
8
MOST RECENT CSO
PERFORMANCE
March 29, 2008,
Orchestra Hall. Charles
Dutoit conducting
INSTRUMENTATION
two flutes, oboe, two
clarinets, two bassoons, two
horns, harp, strings
APPROXIMATE
PERFORMANCE TIME
6 minutes
CSO RECORDINGS
1957. Fritz Reiner conducting. RCA
1967. Jean Martinon
conducting. RCA
1991. Daniel Barenboim
conducting. Erato
Claude Debussy, who was in the
audience. (He hadn’t yet met the
composer whose name would
one day be linked with his own.)
Debussy asked to borrow the score,
and his La soirée dans Grenade
(Night in Grenada), written five
years later, suggests that he studied
it carefully. (The suspicious similarity of the two pieces contributed to
the eventual falling-out between
the composers.)
Like the Habanera, the Pavane
pour une infante défunte (Pavane for
a dead princess) was conceived as
piano music and benefited greatly
from the translation to a full
orchestral score. The piano piece
was an instant success. Ravel later
realized that music of such apparent
ease—a simple melody over broken
chords—is doomed to a life at the
hands of amateur pianists, and
so, eleven years later, he rescued
the Pavane and rescored it for
the modern virtuoso orchestra. A
pavane is a slow processional dance
from Padua (Pava is a dialect name
for Padua). According to an old
Spanish tradition, however, it was
performed in church as a stylish
gesture of farewell to the dead. As
to the identity of the dead princess,
Ravel finally admitted he picked
the title because he liked the sound
of the words.
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9
Manuel de Falla
Born November 23, 1876, Cádiz, Spain.
Died November 14, 1946, Alta Gracia, Argentina.
El amor brujo (Love, the Magician)
B
efore Manuel de Falla, the most
widely known Spanish music
was written by French and Russian
composers. In the second half of
the nineteenth century, when a
fascination with Spain reached
fever pitch, many musicians were
attracted to the exoticism, the
romance, and the local color of the
Iberian peninsula. By the time Falla
began to compose, in the first years
of the twentieth century, works
like Rimsky-Korsakov’s Capriccio
espagnole and Bizet’s Carmen defined
the Spanish sensibility to the man
on the street more than any other
works of art—even though Bizet,
for one, had never set foot in Spain.
When Manuel de Falla moved
from his native Spain to Paris in
1907 to expand his musical horizons and to experience the avantgarde first-hand, he encountered a
city intoxicated with music evoking
his homeland. Debussy was at work
on the largest “Spanish” work of his
career, the great orchestral Ibéria.
And Ravel was beginning both
his own orchestral showpiece, the
Rapsodie espagnole, and his oneact opera L’heure espagnole. Ravel
came by his Spanish fascination
naturally (his mother was Basque),
and it was no doubt heightened by
his early close friendship with the
remarkable Spanish pianist Ricardo
Viñes, to whom Falla would
eventually dedicate his Nights
in the Gardens of Spain. (Ravel
remained under the spell of Spain
COMPOSED
November 1914–April 1915;
revised as ballet with song
in 1916
October 21, 1965, Orchestra
Hall (complete). Jean
Maderia, soloist; Jean
Martinon conducting
FIRST PERFORMANCE
April 2, 1915; Madrid, Spain
MOST RECENT CSO
PERFORMANCE
May 27, 1997, Medinah
Temple (complete). Jennifer
Larmore, soloist; Daniel
Barenboim conducting
March 20, 1916; Madrid,
Spain (revised version)
FIRST CSO
PERFORMANCES
July 27, 1941, Ravinia
Festival (selections). Carlos
Chavez conducting
March 28, 1944, Orchestra
Hall (selections). Hans
Lange conducting
10
INSTRUMENTATION
female vocal soloist, two
flutes and piccolo, oboe,
two clarinets, bassoon,
two horns, two trumpets,
timpani, glockenspiel,
piano, strings
APPROXIMATE
PERFORMANCE TIME
24 minutes
CSO RECORDINGS
1963. Leontyne Price, soloist; Fritz Reiner conducting.
RCA
A 1997 performance with
Jennifer Larmore as soloist
and Daniel Barenboim
conducting is included on
From the Archives, vol. 20.
to his dying day—Boléro and the
Don Quixote songs are among his
last compositions.)
Falla’s search for a natural
Spanish expression began just as
composers from other countries had
virtually exhausted their interest in
Spain’s exotic atmosphere. During
his years in Paris, Falla arrived at
a new understanding of how to
compose music that evoked the
spirit of a place but, at the same
time, conveyed a deeper message in
a universal language. “Truth without authenticity” became Falla’s
rallying cry, and ultimately that is
what sets his music apart, not only
from that of his Spanish predecessors and the many contemporary
faux-Spanish composers, but also
from most of the other nationalistic
work popular at the time.
during the winter of 1914–15, Falla
worked round the clock, in a room
filled with cigarette smoke and
fumes from the gas stove. He was
never happier, he later said.
El amor brujo was poorly received
when it was first performed
by Pastora Imperio’s family in
Madrid in 1915. Significantly, it
was accused of lacking Spanish
character, although Falla was
delighted—and vindicated—by
W
hile Falla was doing “field”
work, by harmonizing Seven
Popular Spanish Songs, he began
to compose El amor brujo, for
which he wrote original melodies
that sounded like folk tunes.
The idea for the work came from
Pastora Imperio, one of the great
Andalusian gypsy dancers—the
empress of all the Spanish dances,
as she was later called. She originally contacted the poet and choreographer Gregorio Martínez Sierra
requesting a song and dance stage
work to be performed by members
of her family. Imperio and her
mother, the well-known flamenco
artist Rosario “la Mejorana,” sang
songs and told stories to Martínez
and Falla, who took careful notes
and then created his own freely
invented music. For three months
Andalusian gypsy dancer Pastora Imperio
the performers’ insistence that they
were enthralled by the music and
felt it to be truly their own. One
night, Falla took the pianist Arthur
Rubinstein to a performance, and
Rubinstein was so overwhelmed
by Pastora Imperio’s rendition of
the Ritual Fire Dance in particular
that he asked for the score so that
he could arrange it for piano. Falla
modestly said he doubted that the
music would make much effect, but
when Rubinstein played the dance
as an encore at his next concert,
11
the audience went wild. (“I had to
repeat it three times,” the pianist recalled.)
The following year, Falla
expanded the orchestration of El
amor brujo—the original version
called for just eight instruments—
and cut out much of the vocal
music, leaving only four songs. The
new version, a kind of orchestral
suite with singing, proved ideal
for the concert hall, where it has
remained one of Falla’s most popular scores, and where the Ritual
Fire Dance has become one of the
great “Spanish” numbers. María
Martínez Sierra, the poet’s widow,
summarized the action:
A love-stricken gypsy woman,
whose feelings are not returned
by the object of her attentions,
resorts to magic arts—sorcery,
witchcraft, and such—to
soften the unresponsive man’s
heart . . . and she succeeds.
After a night of spells, conjurations, mysterious charms,
and more or less ritual dances,
Aurora wakes at dawn along
with Love, who had been
sleeping soundly, and bells ring
out the morning’s victory.
Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.
EL AMOR BRUJO
LOVE, THE MAGICIAN
CANCIÓN DEL AMOR DOLIDO
¡Ay! Yo no sé qué siento
Ni sé qué me pasa
Cuando este mardito gitano me farta.
Candela que ardes
Más arde el infierno
Que toita mi sangre abrasá de celos.
SONG OF SORROWFUL LOVE
Ay! I don’t know what I feel
I don’t know what becomes of me
when I miss this damn gypsy.
O burning candle,
hell burns with more rage
than all my blood burning
with jealousy.
¡Ay! Cuando el río suena
¿Qué querrá decir?
¡Ay! Por querer a otra
Se orvía de mí ¡Ay!
Ay! When the river rumbles
what does it mean?
Ay! For the love of another woman
he forgets me. Ay!
Cuando el fuego abrasa
Cuando el río suena
Y el agua no mata al fuego
A mí el penar me condena
A mí el querer me envenena
A mí las penas me matan ¡Ay!
When fire burns
when the river rumbles
and water does not kill fire
I am condemned by grief
I am poisoned by love
I am killed by sorrow. Ay!
12
SONG OF THE WILL-O’-THE-WISP
Just like the will-o’-the-wisp,
so is love.
Just like the will-o’-the-wisp,
so is love.
You run away and it chases you;
you beckon and it flees.
Just like the will-o’-the-wisp,
so is love.
¡Malhaya los negros ojos
Que la alcanzaron a ver!
¡Malhaya los negros ojos
Que le alcanzaron a ver!
¡Malhaya er corazón triste
Que en su llama quiso arder!
Curse be on those black eyes
that set their sight on it!
Curse be on those black eyes
that set their sight on it!
Curse be on the suffering heart
that wished to burn in its flame!
Lo mismo que er fuego fatuo
Se desvanece er queré.
Just like the will-o’-the-wisp,
love disappears.
DANZA DEL JUEGO DE AMOR
Tú eres aquel mal gitano
Que una gitana quería;
El queré que ella te daba
Tú no te lo merecías.
¡Quién lo habría de decí
Que con otra la vendías!
DANCE OF THE GAME OF LOVE
You are that evil gypsy
that was loved by a gypsy girl.
The love that she gave you
you didn’t deserve.
Who was to tell
that with another you betrayed her!
Soy la voz de tu destino
Soy er fuego en que te abrasas
Soy er viento en que suspiras
Soy la mar en que naufragas
Soy la mar en que naufragas.
I am the voice of your fate
I am the fire in which you burn
I am the wind in which you sigh
I am the sea of your shipwreck
I am the sea of your shipwreck.
LAS CAMPANAS DEL AMANECER
Ya está despuntando el día
¡Cantad, campanas, cantad,
que vuelve la gloria mía!
THE BELLS OF DAWN
Morning is breaking
sing, O bells, sing.
My glory is returned to me!
© 2013 Chicago Symphony Orchestra
CANCIÓN DEL FUEGO FATUO
Lo mismo que er fuego fatuo
Lo mismito es er queré
Lo mismo que er fuego fatuo
Lo mismito es er queré
Le juyes y te persigue
Le yamas y echa a corré.
Lo mismo que er fuego fatuo
Lo mismito es er queré.
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