Ravinia 2024 Issue 3

claiming that it was “unviolinistic”—a situation far too reminiscent of the Piano Concerto No. 1 debacle with Nikolay Rubinstein. Another vio- linist, Adolf Brodsky, played the premiere. The Violin Concerto in D major, op. 35, displays an uncommon Classical balance in its first few measures. Orchestral tension builds, the vio- lin enters, and, after a pause, the full-blooded Romantic first theme is proclaimed. The solo violin introduces a deeply felt second theme. Following the development, there is a sparkling cadenza and a restatement of the main themes. Inspiration for the Canzonetta probably came from Tchaikovsky’s recent trip to Italy. The woodwind opening is succeeded by an embel- lished Italianate violin melody. A second idea weaves a continuous line. The initial violin and wind themes return in reverse order. Without pause, the wildly exuberant finale follows. An infectious folk-like spontaneity characterizes the violin refrain. Rustic drones accompany a sensuous second theme. The refrain, never far in the background, finally propels the concerto to its conclusion. 1812 Festival Overture, op. 49 Scored for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, two cornets, two tenor and one bass trombones, tuba, timpani, triangle, tambourine, snare drum, bass drum, cymbals, cannons, chimes (bells), and strings (an optional military band also is suggested) “The overture will be very loud, noisy, but I wrote it without any warm feelings of love, so it will probably be of no artistic worth.” Un- questionably, Tchaikovsky produced an over- ture with “very loud, noisy” portions, but the rest of his assessment missed wide of the mark. The 1812 Festival Overture ranks as perhaps Tchaikovsky’s most popular composition for its sentimental, as well as artistic, worth. Josef Kotek and Tchaikovsky Nikolai Rubinstein requested a new work from Tchaikovsky for an upcoming Exhibition of Arts and Crafts in Moscow. This 1882 exhibition co- incided with the scheduled dedication of the new Cathedral of the Redeemer and a 70th-an- niversary commemoration of the Russian resis- tance to Napoleon’s assault. Tchaikovsky’s “festi- val overture” was given a grand, open-air first performance (such as this evening’s). A massive assemblage of instruments filled the cathedral square with sound—a military band, an enor- mous orchestra, a company of artillery, and pealing bells from the church towers. Tchaikovsky composed the 1812 Overture be- tween October 12 and November 19, 1880, with the Napoleonic defeat in mind. An old Russian anthem—a patriotic prayer—serves as the slow introductory theme: “Lord, save Thy people and bless Thine heritage; grant victory to our land, our sovereign and his warriors over the invad- ers, and by the power of Thy cross preserve Thy commonwealth.” The tempo increases as the conflict builds. Among the main themes is a Russian children’s folk song. French troops ad- vance to the strains of “La Marseillaise,” but the Russian anthem spurs the people to victory. –Program notes © 2024 Todd E. Sullivan The 1882 Exhibition of Arts and Crafts in Moscow CAROLYN KUAN Recognized as a conductor of extraordinary versatility, Carolyn Kuan has enjoyed successful associations with major orchestras, opera com- panies, ballet companies, and festivals world- wide. Her commitment to contemporary music has defined her approach to programming and established her as an international resource for premieres. Appointed Music Director of the Hartford Symphony Orchestra in 2011, she has signed a renewal contract through May 2027. Across North America, Kuan has been a guest conductor for such ensembles as the Baltimore, Detroit, Milwaukee, Omaha, San Francisco, Seattle, and Toronto Symphonies, Florida and Louisville Orchestras, New York City Ballet, Colorado Music Festival, and Glimmerglass Opera Festival. She led Mark Campbell’s Stone- wall with New York City Opera in June 2019 in commemoration of the 50th anniversary of the Stonewall uprising. Recent highlights have in- cluded conducting Opera Theatre of St. Louis in Stewart Wallace’s Harvey Milk and Santa Fe Op- era in Huang Ruo’s M. Butterfly , as well as debut- ing with English National Opera to lead Philip Glass’s Satyagraha . Kuan’s contemporary opera credits include collaborating with Beth Morri- son on the Ouroboros Trilogy; working with composer Scott Wheeler, she directed Naga , one of the three commissioned operas. She also con- ducted the premiere of Glass’s opera The Trial with Opera Theatre of St. Louis, Huang Ruo’s Dr. Sun Yat-sen with Santa Fe Opera, and Daniel Catan’s Florencia en el Amazonas with Washing- ton National Opera. From 2003 to 2012, Kuan was engaged with the Cabrillo Festival of Con- temporary Music, leading many performanc- es of the multimedia project “Life: A Journey Through Time” featuring music by Glass and images by National Geographic photographer Frans Lanting. Distinguished as the first woman awarded the Herbert von Karajan Conducting Fellowship and the first Taki Alsop Conducting Fellowship recipient, Kuan has previously been Associate Conductor of the Seattle Symphony and Assistant Conductor for the Baltimore Op- era Company. Carolyn Kuan is making her Ra- vinia and Chicago Symphony Orchestra debuts. RAVINIAMAGAZINE • JULY 22 – AUGUST 4, 2024 66 LANNYNAGLER(KUAN)