MAHLER TIME! - ROYAL CONCERTGEBOUW ORCHESTRA


July 2, Friday, 9.30 pm Ahmed Adnan Saygun Arts Center MAHLER TIME! ROYAL CONCERTGEBOUW ORCHESTRA DANIELE GATTI, conductor

Programme Richard Wagner: Siegfried-Idyll Intermission Gustav Mahler: Symphony No. 5 C # minor Trauermarsch (Funeral March) (C-sharp minor) Stürmisch bewegt, mit größter Vehemenz (Moving stormily, with the greatest vehemence) (A minor) Scherzo (D major) Adagietto (F major) Rondo-Finale (D major)

Chief Conductor Mariss Jansons Conductor Emeritus Riccardo Chailly Conductor Laureate Bernard Haitink Honorary Guest Conductor Nikolaus Harnoncourt
First violin Vesko Eschkenazy, leader Liviu Prunaru, leader Tjeerd Top Marijn Mijnders Ursula Schoch Marleen Asberg Keiko Iwata-Takahashi Robert Waterman Janke Tamminga Tomoko Kurita Henriëtte Luytjes Borika van den Booren Tony Rous Christian van Eggelen Maaike Aarts Nienke van Rijn Junko Naito Richard Lazar Benjamin Peled Valentina Svyatlovskaya Second violin Henk Rubingh Caroline Strumphler Susanne Jaspers Josef Malkin Angela Davis Anna de Vey Mestdagh Paul Peter Spiering Arndt Auhagen Kirsti Goedhart Annebeth Webb Petra van de Vlasakker Herre Halbertsma Marc de Groot Cleora Waterman-Keeler Monica Naselow Mirte de Kok Eke van Spiegel Viola Ken Hakii Michael Gieler Gert Jan Leuverink Saeko Oguma Roland Krämer Guus Jeukendrup	Jeroen Quint Pieter Roosenschoon Jeroen Woudstra Eva Smit Eric van der Wel Ferdinand Hügel Edith van Moergastel Yoko Kanamaru Vincent Peters Violoncello Godfried Hoogeveen Gregor Horsch Johan van Iersel Fred Edelen Benedikt Enzler Chris van Balen Yke Viersen Arthur Oomens Daniël Esser Sophie Adam Christian Hacker Double bass Dominic Seldis Thomas Braendstrup Jan Wolfs Mariëtta Feltkamp Ruud Bastiaanse Rob Dirksen Carol Harte Frits Schutter Georgina Poad Olivier Thiery Flute Emily Beynon Kersten McCall Herman van Kogelenberg Mariya Semotyuk-Schlaffke Piccolo Vincent Cortvrint Oboe Lucas Macías Navarro *Alexei Ogrintchouk Nicoline Alt Jan Kouwenhoven English horn Ruth Visser	Clarinet Jacques Meertens Andreas Sundén Hein Wiedijk E-flat clarinet Arno Piters Bass clarinet Davide Lattuada Bassoon Ronald Karten Gustavo Núñez Helma van den Brink Jos de Lange Contrabassoon Guus Dral Horn Jasper de Waal Fons Verspaandonk Jaap van der Vliet Peter Steinmann Sharon St. Onge Paulien Weierink-Goossen Trumpet Frits Damrow Hans Alting Bert Langenkamp Wim Van Hasselt Trombone Bart Claessens Jörgen van Rijen Nico Schippers Martin Schippers Bass trombone Raymond Munnecom Tuba Perry Hoogendijk Timpani Marinus Komst Nick Woud Percussion Mark Braafhart Gustavo Gimeno Herman Rieken Harp Petra van der Heide Gerda Ockers
*principal player

Staff on tour Jan Raes - Managing Director Joel Ethan Fried - Director of Artistic Administration Sjoerd van den Berg - Director Public Affairs Hans Ferwerda - Manager Planning/Production Else Broekman - Tour Manager Harriët van Uden - Personnel Manager Carlo de Wild - Personnel Manager Douwe Zuidema - Librarian Jan Ummels - Stage Manager Frans van der Starre - Stage Hand Johan van Maaren - Stage Hand

Daniele Gatti, Conductor Daniele Gatti became Music Director of the Orchestre National de France in September 2008, succeeding Kurt Masur. In September 2009 he assumes the position of Chef Dirigent of the Zurich Opera. Mr Gatti was Music Director of the Royal Philharmonic Orchestra from 1996 to 2009, Music Director of the Accademia Nazionale di Santa Cecilia in Rome from 1992 to 1997, Principal Guest Conductor of the Royal Opera House, Covent Garden between 1994 and 1997 and Music Director of the Teatro Comunale di Bologna from 1997 to 2007. He has also been named ‘Accademico’ of the Accademia Nazionale di Santa Cecilia. In 2005 the Italian critics awarded him the Abbiati Prize. Daniele Gatti has conducted some of the world’s finest orchestras and is a regular guest conductor with the Vienna Philharmonic, Royal Concertgebouw, Bayerische Rundfunk, Dresden Staatskapelle, Munich Philharmonic, Filarmonica della Scala, Chicago Symphony, New York Philharmonic, and Boston Symphony orchestras. He has close relationships with the Vienna State Opera and with La Scala. In Vienna he has conducted several new productions (Simon Boccanegra in 2002, Moses und Aaron and Otello in 2006, Boris Godunov in 2007). At La Scala he has conducted Lohengrin in 2007, Wozzeck in 2008 and Don Carlo, with which he inaugurated the season in December 2008. Mr. Gatti begins the 2009 - 2010 season on tour in Japan with La Scala conducting Don Carlo. Later in the season at la Scala he conducts Alban Berg’s Lulu and repeats this production at the Vienna Festwochen in June 2010. A new production of Macbeth marks his return with the Vienna State Opera in December 2009. Strauss’ Elektra is his first assignment as Chef Dirigent of the Zurich Opera in January 2010 and he also conducts a new production of this opera at the 2010 Salzburg Festival. During the summer of 2010 he returns to the Bayreuth Festival for performances of Parsifal, with which he opened the 2008 Festival. In October 2009 he conducts Aida at the Metropolitan Opera, where he made his debut conducting a new production of Madama Butterfly in 1994. Mr. Gatti opens the Festwochen in Vienna with concerts with the Vienna Philharmonic in May 2010 and tours with the orchestra in Europe. He conducts the Concertgebouw in Amsterdam and on tour and conducts the Philadelphia Orchestra and the Filarmonica della Scala. Throughout the season he has numerous concerts with the Orchestra National de France both in Paris and on tour and he also leads them in a production of Falstaff at the Theatre des Champs Elysses. Daniele Gatti has made several recordings for BMG/RCA Red Seal including the music of Rossini, Mahler, Prokofiev, Bartók and Respighi. He has recorded Tchaikovsky’s Fourth, Fifth and Sixth Symphonies for Harmonia Mundi. Royal Concertgebouw Orchestra Soon after its establishment in 1888, the Concertgebouw Orchestra developed into one of the best orchestras in Europe. “Really magnificent, full of youthful vigor and enthusiasm” as Richard Strauss described it in 1897. The Orchestra was granted Royal status in 1988. It has made more than a 1100 LPs, CDs and DVDs and is regarded worldwide as one of the most prestigious symphony orchestras. The fact that it has been led by only a limited number of chief conductors has played a decisive role in this development. The RCO is a symphony orchestra of international renown, whose character has been shaped by several generations of musicians, longstanding collaboration with each of the six chief conductors and the unique acoustic properties of the Concertgebouw’s main hall. The musicians: a unique culture The Orchestra has gained its unique international position with its ‘velvet’ strings, ‘golden’ brass and the exceptional and personal timbre of the woodwinds. The musicians are the guardians of the playing culture that gives the Orchestra its unique sound and flexibility. The Royal Concertgebouw Orchestra consists of 120 virtuosos who perform together at the highest level. Collaboration with composers During the fifty years of Willem Mengelberg’s reign, a wide variety of composers such as Richard Strauss, Gustav Mahler, Claude Debussy and Igor Stravinsky conducted the Concertgebouw Orchestra several times. Celebrities such as Béla Bartók, Sergey Rachmaninoff and Sergey Prokofiev performed their own works as soloists. This crucial bond with contemporary composers was continued with Bruno Maderna, Witold Lutoslawski, Peter Schat, Otto Ketting, Luciano Berio, Hans Werner Henze, Pierre Boulez, and John Adams, and is still RCO policy. Mahler and Bruckner The Orchestra has gained international acclaim with its interpretations of the late romantic repertoire. The Mahler tradition, embedded in the many performances Mahler conducted here personally, achieved great heights during the Mahler Festivals in 1920 and 1995. Bernard Haitink made a huge impression with his complete recording of the Mahler symphonies and with the Christmas matinees. Bruckner, too, is a vital part of the Orchestra’s repertoire. After the war, it was Eduard van Beinum in particular who drew attention to French music and the Bruckner symphonies. With his interpretations in the concert hall and on CD recordings, Riccardo Chailly made a major contribution to contemporary music and opera. His Mahler interpretations also enjoyed wide popular and critical acclaim. With the arrival of Mariss Jansons in 2004 a new phase has started, with continued interest in composers such as Mahler, Bruckner and Richard Strauss as well as major twentieth-century composers such as Shostakovich and Messiaen. In Mariss Jansons’ first seasons as chief conductor, he has conducted a broad repertoire ranging from Haydn and Mozart to contemporary Dutch compositions and a commissioned work by Henze. The guest conductors The Concertgebouw Orchestra has worked with many world-famous guest conductors, each of whom made a unique contribution to the development of the Orchestra’s sound and the repertoire, including Arthur Nikisch, Karl Muck, Bruno Walter, Otto Klemperer, Rafael Kubelik, Pierre Monteux, Eugen Jochum, Karl Böhm, Herbert von Karajan, Georg Solti, George Szell, Carlos Kleiber, Leonard Bernstein, Colin Davis, Kurt Sanderling, Kirill Kondrashin, Carlo Maria Giulini, Kurt Masur, Lorin Maazel, Zubin Mehta and honorary guest conductor Nikolaus Harnoncourt. The Concertgebouw The Concertgebouw is world-famous for its magnificent acoustics. It was designed by the architect A.L. van Gendt and officially inaugurated on 11 April 1888. It was renovated during the 1980’s when a new wing was added. For over a century it has been the centre of classical music in the Netherlands. Royal Concertgebouw Orchestra - Members as per 1 November 2009 Richard Wagner (1813 – 1870) Siegfried Idyll – (1870) The Siegfried Idyll, one of Richard Wagner's few non-operatic works, is a symphonic poem for chamber orchestra that lasts approximately twenty minutes. On June 7th 1869, early in the morning, Wagner learnt of the birth of his son. At the time he was more than 50 years old. After a series of long affairs he got married to Cosima, F.Liszt’s daughter. The couple named the child Siegfried, after the character in ‘The ring of Nibelungen’, a cycle of four epic music dramas of the composer. About a year and a half later, Wagner composed a Chamber Orchestra piece that,along wıth a poem, he to his wife Cosima as a Christmas and birthday present. Its original title was Triebschen Idyll with Fidi's birdsong and the orange sunrise. "Fidi" was the pet version of the name Siegfried. It is thought that the birdsong and the sunrise refer to incidents of personal significance to the couple. It was first performed on the morning of Christmas Eve (Cosima's birthday) in 1870 by a small ensemble on the stairs of their villa at Tribschen (today part of Lucerne ) in the Canton of Lucerne, Switzerland; Cosima awoke to its opening melody. Wagner adapted melodic material for the Idyll from an unfinished chamber piece and later incorporated it into the love scene between Siegfried and Brunhilde in the opera. Wagner's opera Siegfried, which was not premiered until 1876, incorporates music from the Idyll. The work also uses a German lullaby, whose title can be translated "Sleep, Baby, Sleep." Wagner published a detailed program for the work which describes his mother singing the boy a lullaby and contemplating what he would become as a young man. The Idyll draws on several motifs from the Ring cycle, though it is not part of the Ring. Since the piece was of personal significance to the Wagner family, it was not performed for many years. However in 1877 the family started having some financial problems. The composer needed to pay his debt to his publisher Schott and therefore he gave this Chamber work changing its name to Siegfried Idyll. The character of the piece can best be described as delicate and unusual. The piece is often performed and recorded. It was transcribed for solo piano by the famous Canadian Pianist Glenn Gould. Gustav Mahler (1860 – 1911) Symphony No. 5, C # minor Trauermarsch (Funeral March) (C-sharp minor) Stürmisch bewegt, mit größter Vehemenz (Moving stormily, with the greatest vehemence) (A minor) Scherzo (D major) Adagietto (F major) Rondo-Finale (D major) The Symphony No. 5 was written in 1901 and 1902 mostly during the summer months. It was first performed in Koln, on October 18th 1904 conducted by the composer himself. Until the year 1909 Mahler had done some changes in the score. The 5th symphonyis the first of the trilogy of his middle period. There is no program music in these three symphonies. Symphonies five, six and seven all belong to this period and have much in common, and are also markedly different from the first four, which all have strong links to vocal music. For example, symphonies two, three and four all include singers, whereas none of the middle three symphonies have them. The middle symphonies are purely orchestral works. Counterpoint also becomes a more important element in Mahler’s music from the fifth symphony onwards. Nostalgia begins to creep into the music during Mahler’s middle period. The first four symphonies were written during the composer’s twenties and thirties. The middle three were written by a man in his forties while the last works were written in the shadow of some terrible personal tragedies that struck Mahler in 1907. His fifth and seventh symphonies show many similarities in style. They are both in five movements. The characteristics symbolize the transition from the darkness to light. They both start with a slow funeral movement and end with a glorious rondo. Also the composer used the progressive tonality technique in both of these symphonies. Both symphonies are symmetrical instructure. The first two movements constitute Part I of the symphony (as designated by Mahler in the score), the long Scherzo constitutes Part II, and the last two movements constitute Part III. The piece starts with a funeral march and has two trios in between. The first movement opens up with a fanfare in the key of a flat major and yearning and hope characterize the melody. The movement feels like an introduction to the symphony. The second movement is in the key of a minor and the listeners can hear some of the themes of the funeral march in a livelier speed. The continuous tension fades away with all the wind instruments’ choral finale and prepares us for he third movement. This movement is a big Scherzo in the key of D Major. It is the longest movement in the symphony and resembles the Viennese Waltzes. The well known Adagietto in the last movement is an adaptation of one of the Rückert Songs leh bin der Welt abhanden which were written in 1901. One of the Wunderhorn songs Lob des hohen Vers-tander is introduced by and followed by the bassoons and oboe, flute, french horn and clarinet. After the fugue like section the movement ends with in a glorious and joyful atmosphere. It also includes a special irony and self criticism that belongs to the composer itself. Mahler wrote his fifth symphony during the summers of 1901 and 1902. This was a time of great change for the composer. On the positive side he moved into his own lakeside villa in the southern Austrian province of Carinthia in June 1901. Mahler himself was delighted with his new-found status as the owner of a grand villa. According to friends, he could hardly believe how far he had come from his humble beginnings. He had one of the best jobs in the musical world as Director of the Vienna Court Opera and was the principal conductor of the Vienna Philharmonic, one of the world’s great orchestras. His own music was also starting to be successful. But he had not yet found the love of his life. This last missing element in his life fell into place later in 1901 when he met Alma Schindler. By the time he was back at his summer villa in summer 1902, they were married and she was expecting their first child.