Chicago Philharmonic 2021-2022

THE CHICAGO PHILHARMONIC SOCIETY | 2021-2022 SEASON 11 Chicago Philharmonic 2021 2022 SEASON Simply Serenades Sunday, November 21, 3:00pm North Shore Center for the Performing Arts Scott Speck conductor JOHANNES BRAHMS Serenade No. 2 in A Major, Op. 16 (1859) I. Allegro moderato II. Scherzo. Vivace III. Adagio non troppo IV. Quasi menuetto V. Rondo. Allegro Intermission JONATHAN BINGHAM WORLD PREMIERE (2021) ANTONIN DVORAK Serenade for Wind Instruments. Op. 44 (1878) I. Moderato quasi Marcia II. Menuetto. Tempo di Minuetto III. Andante con moto IV. Finale. Allegro molto Performance time is approximately 2 hours JOHANNES BRAHMS (1833-1897) Serenade No. 2 in A Major, Op. 16 (1859) ANTONÍN DVOŘÁK (1841-1904) Serenade for Winds, Op. 44 (1878) Johannes Brahms seems to occupy the mind as an eternally grandfatherly gure, both wise and serious. His four symphonies hold an important place in the canon of German classical music, and his ever- owing melodies paved the way for later Romantics Mahler and Strauss. But in 1858, Brahms was still relatively young, beardless, slim, and delaying his symphonic debut as long as he dared. In his second serenade, Brahms seems determined to prove that the work is not a symphonic piece, and thus avoid the scrutiny that would accompany such a piece. is is a young Brahms dipping his toe in the water. It is written for pairs of wind instruments and violas, cellos, and basses, instead of a full string section. ere are ve movements instead of the standard three or four for a concerto or symphony. In many ways, it mirrors serenades by Mozart and Haydn, with wind instruments carrying many of the melodies. And yet, the second serenade brings a lightheartedness, a singular moment of innocence in Brahms’ grand, serious repertoire. e Adagio , sandwiched between two scherzos , is particularly lovely. Clara Schumann, perhaps Brahms’ dearest and most loyal friend, is said to have loved the movement and played it for herself at the piano time and time again. In his later years, Brahms wasn’t known for being an encouraging or easy-going mentor. In fact, his merciless critique of young composer Hans Rott triggered a mental breakdown from the poor man. ere were just a handful of composers Brahms deemed worthy of his praise and close mentorship, and Dvořák was one of those lucky few. In 1874, Brahms sat on the jury of the Austrian State Stipendium, which awarded cash prizes to talented composers in nancial need. Dvořák submitted a massive application (15 works including symphonies, overtures, and more) and the Stipendium noted that the composer was “Anton DWORAK of Prague, 33 years old, music teacher, completely without means”. Brahms was overwhelmed with the quality of Dvořák’s work, awarded him the prize, and took care to nurture his career from that point on. Four years later, Dvořák wrote his second serenade in just two weeks. He was possibly inspired by a recent concert of Mozart’s Gran Partita, or his idol and mentor Brahms’ Serenade No. 2 (as it shares similar instrumentation). As in his other pieces, Dvořák honors his Czech background with folk music mannerisms and a witty approach to melody and orchestration. Brahms adored the piece and sent it to his friend, violin virtuoso Joseph Joachim, saying, “It would be di cult to discover a ner, more refreshing impression of really abundant and charming creative talent. Have it played to you; I feel sure the players will enjoy doing it!”