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Program Notes

Program Notes

by April L. Racana

Wed. October 18, The 113th Tokyo Opera City Subscription Concert

Franz Joseph Haydn (1732-1809)

Symphony No. 49 in F minor, Hob.I:49 "La Passione"
Given the title ‘father of the symphony’, Haydn produced more than 100 symphonies in
his lifetime, which are considered to be of the highest artistic quality as well as of great
historical importance. During his thirty years at Esterházy, he composed twenty-five of thesesymphonies, having at his disposal an ensemble of professional players with which he could
explore and experiment, and which would serve to foster his creative abilities as well. In fact
he was somewhat isolated from the rest of the musical world but wrote in a letter to a friend
the benefits he gained from it: “As director of an orchestra, one is free to experiment, to see
what makes for effect or weakens it…. I was isolated from the world; no one could confuse
or frustrate me in my course, and so I was bound to become original!”

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In 1761, Haydn was offered the position of Vice-Kapellmeister (the assistant to the mainmusical director, Gregor Joseph Werner) for the Esterházy royal family. When Werner diedin 1766, Haydn was promoted to the position of Kapellmeister. It was during this period fromthe late 1760's to the early 1770's that Haydn would turn his focus to composing minor-key
symphonies, which later came to be referred to as the composer's Sturm und Drang (Stormand Surge) style.
Symphony No. 49 (1768) was one of these works, composed in the key of F minor anddisplaying the restlessness, turbulent moods, and deep intensity of emotions that werehallmarks of this later style. In addition to the predominance of the F minor key in all fourmovements, the composer would also incorporate dramatic shifts between loud and softdynamics and a wide melodic range, as well has shifting harmonies throughout. Haydn
presents this work in the older sonata de chiesa (church sonata) style, opening with a slow
movement, and with the three remaining movements alternating fast-slow-fast, with only
the Trio of the third movement shifting to F major for a small glimmer of brightness in theotherwise serious work.
Haydn’s symphonies are often given subtitles and this one is no different. The subtitle La
Passione is believed to have been designated by the publisher and may have referred to Good
Friday services. One Haydn scholar, H.C. Robbins Landon stated that "in the opening...we29

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seem to sense the winding line of penitents before the Cross...[with the] music's somber,majestic beauty..." The contrasts in the following movements maintain the dramatic edge
alternating between agitated syncopations in the second movement, to the more formal dance
steps of the third, and on to the most dramatic final movement, displaying a great passion thatwould forever influence his (and others') symphonic works to come.
Work composed: 1768 World premiere: 1768 (probably)
Instrumentation: 2 oboes, bassoon, 2 horns, strings

Gustav Mahler (1860-1911)

Kindertotenlieder (Songs on the Death of Children)
Kindertotenlieder (Songs on the Death of Children) were originally part of a collectionof over 400 poems written by Friedrich Rückert, who had lost two of his young children toscarlet fever during the winter of 1833-1834. These deep expressions of grief were taken
up by Mahler who would set five of these poems in this song cycle composed between 1901
and 1904. Interestingly, Mahler did not have any children of his own when he began towork on these compositions, (though later he one of his own daughters would succumb toscarlet fever in 1907). Instead it is believed these expressions took him back to thoughts of
his own childhood, where seven of the fourteen children in his family died as infants. The
brother he was closest to was a year younger than himself and sadly died while Mahler held
him in his arms. This brother's name was Ernst and happened to share the same name as
Rückert's son, so there seemed to have been a number of links in Mahler's mind when hewas drawn to these poems.
Mahler indicated important instructions when these works were performed stating: "thesefive songs are intended as one inseparate unit, and in performing them their continuity
should not be interefered with", seemingly following the emotional journey of the grieving
parent. The composer sets these songs using a much smaller orchestral ensemble setting amuch more intimate scene. For example the first song opens only with a solo oboe and horn
before the voice enters, and only adding bassoon, with cellos joining in a higher register.
This song, "Now the sun intends to rise so bright" expresses the initial shock and disbelief
that the world continues to go on in spite of this personal tragedy.
The second song in the cycle, "Now I see clearly why such dark flames" reflects backat the deep intensity of the light in their child's eyes which may have been a sign of theirimpending death and ultimate reflection in the night sky as stars. The third song "Whenyou dear mother" features the English horn in a heartfelt solo, while the violins remainsilent as the lower strings set a darker somber tone as the singer describes the surreal feelingof expectation to see their child by their mother's side around the house as if nothing had

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Program Notes

happened, followed by the realization and deep sadness that their child is in fact gone far
too soon from this world.
The fourth song "Often I think they have merely gone out" begins to share insights asthe parent goes through their grief process, at times being fooled into thinking their childhas merely gone for a walk and will return home soon, but then comforting themselveswith the heavenly walk their child is taking, and the hope that they will eventually follow
and meet up with them. The full ensemble plays together here in symphonic form to lead
into the final song. "In this weather, in this bluster" opens with the full symphonic effectto create a stormy scene, unsettled as the parent questions whether there was somethingelse they could have done. Eventually though the realization and peaceful setting return,acknowledging the child is safe from any storm, as if they are in their mother's house,'sheltered by the hand of God.' Mahler wrote in a letter to a friend: "I placed myself in thesituation that a child of mine had died. When I really lost my daughter, I could not havewritten these songs any more."

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Work composed: 1901-1904 World premiere: 1905, Vienna
Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons,contrabassoon, 4 horns, timpani, percussion (tam-tam, glocken), harp, celesta, strings, solo mezzosoprano►Please refer to page 34 for the English translation of the lyrics.

Franz Schubert (1797-1828)

Symphony No. 5 in B-flat major, D.485
At a mere 19 years old, Schubert composed his Fifth Symphony in the fall of 1816 following
an extremely active period in his compositional life, having written nearly one quarter of hislifetime output in the previous year. And although he was known more for his lieder in
Viennese music circles when he was alive, his development of symphonic pieces was a key
part of his work as a composer, as he emulated those who had come before him.
When Schubert was only 11 years old, he was accepted as a chorister in the Imperial court
chapel, which allowed him to study at the Stadtkonvikt, a communal boarding school that
also housed the choir. It was there he sang and studied under the tutelage of Antonio Salieri,
which gave him a solid grounding in composition. He also performed in the school orchestra,
and as first violinist was at times given the opportunity to lead rehearsals. As part of thisgroup, as well as in informal performances with the amateur orchestra that developed out of
his familial quartet, Schubert became immersed in the symphonic works of composers suchas Haydn, Mozart and Beethoven.

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After Schubert’s voice changed at the age of fifteen, he left the chapel, and it was in theseensuing years leading up to the composition of the Fifth Symphony, that he composed, notonly the four previous symphonies, but a large-scale opera, chamber music, works for thechurch, as well as hundreds of songs. After composing the Fifth Symphony, Schubert would
write only one other complete symphony.
Perhaps the greatest influence one can hear in this work comes from Mozart in the form of his
40th symphony. Symphony No. 5 is the only symphony that Schubert composed besides theUnfinished without a slow introduction to open the entire work and is the most lightly scoredas well, with the strings being complemented by only a flute and pairs of oboes, bassoons, andhorns. As with his other symphonies, the Fifth Symphony did not get published until the 1880’s,
but was premiered in public at Vienna’s Theater in der Josefstadt on October 17, 1841.
Work composed: 1816 World premiere: October 17, 1841, Vienna
Instrumentation: flute, 2 oboes, 2 bassoons, 2 horns, strings

Franz Schubert (1797-1828)

Symphony No. 7 in B minor, D.759 “Unfinished”
Variously referred to as either Symphony No. 7 or No. 8, the Unfinished Symphony followed
several years after six complete symphonies were written in Schubert’s productive years
between October 1813 and February 1818. In the ensuing years, Schubert began work on
several symphonies but completed only one, the “Great” Symphony in C major. This was not
unusual for the composer, as he had unfinished works in many other genres as well, however
there seems to be a fair amount of mystery around this particular work, and speculation as to
the reason why he may have left this work unfinished.
During Schubert’s lifetime, there actually was no mention of this work. The composer
apparently gave the manuscript to Josef Hüttenbrenner shortly after the initial work on it
was done (the manuscript is dated October 30, 1822), with the first two movements intact,and on the back the first nine measures of the intended third movement, a scherzo. (Later apiano sketch showing not only the first two movements, but also the scherzo in its entirety
as well as the beginning of a trio was discovered.) Josef eventually gave the manuscript
to his brother Anselm who proceeded to store it in the back of a drawer, where it remained
until Josef revealed in a letter in March of 1860, to the Viennese musician, Johann Herbeck,that his brother “possesses a treasure in Schubert’s B minor symphony, which we rank withhis Great C major symphony, his instrumental swan song, and with all the symphonies ofBeethoven – only it is unfinished.”

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Program Notes

Since that time there have been various theories over the intended ‘missing’ movements.
Some suggested that Anselm had lost the manuscripts to the remaining movements (not too
farfetched perhaps, since his servants had apparently used another Schubert score as kindlingin the 1840s). Others had thought that perhaps the final movement had been written, but usedinstead for his Entra’cte for the play Rosamunde, since it too had been written in the (not sousual for the time) key of B minor. In fact, there have been performances that have included‘realizations’ of the third-movement sketch as well as the aforementioned entra’cte in an
attempt to complete Schubert’s unfinished work.
In time, though, the melodic and timbral explorations, as well as the harmonic innovations
that Schubert was delving into with this work, have come to be appreciated more frequently
through the performance of the first two movements alone, as the composer worked his way
towards his vision of the ‘grand’ symphony, which would follow in short order. However,with the composer’s impending illness, at times bed-ridden, house-bound or even hospitalized
on and off beginning in 1822, several more years would pass before he would write his final
complete symphony. Yet the Unfinished Symphony, as it came to be called by the publisher,
was the first of Schubert’s symphonies to be printed, and premiered finally in 1865, thecomposer himself never having heard it performed in his lifetime.

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Work composed: 1822 World premiere: 1865, Vienna
Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones,
timpani, strings

April L. Racana / Music Specialist at Nishimachi International School where she has taught since 1992. She
completed her undergraduate studies at the University of Illinois, Champaign-Urbana (BS/Piano Pedagogy) andher graduate studies at San Francisco State University (MA/Music), as well as a post-graduate fellowship atNorthwestern University, and the Japan Studies Program at International Christian University.

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