MTT Conducts Bernstein and R. Strauss

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Bernstein at 100
The San Francisco Symphony’s celebration of Leonard Bernstein’s centennial continues with his brilliant The Age of Anxiety, a vivid symphonic poem about four disenchanted strangers in post-war New York who bond over their shared struggle to find meaningful relationships and restore their fractured faith in society. Experience the potency of this narrative as it is performed by the “poetic and powerful” (The Washington Post) pianist Jean-Yves Thibaudet, and showcased on his recent album release, Bernstein: Symphonies Nos. 1 & 2.

Floor seats start at $49.*

*Subject to availability.


Conductor/Performers

San Francisco Symphony

Program

R. Strauss

Ein Heldenleben

All sound clips are from San Francisco Symphony performances and are used with permission of the SFS Players Committee.

Podcasts

Bernstein's The Age of Anxiety, Symphony No. 2
 

At a Glance


The pairing of Bernstein and R. Strauss’s tone poems is an interesting one. Strauss’s Ein Heldenleben is evocative of a war hero going into battle, who ultimately retires and finds peace. It’s a striking contrast to Bernstein’s Age of Anxiety, which was written in the wake of World War II and depicts a protagonist that has lost faith in society and struggles to find meaningful relationships. On the surface, one might read this as an anti-versus pro-war work. But in reality, both composers were gun shy and both works seek love, humanity, and peace.

BERNSTEIN
The Age of Anxiety, Symphony No. 2
 1949  |  35 mins
Throughout his career, American Leonard Bernstein struggled to balance the competing demands of his multifarious gifts as composer, conductor, pianist, media personality, and all-round celebrity. British-born poet Wystan Hugh Auden’s (1907-73) Pulitzer prize-winning poem, The Age of Anxiety (1947), deals with issues that occupied Bernstein throughout his life—alienation, friendship, family, faith—and it seems likely that Bernstein was particularly attuned to its gay overtones, grappling as he was at that time with his bisexuality. PICTURE THIS: Part 1—The Prologue finds four lonely characters, a girl and three men, in a Third Avenue bar, all of them insecure and trying, though drunk, to detach themselves from their conflicts, or, at best, to resolve them. They are drawn together by this common urge and begin a kind of symposium on the state of man. Musically the Prologue features a lonely improvisation by two clarinets whose melody descends like a bridge into the realm of the unconscious, where most of the poem takes place. . . .

R. STRAUSS
Ein Heldenleben
 1898  |  46 mins
Who is the hero of Ein Heldenleben, or A Hero’s Life? Many believe it is Richard Strauss himself, who wrote, “The only way I could express works of peace was through themes of my own.” LISTEN FOR: The first section of this six-part work—swaggering, sweet, impassioned, grandiloquent, sumptuously scored—depicts The Hero in his changing aspects and moods. Then we hear drastically different music: sharp, prickly, disjunct, dissonant. The directions to the musicians say things like “snarling” (for the oboe) and “hissing” (for the cymbals). Underneath all this nastiness, the tubas make a stubborn pronouncement. This is the scene of The Hero’s Adversaries, the grudgers and the faultfinders. A single violin detaches itself from the others and here unfolds a portrait of Strauss’ wife, Pauline. The violinist is directed to be flippant, tender, a little sentimental, exuberantly playful, gracious, emotional, angry, nagging, loving in this scene called The Hero’s Companion. Next we hear love music, as lush as only Strauss could make it. Adversaries disturb the idyll and The Hero must go into battle. Trumpets summon him, introducing the immense The Hero’s Battlefield. The music quiets down for the remarkable The Hero’s Works of Peace. Here Strauss combines music from some of his earlier pieces. This episode is an orchestral miracle—richly blended, yet a constantly astonishing, shifting kaleidoscopic play of luminescent textures and colors. But the adversaries are still not silenced. The Hero rages, but his passion gives way to renunciation in The Hero’s Escape from the World and Completion. The Hero retires and the music subsides in profound serenity.

Matthew Spivey is Director of Artistic Planning and Jeanette Yu is Director of Publications at the San Francisco Symphony.

Thibaudet on Bernstein 


“A lot of people only know the lighter side of Bernstein, what they’ve seen in West Side Story. But when they hear this music . . . I think they realize he was some kind of real genius,” says award-winning pianist Jean-Yves Thibaudet.

This music, the shadowed side of the exuberant musical legend, refers to Bernstein’s provocative Symphony No. 2, The Age of Anxiety, a dramatic, soul-searching narrative based on W.H. Auden’s Pulitzer Prize-winning eponymous poem. Bernstein was riveted by the philosophical questions it posed, and praised the book as “one of the most shattering examples of pure virtuosity in the history of English poetry.” Thibaudet notes that the fascinating combination of “the poem, what’s going on with the music—and everything Michael [Tilson Thomas] has told me about Bernstein” makes the piece a thrill to perform.

Join the San Francisco Symphony in our season-long Bernstein at 100 celebration with this compelling masterwork performed by the “poetic and powerful” (The Washington Post) Thibaudet, Nov 2–3, 5.

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  1. Thu, Nov 2, 2017 at 8:00pm

    Davies Symphony Hall

  2. Fri, Nov 3, 2017 at 8:00pm

    Davies Symphony Hall

  3. Sun, Nov 5, 2017 at 2:00pm

    Davies Symphony Hall

If you would like assistance purchasing tickets for patrons with disabilities, please call the box office at 415-864-6000.

Pre- and post-show Events

MTT on Bernstein and Strauss, in a rare pre-concert appearance, MTT will give an illuminating talk on Leonard Bernstein and R. Strauss. Beginning one hour prior to the concert, this talk is free to ticketholders.

2017-18 Season: Click to explore

This concert is eligible for Compose Your Own. Click to learn more!