Smetana Litomyšl Festival • David Robertson
Programme
Bedřich Smetana
Waldstein’s Camp, Op. 14
Ludwig van Beethoven
Piano concerto No. 5 in E flat major, Op. 73 “Emperor”
Igor Stravinsky
The Rite of Spring
Performers
Seong-Jin Cho piano
David Robertson conductor
Czech Philharmonic
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Performers
Seong-Jin Cho piano
With an innate musicality and overwhelming talent, Seong-Jin Cho has established himself worldwide as one of the leading pianists of his generation and most distinctive artists on the current music scene. His thoughtful and poetic, assertive and tender, virtuosic and colourful playing can combine panache with purity and is driven by an impressive natural sense of balance.
Seong-Jin Cho was brought to the world’s attention in 2015 when he won First Prize at the Chopin International Competition in Warsaw, and his career has rapidly ascended since. In January 2016, he signed an exclusive contract with Deutsche Grammophon. An artist high in demand, Cho works with the world's most prestigious orchestras including Berliner Philharmoniker, Wiener Philharmoniker, London Symphony Orchestra, Orchestre de Paris, New York Philharmonic and The Philadelphia Orchestra. Conductors he regularly collaborates with include Myung-Whun Chung, Gustavo Dudamel, Yannick Nézet-Séguin, Andris Nelsons, Gianandrea Noseda, Sir Simon Rattle, Santtu Matias Rouvali and Esa-Pekka Salonen.
An active recitalist very much in demand, Seong-Jin Cho performs in many of the world’s most prestigious concert halls. During the coming season he is engaged to perform solo recitals at the likes of Carnegie Hall, Boston Celebrity Series, Walt Disney Hall, Alte Oper Frankfurt, Liederhalle Stuttgart, at Laeiszhalle Hamburg, Berliner Philharmonie, Musikverein Wien and he debuts in recital at the Barbican London.
Seong-Jin Cho’s recordings have garnered impressive critical acclaim worldwide. The most recent one is of Chopin’s Piano Concerto No. 2 and Scherzi with the London Symphony Orchestra and Gianandrea Noseda, having previously recorded Chopin’s Piano Concerto No. 1 as well as the Four Ballades with the same orchestra and conductor. His latest solo album titled The Wanderer was released in May 2020.
Born in 1994 in Seoul, Seong-Jin Cho started learning the piano at the age of six and gave his first public recital aged 11. In 2009, he became the youngest-ever winner of Japan’s Hamamatsu International Piano Competition. In 2011, he won Third Prize at the International Tchaikovsky Competition in Moscow at the age of 17. From 2012–2015 he studied with Michel Béroff at the Conservatoire National Supérieur de Musique de Paris. Seong-Jin Cho is now based in Berlin.
David Robertson conductor
David Robertson – conductor, artist, thinker, and American musical visionary – occupies some of the most prominent platforms on the international music scene. A highly sought-after podium figure in the worlds of opera, orchestral music, and new music, Robertson is celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator whose passionate advocacy for the art form is widely recognized. A consummate and deeply collaborative musician, Robertson is hailed for his intensely committed music making.
Building upon his dynamic association with The Metropolitan Opera, Robertson conducts the Met’s 2019/2020 season opening production of The Gershwins’ Porgy and Bess, directed by James Robinson, and featuring Eric Owens and Angel Blue. On the podium for all fourteen performances of the opera, through early February 2020, David Robertson also returns to the Sydney Symphony Orchestra to complete his 2019 valedictory season as Chief Conductor and Artistic Director with American and French music of the 20th and 21st centuries. Robertson will continue to conduct the Sydney Symphony Orchestra in future seasons as the city undertakes a major renovation of its beloved Sydney Opera House.
In Fall 2019, David Robertson joins the newly formed Tianjin Juilliard Advisory Council, an international body created to guide the young Chinese campus of the Juilliard School, complementing his role as Director of Conducting Studies, Distinguished Visiting Faculty. In the 2019/2020 season, Robertson continues his prolific collaboration with composer John Adams, conducting performances of his opera-oratorio El Niño with the Houston Symphony. In addition to numerous international musical endeavors this season, Robertson returns to the Staatskapelle Dreden and Czech Philharmonic, and conducts the Netherlands Radio Philharmonic Orchestra, the New Japan Philharmonic, and, in New York, The Juilliard Orchestra at Carnegie Hall.
In 2018, David Robertson completed his transformative 13-year tenure as Music Director of the St. Louis Symphony Orchestra, where he solidified the orchestra’s status as one of the nation’s most enduring and innovative. For the SLSO, he established fruitful relationships with a wide spectrum of artists, and garnered a 2014 Grammy Award for Best Orchestral Performance for the Nonesuch release of John Adams’ City Noir. Completing the historic Robertson-SLSO association, two final recordings were released in 2019: Wynton Marsalis’ Swing Symphony, with the Jazz at Lincoln Center Orchestra with Wynton Marsalis, on Blue Engine Records; and Mozart Piano Concertos, No. 17 in G Major, K.453 and No. 24 in C Minor, K.491, with Orli Shaham, on Canaray Classics.
In addition to Sydney and St. Louis, Robertson has served in artistic leadership positions at musical institutions including the Orchestre National de Lyon, and, as a protégé of Pierre Boulez, the Ensemble InterContemporain, which he led on its first North American tour. At the BBC Symphony Orchestra, he served as Principal Guest Conductor. Robertson has served as a Perspectives Artist at Carnegie Hall, where he has conducted, among others, The Met Orchestra, the Lucerne Festival Orchestra, and the St. Louis Symphony Orchestra. He appears regularly in Europe with the Royal Concertgebouw Orchestra, the Czech Philharmonic, the Symphonieorchester des Bayerischen Rundfunk, the Dresden Staatskapelle, and at the Berlin Festival, the Edinburgh Festival, the BBC Proms, and the Musica Viva Festival in Munich.
Robertson’s longstanding relationship with the Met Opera includes the premiere of Phelim McDermott’s celebrated Spring 2018 production of Così fan tutte, set in 1950s Coney Island. Since his Met debut in 1996, with The Makropulos Case, he has conducted a breathtaking range of Met projects, including the Met premiere of John Adams’ The Death of Klinghoffer (2014); the 2016 revival of Janáček’s Jenůfa, then its first Met performances in nearly a decade; the premiere production of Nico Muhly’s Two Boys (2013); and many favorites, from Mozart’s Le Nozze di Figaro to Britten’s Billy Budd. Robertson has frequent projects at the world’s most prestigious opera houses, including La Scala, Théâtre du Châtelet, Bayerische Staatsoper (orchestra), the San Francisco Opera, and the Santa Fe Opera.
Robertson is the recipient of numerous musical and artistic awards, and in 2010 was made a Chevalier de l’Ordre des Arts et des Lettres by the Government of France. He is devoted to supporting young musicians and has worked with students at the festivals of Aspen, Tanglewood, Lucerne, at the Paris Conservatoire, Music Academy of the West, and the National Orchestral Institute. In 2014, he led the Coast to Coast tour of Carnegie Hall’s National Youth Orchestra of the USA.
Born in Santa Monica, California, David Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. He is married to pianist Orli Shaham, and lives in New York.
Compositions
Bedřich Smetana
Valdštýnův tábor, op. 14
Ludwig van Beethoven
Piano Concerto No. 5 in E flat major, Op. 73 “Emperor”
Wartime circumstances also influenced the other work on today’s programme. Beethoven composed his Piano Concerto in E flat major, Op. 73, his fifth and final work in the genre, in the spring of 1809 as Napoleon’s troops were marching on Vienna. By May, Austria’s imperial capital was under siege by the French army. Ludwig van Beethoven (1770‒1827) endured the ensuing bombardment in the cellar of the house of his brother Kaspar. After several months of siege and the Battle of Wagram, the Austrian army capitulated in October 1809, and an armistice was signed. Beethoven then took advantage of the opportunity to depart from Vienna, but he soon began to miss his supporters and patrons. He wanted to present new compositions to them including the Piano Concerto in E flat major, which he dedicated to Archduke Rudolf, the younger brother of Emperor Francis I. The archduke was Beethoven’s pupil and his supporter for many years.
As it turned out, the concerto had to wait two years for its premiere, in part because Beethoven’s progressing deafness left him unable to play the solo part himself. In the end, the premiere took place in Leipzig, and the soloist was Friedrich Schneider. The most important performance of the concerto for Beethoven was given before the Viennese public on 15 February 1812 at the Theater am Kärntnertor. Playing the solo part was the youthful but already well known pianist Carl Czerny, a pupil of Beethoven and one of his most faithful followers. The word “Emperor” was not originally part of the title—it was probably added by the publisher Johann Baptist Cramer, possibly because of the original dedication to a member of the royal family.
The composition is the most symphonic of all of Beethoven’s concertos, with the orchestra serving not merely as the accompaniment, but instead as a full-fledged partner. While the orchestra can exchange roles with the virtuosic piano part, it can also play a hushed accompaniment beneath piano passages or exhibit tenderness in the middle movement. Sophistication of orchestration is especially apparent in the use of the woodwinds and horns. Beethoven entrusts the soloists with a wide range of technical challenges as well as with beautiful themes that he develops with true mastery. In doing so, he employs the broader canvas available to the piano in this concerto compared with his sonatas or chamber works. This can be seen, for example, in the main theme of the concluding third movement, a grand and exuberant allegro in rondo form.
Igor Stravinsky
The Rite of Spring
In 1912, Igor Stravinsky was also 30 years old. 59 more years of life were still ahead of him, and he was at work on his most daring work to date. He was known to all of Paris, the centre of the artistic avant-garde at the time. Paris is also where the progressive Russian ballet impresario Sergei Diaghilev had been working since 1909. His ensemble’s productions of Stravinsky’s ballets The Firebird and Petrushka had been the talk of Paris, but the greatest event was yet to come. On 29 May 1913, the newly opened Théâtre des Champs-Élysées gave the premiere of his third ballet, The Rite of Spring, subtitled Picture of Pagan Russia. A riot ensued, pitting the disapproving, disgusted conservative part of the audience against enthusiastic progressives. Nothing would ever be the same again—not only the music, but also the choreography and costumes differed from anything that had come before.
“The idea of The Rite of Spring came to me while I was still composing Firebird,” recalled Igor Stravinsky 45 years after the work’s premiere in his book Conversations. “I saw in imagination a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.” In the summer of 1911 in Karlovy Vary (Carlsbad), Stravinsky signed a contract with Diaghilev for the composing of the last of his three early ballets. He worked on the composition in 1911 and 1912, and he made the final revisions in March 1913. To prepare himself to compose the music, Stravinsky joined the stage designer and scenario author Nicholas Roerich, who was also an archaeologist, on a trip to the Russian town Talashkino near Smolensk to study the rituals of Slavic tribes at a local centre for the folk arts. Rather than using specific folk themes, they were interested in archetypes—the mystical, wild, primitive, and uncivilised—that they would present in opposition to the bourgeois conventions of the day and to excessive sensitivity in the arts.
Stravinsky did not borrow any specific Russian folk songs, but The Rite of Spring is still the high point of his creative period under the influence of folklore. The only actual folk melody in The Rite of Spring is played by the bassoon at the very beginning, but the composer later said that the tune was not Russian—it supposedly came from an anthology of Lithuanian folk music that he found in Warsaw. In 1943, Stravinsky’s contemporary Béla Bartók, himself a folklore enthusiastic, called The Rite of Spring “the apotheosis of the music of rural Russia”, and about the ballet he declared: “Rhythmic cells that contract and expand can be found commonly in the music of Russia and eastern Europe.”
For Stravinsky, the character of the theme opened up incredible musical possibilities, particularly in the use of the power of elementary rhythm with the whole orchestra acting as a gigantic percussion instrument employing fierce rhythmic pulsation, polyrhythm, and the rapid alternation of metres. Later, Stravinsky recalled playing the beginning of the composition for Diaghilev for the first time at the piano. “Diaghilev asked if those repeated chords would go on much longer. And I answered ‘until the end, my dear’” Also in terms of tonality, The Rite of Spring went beyond tradition with hints of bitonality and tritonality, as Stravinsky superimposes chords separated by as little as a semitone.
Vaslav Nijinsky’s choreography was also in keeping with the totally revolutionary conception of the music. The dancers’ primitive movements were entirely contrary to the aesthetic ideals of classical ballet. In hindsight, the choreography and Nijinsky’s rather inadequate comprehension of the innovative music could be chiefly blamed for the failure of the work’s premiere. A year later, a concert performance of The Rite of Spring in Paris met with public acclaim, and the work became a definitive milestone on the path towards modern music.