{"id":8157,"date":"2022-03-03T14:40:42","date_gmt":"2022-03-03T20:40:42","guid":{"rendered":"https:\/\/www.dallassymphony.org\/?post_type=dso_prod_season&#038;p=8157"},"modified":"2022-09-29T10:49:27","modified_gmt":"2022-09-29T15:49:27","slug":"symphonic-dances","status":"publish","type":"dso_prod_season","link":"https:\/\/www.dallassymphony.org\/es\/productions\/symphonic-dances\/","title":{"rendered":"Danzas sinf\u00f3nicas"},"content":{"rendered":"\n\n\n\n\n<div class=\"richtext m-spacer\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-10\">\n\t\t\t\t\n\n<p><strong>ST\u00c9PHANE DEN\u00c8VE<\/strong> conducts<br><strong>JEANINE DE BIQUE<\/strong> soprano<\/p>\n\n\n\n<p><strong>CONNESSON<\/strong> \u201cCelephais\u201d from <em>Cities of Lovecraft<\/em><br><strong>BARBER<\/strong> <em>Knoxville: Summer of 1915<\/em><br><strong>RACHMANINOFF<\/strong> Symphonic Dances<\/p>\n\n\n\n<p>America from three distinct viewpoints is on display in this stirring concert. The fantasy world of horror writer H.P. Lovecraft inspired Connesson\u2019s \u201cCelephais.\u201d James Agee\u2019s poem depicting a summer evening in a sleepy southern town personally resonated with Barber \u2014 the combination of Agee\u2019s words and Barber\u2019s music is pure magic. Rachmaninoff blends his love of his new American home with nostalgia for his native Russia in his Symphonic Dances.<\/p>\n\n\n\n<p>The three pieces come together to emulate America&#8217;s melting pot origins, with lush and energetic works starting off the program and leading to Rachmaninoff&#8217;s last major composition, the Symphonic Dances. Traverse the breadth and depth of each experience in this deeply moving program.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-1024x166.png\" alt=\"\" class=\"wp-image-5688\" width=\"256\" height=\"42\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-1024x166.png 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-300x48.png 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-768x124.png 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-16x3.png 16w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_.png 1528w\" sizes=\"auto, (max-width: 256px) 100vw, 256px\" \/><\/figure>\n\n\n<div class=\"container\">\n    <div class=\"row\">\n        <div class=\"col-10\">\n            <div class=\"share d-flex align-items-center\">\n                <p class=\"mb-0 serif__light-16\">SHARE<\/p><div data-network=\"facebook\" class=\"st-custom-button facebook\" data-title=&quot;Symphonic Dances&quot;  data-description=&quot;America from three distinct viewpoints is on display in this stirring concert. The fantasy world of horror writer H.P. Lovecraft inspired Connesson\u2019s \u201cCelephais.\u201d James Agee\u2019s poem depicting a summer evening in a sleepy southern town personally resonated with Barber \u2014 the combination of Agee\u2019s words and Barber\u2019s music is pure magic. Rachmaninoff blends his love of his new American home with nostalgia for his native Russia in his Symphonic Dances.&quot;  data-message=&quot;America from three distinct viewpoints is on display in this stirring concert. The fantasy world of horror writer H.P. Lovecraft inspired Connesson\u2019s \u201cCelephais.\u201d James Agee\u2019s poem depicting a summer evening in a sleepy southern town personally resonated with Barber \u2014 the combination of Agee\u2019s words and Barber\u2019s music is pure magic. Rachmaninoff blends his love of his new American home with nostalgia for his native Russia in his Symphonic Dances.\r\n\r\nhttps:\/\/www.dallassymphony.org\/es\/productions\/symphonic-dances\/&quot; >Facebook<span class=\"count\"><\/span><\/div>            <\/div>\n        <\/div>\n    <\/div>\n\n<\/div>\n\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n<\/div>\n\n\n<div class=\"edp-musician-grid m-spacer grad-to-right\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-12\">\n\t\t\t\t<h1><\/h1>\n\t\t\t\t<h2><\/h2>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"St\u00e9phane Den\u00e8ve, conductor\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Stephane-Deneve.jpg 1200w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>St\u00e9phane Den\u00e8ve<\/h4>\n\n\t\t\t<p>Conductor<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/stephane-deneve\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div><div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"Jeanine De Bique\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Jeanine-De-Bique-1200x1200-1.jpg 1200w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Jeanine De Bique<\/h4>\n\n\t\t\t<p>Soprano<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/jeanine-de-bique\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div>\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<div class=\"dso__accordion m-spacer\">\n    <div class=\"container\">\n        <div class=\"row\">\n            <div class=\"col-lg-12\">\n                <div class=\"accordion__intro-wrapper\">\n                    <h1>Program Notes<\/h1>\n                    <p>by Ren\u00e9 Spencer Saller<\/p>\n                <\/div>\n            <\/div>\n        <\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-md-10 offset-md-1\">\n\t\t\t\t<div class=\"accordion\" id=\"accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t\t\t\t<div class=\"card\">\n\t<button id=\"heading50c7f2c5b93c64807ba81025f97cb00e\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse50c7f2c5b93c64807ba81025f97cb00e\" aria-expanded=\"false\" aria-controls=\"collapse50c7f2c5b93c64807ba81025f97cb00e\">\n\t\tGuillaume Connesson (b. 1970): &#8220;Celepha\u00efs&#8221; from Cit\u00e9s de Lovecraft\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapse50c7f2c5b93c64807ba81025f97cb00e\" class=\"collapse\" aria-labelledby=\"heading50c7f2c5b93c64807ba81025f97cb00e\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>Guillaume Connesson&#8217;s wild and weird catalog covers all the major genres: works<br \/>\nfor orchestra, chamber ensembles, solo instruments, voice (solo, choral, operatic)<br \/>\nand film. His scores draw from what he calls &#8220;the complex mosaic of the<br \/>\ncontemporary world,&#8221; piecing together a harmonic collage from shards of<br \/>\nBeethoven, Messiaen, James Brown; Ravel and Reich; John Coltrane and John<br \/>\nWilliams.<\/p>\n<p>A master colorist, Connesson studied at the Conservatoire National de R\u00e9gion de<br \/>\nBoulogne-Billancourt and the Paris Conservatoire, winning first prizes in choral<br \/>\ndirection, music history, analysis, electro-acoustic composition and<br \/>\norchestration. After finishing his formal studies, he continued to collect awards and<br \/>\nhonors, both in his native France and internationally, including the coveted Nadia<br \/>\nand Lili Boulanger Prize in 1999.<\/p>\n<p>In 2017 Connesson completed his hallucinatory symphonic suite <em>Cit\u00e9s de Lovecraft<\/em><br \/>\n(Cities of Lovecraft), a tripartite tone poem inspired by Howard Phillips (H.P.)<br \/>\nLovecraft&#8217;s <em>Dream Cycle<\/em>. In <em>Dream Cycle<\/em>, the weird fiction icon lovingly delineated<br \/>\nhis dreamscapes, a consciousness-recovery project involving hashish, the<br \/>\nsubconscious, and the Romantic obsession with regaining the child&#8217;s perception,<br \/>\nthat fresh, unmediated infusion of the sublime, flooding the senses.<\/p>\n<p>Lovecraft described this project in &#8220;Celephais,&#8221; the <em>Dream Cycle<\/em> story that serves as<br \/>\nthe title of Connesson&#8217;s first movement: &#8220;There are not many persons who know<br \/>\nwhat wonders are opened to them in the stories and visions of their youth; for when<br \/>\nas children we listen and dream, we think but half-formed thoughts, and when as<br \/>\nmen we try to remember, we are dulled and prosaic with the poison of life.&#8221;<br \/>\nWhen &#8220;Celephais&#8221; ends, the dreamer, rechristened Kuranes, presides benignly over<br \/>\nhis minaret-studded dream-dominion, worshiped as a god.<\/p>\n<p>Connesson wrote <em>Cit\u00e9s de Lovecraft<\/em> to fulfill a 2016 commission from the<br \/>\nNetherland Philharmonic, which performed the world premiere. The first recording<br \/>\nof the work was released by Deutsche Grammophon, as part of the two-disc <em>Lost<\/em><br \/>\n<em>Horizon<\/em> album, with St\u00e9phane Den\u00e8ve conducting the Brussels Philharmonic; <em>Lost<\/em><br \/>\n<em>Horizon<\/em> also featured Connesson&#8217;s Violin Concerto (<em>Les Horizons Perdus<\/em>). In 2019<br \/>\nthe latter work earned the composer his second Victoire de la Musique Composer of<br \/>\nthe Year Award.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\n<em>Celepha\u00efs<\/em> is both the first movement of <em>Cit\u00e9s<\/em> and a fleet, shape-shifting tone poem in<br \/>\nits own right, boasting Technicolor tone-painting and Lovecraftian labels like &#8220;The<br \/>\nRose-Crystal Palace of the Seventy Delights.&#8221; Throughout its richly imagined nine-<br \/>\nor-so minutes, it revels in Neoclassical contrasts and free-jazz interrogations,<br \/>\npivoting from sweet to sour, tonal to dissonant, tragic to triumphal. Hectic<br \/>\nStravinskyan riffs resolve into lurid fanfares; rants beget tender rhapsodies. The<br \/>\nmovement ends as it began, in an ecstatic tizzy.<\/p>\n<p><strong>An Excerpt from Lovecraft&#8217;s &#8220;Celepha\u00efs &#8220;:<\/strong><br \/>\n&#8220;Kuranes [the dreamer] was now very anxious to return to minaret-studded<br \/>\nCelepha\u00efs, and increased his doses of drugs; but eventually he had no more money<br \/>\nleft, and could buy no drugs. Then one summer day he was turned out of his garret,<br \/>\nand wandered aimlessly through the streets, drifting over a bridge to a place where<br \/>\nthe houses grew thinner and thinner. And it was there that fulfillment came, and he<br \/>\nmet the cort\u00e8ge of knights come from Celepha\u00efs to bear him thither forever.<br \/>\n[&#8230;]<\/p>\n<p>&#8221; [A]nd then the luminous vapours spread apart to reveal a greater brightness, the<br \/>\nbrightness of the city Celepha\u00efs, and the sea-coast beyond, and the snowy peak<br \/>\noverlooking the sea, and the gaily painted galleys that sail out of the harbour toward<br \/>\ndistant regions where the sea meets the sky.\u201d\u2014<strong>H.P. Lovecraft<\/strong><\/p>\n<p><strong>The Composer Speaks<\/strong><br \/>\n&#8220;This piece was born out of my fascination with the American writer Howard<br \/>\nPhillips Lovecraft. When the Netherland Philharmonic Orchestra asked me for a<br \/>\npiece, I wanted to write a grand symphonic poem about [him]. I already did this<br \/>\nwhen I was an adolescent\u2014my very first orchestral piece was actually about<br \/>\n[Lovecraft], but I&#8217;d more or less put it aside for the past 20 years. Then I<br \/>\nrediscovered it and told myself that this was the moment to return to this universe.<br \/>\nWhat interested me was to create a grand fresco, with lots of color, somewhat<br \/>\nbaroque, very explosive\u2014and all this was present in Lovecraft. So I found the<br \/>\nimages there that would feed my orchestral imagination.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"headingb7705da359071740b62ee3913548d461\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapseb7705da359071740b62ee3913548d461\" aria-expanded=\"false\" aria-controls=\"collapseb7705da359071740b62ee3913548d461\">\n\t\tSamuel Barber (1910\u20131981) Knoxville: Summer of 1915\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapseb7705da359071740b62ee3913548d461\" class=\"collapse\" aria-labelledby=\"headingb7705da359071740b62ee3913548d461\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>Born in West Chester, Pennsylvania, to educated and affluent parents, Samuel<br \/>\nBarber seemed destined for a life in music. His aunt, the distinguished contralto<br \/>\nLouise Homer, and her husband, the composer Sidney Homer, were essential early<br \/>\nmentors. He started playing piano at age six; a year later he wrote <em>Sadness<\/em> for solo<br \/>\npiano. At nine he began his first opera and informed his mother, by letter, that &#8220;I was<br \/>\nnot meant to be an athlet [sic]. I was meant to be a composer, and will be I&#8217;m sure.&#8221;<\/p>\n<p>Before Barber had even entered his teens, he was serving as organist at a local<br \/>\nchurch. In 1924, at age 14, he enrolled in the newly opened Curtis Institute in<br \/>\nPhiladelphia, where he would study piano, voice, composition, and conducting.<br \/>\nCurtis also brought him the love of his life, fellow student and composer Gian-Carlo<br \/>\nMenotti, who would become an essential collaborator. Barber was only 26 when he<br \/>\nwrote <em>Adagio for Strings<\/em>\u2014by some accounts the most frequently performed piece of<br \/>\nAmerican concert music from the 20th century. He was twice awarded the Pulitzer<br \/>\nPrize in Music: in 1958 for his opera <em>Vanessa<\/em>, and in 1963 for his Concerto for Piano<br \/>\nand Orchestra.<\/p>\n<p><strong>Knoxville Idyll<\/strong><br \/>\nBarber completed <em>Knoxville: Summer of 1915<\/em> in 1947. It was a commission from the<br \/>\nAmerican soprano Eleanor Steber, who sang it at the world premiere, on April 9,<br \/>\n1948, with the Boston Symphony Orchestra led by Serge Koussevitzky. Early<br \/>\nreviews were somewhat disappointing, although the piece swiftly insinuated itself<br \/>\ninto the core repertoire, thanks in part to transcendent readings by the likes of<br \/>\nLeontyne Price, Ren\u00e9e Fleming, Dawn Upshaw\u2014and Jeanine de Bique.<\/p>\n<p>Barber chose the text himself, for nostalgic reasons. \u201cI had always admired Mr.<br \/>\n[James] Agee\u2019s writing,&#8221; he wrote, &#8220;and this prose-poem particularly struck me<br \/>\nbecause the summer evening he describes in his native southern town reminded me<br \/>\nso much of similar evenings, when I was a child at home.\u201d<\/p>\n<p>Although Agee wrote the words from the perspective of a boy\u2014who, like Agee, was<br \/>\nborn and reared in Knoxville, Tennessee, surrounded by a supportive and creative<br \/>\nfamily\u2014Barber&#8217;s setting is usually performed by a soprano, only rarely by a tenor.<br \/>\n(Tenor Russell Thomas sings a swoon-worthy recital version, in piano reduction,<br \/>\nwhich you are urged to seek out online.) Agee&#8217;s openly autobiographical text started<br \/>\nout as a prose-poem, published in a literary journal in 1938. After his death in 1955,<br \/>\nthe prose-poem was posthumously recycled as the preamble to <em>A Death in the<\/em><br \/>\n<em>Family<\/em>, which won the Pulitzer Prize three years later.<\/p>\n<p>The year 1915 was especially significant for Agee because it was his last summer<br \/>\nwith his father, who died after a sudden heart attack in 1916. Barber&#8217;s own father,<br \/>\nRoy Barber, died in 1947, as did his beloved Aunt Louise. That same year Barber<br \/>\ncomposed his setting of <em>Knoxville: Summer of 1915<\/em>, which he dedicated to his<br \/>\nfather&#8217;s memory.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nLeontyne Price&#8217;s oft-quoted remark that &#8220;you can smell the South in it&#8221; might be the<br \/>\npithiest description of <em>Knoxville: Summer of 1915<\/em>. Barber identified its one-<br \/>\nmovement form as &#8220;lyric rhapsody.&#8221; He noted that Agee&#8217;s prose-poem &#8220;expresses a<br \/>\nchild&#8217;s feeling of loneliness, wonder and lack of identity in that marginal world<br \/>\nbetween twilight and sleep.&#8221;<\/p>\n<p>The music, kissed by jazz and blues, seems to assemble itself, almost<br \/>\nimprovisationally, from a woodwind-sung motif that burbles up like birdsong on a<br \/>\nsummer evening. Despite sporadic honks and other urban racket, the mood of the<br \/>\nmusic is spellbound and sylvan, a midsummer night&#8217;s meditation. The rhythms are<br \/>\neasy, conversational: free verse slipping into stream-of-consciousness. When the<br \/>\nchild succumbs to sleep, we trust that it will foster only pure and restorative visions.<br \/>\nThe &#8220;lyric rhapsody&#8221; becomes a kind of benediction, as the child expresses his<br \/>\ngratitude and prays for his beloved family, then drifts off to sleep, suspended in<br \/>\npossibility.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"headingfe8b032470f026d0bfebc4451dce568f\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapsefe8b032470f026d0bfebc4451dce568f\" aria-expanded=\"false\" aria-controls=\"collapsefe8b032470f026d0bfebc4451dce568f\">\n\t\tSergei Rachmaninoff (1873\u20131943): Symphonic Dances\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapsefe8b032470f026d0bfebc4451dce568f\" class=\"collapse\" aria-labelledby=\"headingfe8b032470f026d0bfebc4451dce568f\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>Discouraged by the lackluster response to his Fourth Piano Concerto and his Third<br \/>\nSymphony, Sergei Rachmaninoff wrote nothing at all from 1937\u201339. He fretted<br \/>\nabout his sickly daughter, complained about his grueling travel schedule as a<br \/>\nconcert pianist, and struggled to balance the responsibilities of career and family.<br \/>\nBut in the summer of 1940, at a rented estate in Long Island, the 67-year-old<br \/>\nvirtuoso began to write what would become <em>Symphonic Dances<\/em>, his last completed<br \/>\nwork. Now that he finally had space and leisure to focus on composing and<br \/>\nrehearsing, he did little else from 9:00 in the morning until 11:00 at night.<\/p>\n<p>On August 21, he wrote Eugene Ormandy, the conductor of the Philadelphia<br \/>\nOrchestra and the eventual dedicatee: \u201cLast week I finished a new symphonic piece,<br \/>\nwhich I naturally want to give first to you and your orchestra&#8230;. Unfortunately, my<br \/>\nconcert tour begins on October 14. I have a great deal of practice to do, and I don\u2019t<br \/>\nknow whether I shall be able to finish the orchestration before November. I should<br \/>\nbe very glad if, upon your return, you would drop over to our place. I should like to<br \/>\nplay the piece for you.\u201d<\/p>\n<p>Despite his claim, the piece was unfinished. Even during his grueling concert tour,<br \/>\nRachmaninoff continued to work on <em>Symphonic Dances<\/em>, orchestrating the third<br \/>\nmovement and correcting proofs of the score at nearly every hotel stop. Rehearsals<br \/>\nwent fairly smoothly, and Ormandy conducted the premiere on January 3, 1941.<br \/>\nAudiences were enthusiastic; critics were underwhelmed. The composer displayed<br \/>\nhis usual dry, self-deprecating wit. As he ruefully noted in a newspaper interview, &#8220;It<br \/>\nshould have been called just <em>Dances<\/em>, but I was afraid people would think I had<br \/>\nwritten dance music for jazz orchestra.&#8221;<\/p>\n<p><strong>Contested in Death<\/strong><br \/>\nIn 1942 Rachmaninoff revised his Fourth Concerto but wrote no new music.<br \/>\nAlthough he had been in touch with the influential choreographer Michel Fokine<br \/>\nabout creating a ballet from the <em>Dances<\/em>, Fokine died that August. Then in February<br \/>\n1943, after a recital in Knoxville, Tennessee, Rachmaninoff became gravely ill from<br \/>\nsymptoms caused by his newly diagnosed, long-untreated melanoma. On March 28,<br \/>\nwhen he was just a few days shy of 70, the newly minted American citizen died at<br \/>\nhis home in Beverly Hills.<\/p>\n<p>Although he had once expressed a wish to be interred in the same Moscow cemetery<br \/>\nwhere Scriabin and Chekhov were buried, Rachmaninoff&#8217;s remains ended up in<br \/>\nValhalla, New York. According to his descendants, that was his stated final wish.<br \/>\nSince at least 2015, representatives from the composer&#8217;s family have successfully<br \/>\nfought a claim by the Russian government to repatriate Rachmaninoff&#8217;s remains, on<br \/>\nthe grounds that his grave has been both neglected and &#8220;shamelessly privatized&#8221; in<br \/>\nhis adopted country. &#8220;We are not planning to go against his will, so his remains will<br \/>\nstay where they were buried,&#8221; his great-great-granddaughter, Susan Sophia-<br \/>\nVolkonskaya-Wanamaker, stated to the BBC in 2015.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nRachmaninoff\u2019s final score is an intensely autobiographical work, a summary of his<br \/>\nachievements\u2014a valediction, if not a map of his psyche. The music is richly allusive<br \/>\nand intertextual: the poignant emergence of a theme from his First Symphony, that<br \/>\ncrushing disappointment, at the end of the first movement; quotations in the third<br \/>\nmovement from both the Gregorian <em>Dies irae chant<\/em> (to which he had returned<br \/>\nobsessively throughout his career) and the Russian Orthodox chant \u201cBlessed Be the<br \/>\nLord,\u201d which he had previously used in his <em>Vespers<\/em>, from 1915; snatches of Slavic<br \/>\nmelodies and dances throughout, as well as a possible nod to Rimsky-Korsakov&#8217;s<br \/>\nopera <em>The Golden Cockerel<\/em>, the only music by another composer that Rachmaninoff<br \/>\nbrought with him when he left his native Russia in 1917.<\/p>\n<p>Originally conceived as a ballet, <em>Symphonic Dances<\/em> evolved into a fully realized<br \/>\norchestral work that represents Rachmaninoff\u2019s late period at its opulent best. Rich<br \/>\nin eccentric harmonies, dramatic shifts in meter, and unusual instrumentation<br \/>\n(check out that alto saxophone solo in the first dance), it conjures up a multiverse of<br \/>\nemotion and expressive possibility, from the vaguely menacing and distinctly<br \/>\nuncheery Non allegro, to the spookily seductive central waltz, to the doomy but<br \/>\neuphoric finale.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div>\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n    <div class=\"featured-concerts grad-to-left m-spacer\">\n        <div class=\"container-fluid\">\n            <div class=\"row\">\n                <div class=\"col-md-7 col-7 offset-md-1\">\n                    <h1 class=\"serif__elight-58-italic\">You may also be interested in<\/h1>\n                <\/div>\n                <div class=\"col-md-4 col-5\">\n                    <div class=\"controls__wrapper\">\n                        <div class=\"slideshow__controls d-none d-lg-block\">\n                            <button class=\"controls__prev\"  data-button-id=\"91cbad3c103b15926f423c89ea6f698d\">\n                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" enable-background=\"new 0 0 24 24\" height=\"24\" viewbox=\"0 0 24 24\" width=\"24\">\n                                    <g><rect fill=\"none\" height=\"24\" width=\"24\"\/><path d=\"M12,4c4.41,0,8,3.59,8,8s-3.59,8-8,8s-8-3.59-8-8S7.59,4,12,4 M12,2C6.48,2,2,6.48,2,12c0,5.52,4.48,10,10,10 c5.52,0,10-4.48,10-10C22,6.48,17.52,2,12,2L12,2z M13,12l0-4h-2l0,4H8l4,4l4-4H13z\"\/><\/g>\n                                <\/svg>\n                            <\/button>\n                            <button class=\"controls__next\" data-button-id=\"91cbad3c103b15926f423c89ea6f698d\">\n                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" enable-background=\"new 0 0 24 24\" height=\"24\" viewbox=\"0 0 24 24\" width=\"24\">\n                                    <g><rect fill=\"none\" height=\"24\" width=\"24\"\/><path d=\"M12,4c4.41,0,8,3.59,8,8s-3.59,8-8,8s-8-3.59-8-8S7.59,4,12,4 M12,2C6.48,2,2,6.48,2,12c0,5.52,4.48,10,10,10 c5.52,0,10-4.48,10-10C22,6.48,17.52,2,12,2L12,2z M13,12l0-4h-2l0,4H8l4,4l4-4H13z\"\/><\/g>\n                                <\/svg>\n                            <\/button>\n                        <\/div>\n\n\t                                        <\/div>\n                <\/div>\n            <\/div>\n            <div class=\"row\">\n                <div class=\"col-md-11 offset-md-1\">\n                    <div class=\"slideshow\">\n                        <div class=\"dso__slides\" data-button-id=\"91cbad3c103b15926f423c89ea6f698d\">\n                            <div class=\"concert__card\" style=\"margin-right: 15px\">\n    <a href=\"https:\/\/www.dallassymphony.org\/es\/productions\/mendelssohns-lobgesang\/\">\n        <div class=\"img__wrapper\">\n\t        <img loading=\"lazy\" decoding=\"async\" width=\"388\" height=\"218\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-388x218.jpg\" class=\"attachment-388x218 size-388x218 wp-post-image\" alt=\"Mendelssohn&#039;s Lobgesang\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-388x218.jpg 388w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-300x169.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-1024x576.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-768x432.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-1536x864.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-18x10.jpg 18w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-540x303.jpg 540w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-666x375.jpg 666w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14-735x413.jpg 735w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA14.jpg 1600w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/>        <\/div>\n        <div class=\"content__wrapper\">\n            <h4 class=\"serif__light-22\">\n                Mendelssohn&#8217;s \u201cA Symphony Cantata&#8221; 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El mundo fant\u00e1stico del escritor de terror H.P. Lovecraft inspir\u00f3 \"Celephais\" de Connesson. El poema de James Agee que describe una noche de verano en un pueblo sure\u00f1o adormecido reson\u00f3 personalmente con Barber - la combinaci\u00f3n de las palabras de Agee y la m\u00fasica de Barber es pura magia. Rachmaninoff combina su amor por su nuevo hogar americano con la nostalgia por su native Rusia en sus Danzas Sinf\u00f3nicas.<\/p>","protected":false},"featured_media":8369,"template":"","dso_concert_series":[31],"class_list":["post-8157","dso_prod_season","type-dso_prod_season","status-publish","has-post-thumbnail","hentry","dso_concert_series-classical"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_prod_season\/8157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_prod_season"}],"about":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/types\/dso_prod_season"}],"version-history":[{"count":0,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_prod_season\/8157\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media\/8369"}],"wp:attachment":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media?parent=8157"}],"wp:term":[{"taxonomy":"dso_concert_series","embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_concert_series?post=8157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}