{"id":8166,"date":"2022-03-04T12:41:55","date_gmt":"2022-03-04T18:41:55","guid":{"rendered":"https:\/\/www.dallassymphony.org\/?post_type=dso_prod_season&#038;p=8166"},"modified":"2022-10-28T14:32:25","modified_gmt":"2022-10-28T19:32:25","slug":"nicola-benedetti","status":"publish","type":"dso_prod_season","link":"https:\/\/www.dallassymphony.org\/es\/productions\/nicola-benedetti\/","title":{"rendered":"Fabio Luisi y el violinista Nicola Benedetti"},"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>FABIO LUISI <\/strong>conducts<br><strong>NICOLA BENEDETTI<\/strong> violin<\/p>\n\n\n\n<p><strong>JAMES MACMILLAN<\/strong> Violin Concerto No. 2<strong> <\/strong>|<strong> U.S. Premiere<\/strong><br><strong>BRUCKNER<\/strong> Symphony No. 4<\/p>\n\n\n\n<p>Benedetti\u2019s innate musicianship and spirited presence makes her one of the most sought-after violinists today, coupled with the pre-eminent Scottish composer of his generation, James MacMillan\u2019s music combines rhythmic excitement, raw emotional power and spiritual meditation. The Guardian described MacMillan as, \u201c\u2026a composer so confident of his own musical language that he makes it instantly communicative to his listeners.\u201d<\/p>\n\n\n\n<p>The piece pairs perfectly with Bruckner Symphony No. 4, an ethereal journey that is romantic, luscious and deeply spiritual. Join Fabio Luisi and the DSO as they bring the \u201cRomantic\u201d tale hidden in its music to life.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/09\/Temp-NM_DSOYP-color-logo.png\" alt=\"Dallas Symphony Young Professionals Logo\" class=\"wp-image-9933\" width=\"275\" height=\"145\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/09\/Temp-NM_DSOYP-color-logo.png 606w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/09\/Temp-NM_DSOYP-color-logo-300x158.png 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/09\/Temp-NM_DSOYP-color-logo-18x10.png 18w\" sizes=\"auto, (max-width: 275px) 100vw, 275px\" \/><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Our Dallas Symphony Young Professionals will be in attendance to this performance. Learn more about how to become involved in DSO YP <a href=\"https:\/\/www.dallassymphony.org\/support-volunteer\/volunteer\/dso-young-professionals\/?utm_source=prod&amp;utm_medium=web&amp;utm_campaign=ypfall&amp;utm_id=YP+Fall+2022\">here<\/a>! <\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"612\" height=\"236\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/10\/Concert-Truck-logo-and-type-horizontal.png\" alt=\"\" class=\"wp-image-10124\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/10\/Concert-Truck-logo-and-type-horizontal.png 612w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/10\/Concert-Truck-logo-and-type-horizontal-300x116.png 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/10\/Concert-Truck-logo-and-type-horizontal-18x7.png 18w\" sizes=\"auto, (max-width: 612px) 100vw, 612px\" \/><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><strong>DSO AFTER DARK WITH THE CONCERT TRUCK<br>NOV 18 | 9:30 PM | HALL ARTS HOTEL<\/strong><br>Please join us after the concert for a free, outdoor performance featuring members of the DSO and pianists Nick Luby and Susan Zhang. Hors d\u2019oeuvres, cider, and drinks will be served.<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\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;Fabio Luisi &#038; Violinist, Nicola Benedetti&quot;  data-description=&quot;Benedetti\u2019s innate musicianship and spirited presence makes her one of the most sought-after violinists today, coupled with the pre-eminent Scottish composer of his generation, James MacMillan\u2019s music combines rhythmic excitement, raw emotional power and spiritual meditation. The Guardian described MacMillan as, \u201c\u2026a composer so confident of his own musical language that he makes it instantly communicative to his listeners.\u201d&quot;  data-message=&quot;Benedetti\u2019s innate musicianship and spirited presence makes her one of the most sought-after violinists today, coupled with the pre-eminent Scottish composer of his generation, James MacMillan\u2019s music combines rhythmic excitement, raw emotional power and spiritual meditation. The Guardian described MacMillan as, \u201c\u2026a composer so confident of his own musical language that he makes it instantly communicative to his listeners.\u201d\r\n\r\nhttps:\/\/www.dallassymphony.org\/es\/productions\/nicola-benedetti\/&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\/2020\/12\/Fabio-Luisi-1600-x-1600-1-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"FABIO LUISI MUSIC DIRECTOR LOUISE W. &amp; EDMUND J. KAHN MUSIC DIRECTORSHIP\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-1536x1536.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1.jpg 1600w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Fabio Luisi<\/h4>\n\n\t\t\t<p>Music Director<\/p>\n<p>Louise W. &amp; Edmund J. Kahn Music Directorship<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/fabio-luisi\/\">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\/02\/Nicola-Benedetti-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"Nicola Benedetti, Violin\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Nicola-Benedetti.jpg 1200w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Nicola Benedetti<\/h4>\n\n\t\t\t<p>Violin<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/nicola-benedetti\/\">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=\"heading0626fa76591bdff298679d6d21d51a30\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse0626fa76591bdff298679d6d21d51a30\" aria-expanded=\"false\" aria-controls=\"collapse0626fa76591bdff298679d6d21d51a30\">\n\t\tJames MacMillan (b. 1959): Violin Concerto No. 2\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=\"collapse0626fa76591bdff298679d6d21d51a30\" class=\"collapse\" aria-labelledby=\"heading0626fa76591bdff298679d6d21d51a30\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>The Scottish composer and conductor Sir James Loy MacMillan first attracted<br \/>\ninternational attention in 1990, after the rapturous response at the BBC Proms to<br \/>\nhis large symphonic work <em>The Confession of Isobel Gowdie<\/em>. Subsequent successes<br \/>\nrange from his extraordinary (and unusually popular) percussion concerto <em>Veni,<\/em><br \/>\n<em>Veni, Emmanuel<\/em> to his Fourth Symphony, which was first performed on August 3,<br \/>\n2015, by the BBC Scottish Symphony Orchestra and conducted by his fellow<br \/>\ncountryman Donald Runnicles. MacMillan&#8217;s recording with Britten Sinfonia of his<br \/>\nOboe Concerto, for the Harmonia Mundi label, won the 2016 BBC Music<br \/>\nMagazine Award. In 2019 <em>The Guardian<\/em> deemed his <em>Stabat Mater<\/em> the 23rd greatest<br \/>\nwork of art music since 2000.<\/p>\n<p>MacMillan completed his Violin Concerto No. 2 in 2021, and the world premiere\u2014<br \/>\nperformed by the work&#8217;s dedicatee, the Scottish virtuoso Nicola Benedetti\u2014took<br \/>\nplace on September 28, 2022, at Perth Concert Hall, Perth, Australia. This is its U.S.<br \/>\npremiere.<\/p>\n<p><strong>The Composer Speaks<\/strong><br \/>\nMy Second Violin Concerto is written in one through-composed movement and is<br \/>\nscored for a medium-sized orchestra. It opens with three chords, and the notes<br \/>\nwhich the soloist plays in these (<em>pizzicato<\/em>) outline a simple theme which is the core<br \/>\ningredient for much of the music. This three-note theme incorporates a couple of<br \/>\nwide intervals which provide much of the expressive shape to a lot of the<br \/>\nsubsequent melodic development throughout the concerto.<\/p>\n<p>When the soloist eventually plays with the bow, the character of the material sets<br \/>\nthe mood for much of the free-flowing, yearning quality of the music throughout.<br \/>\nThe prevailing slow pulse is punctuated by some faster transitional ideas, and after<br \/>\na metric modulation the second main idea is established on brass and timpani,<br \/>\nmarked <em>alla marcia<\/em>. The wide-intervallic leaps in the solo violin part continue to<br \/>\ndominate in a passage marked soaring, even as the music becomes more rhythmic<br \/>\nand dancelike.<\/p>\n<p>An obsessive repetitiveness enters the soloist\u2019s material just before the first main<br \/>\nclimax of the work, where the wind blare out the wide-intervalled theme. The<br \/>\ncentral section of the work is reflective, restrained and melancholic, where the<br \/>\nsoloist\u2019s part is marked <em>dolce<\/em>, <em>desolato<\/em> and eventually <em>misterioso<\/em>, hovering over an<br \/>\nunsettled, low shimmering in the cellos and basses.<\/p>\n<p>The martial music returns and paves the way for an energetic section based on a<br \/>\nseries of duets which the violin soloist has with a procession of different<br \/>\ninstruments in the orchestra\u2014double bass, cello, bassoon, horn, viola, clarinet,<br \/>\ntrumpet, oboe, flute, and violin. After this we hear the three notes\/chords again<br \/>\ndeveloped in the wind over a pulsating timpani beat, which sets up the final climax<br \/>\nmarked braying, intense and <em>feroce<\/em>.<\/p>\n<p>The final recapitulation of the original material provides a soft cushion and<br \/>\nbackdrop to the soloist\u2019s closing melodic material, marked <em>cantabile<\/em>, before the<br \/>\nwork ends quietly and serenely.<\/p>\n<p>My Second Violin Concerto is dedicated to Nicola Benedetti and in memoriam<br \/>\nKrzysztof Penderecki, the great Polish composer who died in 2020. \u2014<strong>Sir James<\/strong><br \/>\n<strong>MacMillan, 2022<\/strong><\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"heading72e4676d125c500a00e729f06f458fac\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapse72e4676d125c500a00e729f06f458fac\" aria-expanded=\"false\" aria-controls=\"collapse72e4676d125c500a00e729f06f458fac\">\n\t\tAnton Bruckner (1824\u20131896): Symphony No 4\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=\"collapse72e4676d125c500a00e729f06f458fac\" class=\"collapse\" aria-labelledby=\"heading72e4676d125c500a00e729f06f458fac\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>Trained by his schoolmaster father and the Augustinian monks of St. Florian, the<br \/>\nAustrian composer Anton Bruckner worked as a cathedral organist for 13 years,<br \/>\nearning a strong regional reputation for his virtuosic playing and brilliant<br \/>\nimprovisations. A late bloomer, he didn&#8217;t enter his maturity as a composer until<br \/>\nmidlife. Bruckner&#8217;s Fourth Symphony was his first major composition to earn<br \/>\nacclaim almost from its debut.<\/p>\n<p><strong>The Hissing and Laughing Multitude<\/strong><br \/>\nThe enthusiastic response to his revised Fourth came as a huge relief to its 57-year-<br \/>\nold author at the 1881 premiere. Four years earlier, his Third Symphony, which was<br \/>\ninscribed with an unctuous dedication to Richard Wagner, went nightmarishly awry<br \/>\nat its Vienna premiere. Bruckner, an anxious and inexperienced conductor, was<br \/>\nleading\u2014or attempting to lead\u2014openly hostile musicians who seemed determined<br \/>\nto humiliate him. Before he even lifted his baton, he was losing audience members;<br \/>\neach successive movement sent more patrons scuttling out of the concert hall. As his<br \/>\npublisher Theodor R\u00e4ttig later recalled, \u201cthe applause of a handful of some 10 or 20<br \/>\ngenerally very young people was countered by the hissing and laughing multitude&#8230;.<br \/>\nWhen the audience had fled the hall and the players had left the platform, the little<br \/>\ngroup of pupils and admirers stood around the grieving composer, attempting to<br \/>\nconsole him, but all he could say was, \u2018Oh, leave me alone; people want nothing to do<br \/>\nwith me.&#8217;&#8221;<\/p>\n<p>Bruckner revised the &#8220;Wagner&#8221; Symphony at least six times, an exacting and time-<br \/>\nconsuming process to which he subjected all nine of his symphonies save the last,<br \/>\nwhose finale he left unfinished when he died, a little over a month after he turned<br \/>\n72.<\/p>\n<p>As Bruckner&#8217;s first real success (and his last popular triumph until the<br \/>\ngroundbreaking Seventh Symphony), the Fourth brought much-needed validation\u2014<br \/>\nperhaps even vindication. He would work it over numerous times, sketching out a<br \/>\nfanciful &#8220;Romantic&#8221; program only to disavow most of the extramusical content just a<br \/>\nfew years later. Despite many attempts (some of them likely unsanctioned<br \/>\n&#8220;corrections&#8221; by ambitious disciples and associates), Bruckner never improved on<br \/>\nthe 1878\u20131880 version of the Fourth Symphony, which is performed for this<br \/>\nconcert.<\/p>\n<p><strong>Paradox and Perfection<\/strong><br \/>\nFor most of his life, Bruckner was badly underestimated. His worldly Viennese<br \/>\ncontemporaries ridiculed him as a pious dolt, a rural church organist with no<br \/>\nredeeming cleverness. But despite his unfashionable accent and gauche manners,<br \/>\nBruckner was no country bumpkin. His music, which reflects his dual roles as<br \/>\nchurch organist and composer of symphonies, revels in paradox: it&#8217;s massive and<br \/>\nnuanced, dense and subtle, ancient and modern. Intricate polyphony is draped in<br \/>\nsumptuous Wagnerian orchestration. An expansive tone poem morphs into an<br \/>\nelaborate fugue. Before our very ears, musical forms adapt and evolve in a state of<br \/>\ntranscendent flux.<\/p>\n<p>There&#8217;s nothing simple about Bruckner&#8217;s Fourth, including its date of completion.<br \/>\nFor Bruckner, a self-doubting perfectionist, no composition was ever truly finished.<br \/>\nAll told, there are approximately three dozen different versions of Bruckner&#8217;s nine<br \/>\nsymphonies. Maybe these multiple versions exist not because the composer was<br \/>\nindecisive but rather because he saw his music as mutable, subject to change over<br \/>\ntime. Musicologists argue about the authenticity of various editions of Bruckner&#8217;s<br \/>\nnine symphonies and speak of &#8220;the Bruckner Problem&#8221; \u2014shorthand for the vexed<br \/>\ndebates about authorial intention and the relative virtues and drawbacks of the<br \/>\nvarious revisions. Some editions include &#8220;corrections&#8221; that Bruckner never saw,<br \/>\nmuch less sanctioned; other editions reflect changes that he made because he was<br \/>\ninsecure and possibly too receptive to suggestions from others.<\/p>\n<p>Bruckner composed the first version of his Symphony No. 4 in E-flat major between<br \/>\nJanuary and November 1874, but that original iteration was never performed or<br \/>\npublished during his lifetime. He continued to tinker with his Fourth Symphony,<br \/>\nalong with most of the others, for another 14 years. Bruckner researchers have<br \/>\nidentified at least seven authentic versions and revisions of the Fourth Symphony.<br \/>\nFor this concert the 1878\u20131880 version (ed. Nowak), which is the version of<br \/>\nthe Fourth most commonly performed and recorded today, was selected.<br \/>\nBruckner scored the Fourth for one pair each of flutes, oboes, clarinets, and<br \/>\nbassoons, with four horns, three trumpets, three trombones, timpani, and strings.<br \/>\nStarting with the 1878 revision, a single bass tuba is included in the<br \/>\ninstrumentation.<\/p>\n<p><strong>Romantic Revisions<\/strong><br \/>\nThe nickname <em>Romantic<\/em> was used by Bruckner, who also created, and eventually<br \/>\nabandoned, a program for the symphony. Bruckner marked the autograph of the<br \/>\nScherzo and Finale of the 1878 version of the symphony with brief descriptions<br \/>\nsuch as <em>Jagdthema<\/em> (hunting theme), <em>Tanzweise w\u00e4hrend der Mahlzeit auf der Jagd<\/em><br \/>\n(dance tune during the lunch break while hunting), and <em>Volksfest<\/em> (people&#8217;s festival).<\/p>\n<p>Also for this revision, Bruckner replaced the original scherzo with a new movement<br \/>\nthat&#8217;s commonly known as the &#8220;Hunt&#8221; Scherzo (<em>Jagd-Scherzo<\/em>). The new movement,<br \/>\nBruckner explained in a letter, &#8220;represents the hunt, whereas the Trio (<em>Tanzweise<\/em><br \/>\n<em>w\u00e4hrend<\/em>&#8230;) is a dance melody which is played to the hunters during their meal.&#8221; In<br \/>\n1880 Bruckner replaced the <em>Volksfest<\/em> finale with a new one based on an earlier<br \/>\nmelodic idea.<\/p>\n<p>After one especially productive rehearsal of the Fourth, Bruckner gave the<br \/>\nconductor, Hans Richter, a coin and urged him to buy himself a beer to celebrate.<br \/>\n(Richter was charmed by the gesture and kept the money as a keepsake.) On<br \/>\nFebruary 20, 1881, Richter presided over the first performance, in Vienna. It was the<br \/>\nfirst premiere of a Bruckner symphony not to be conducted by Bruckner himself,<br \/>\nand it was also his first unqualified success. After years of enduring hisses and<br \/>\ninsults, the composer finally heard real applause and basked in the unfamiliar<br \/>\nwarmth. To his delight and astonishment, he was summoned for a bow after each<br \/>\nmovement.<\/p>\n<p><strong>The Composer Speaks<\/strong><br \/>\nIn a letter to the conductor Hermann Levi dated December 8, 1884, Bruckner<br \/>\nsupplied a vivid, if abbreviated, program: &#8220;In the first movement, after a full night&#8217;s<br \/>\nsleep, the day is announced by the horn, 2nd movement song, 3rd movement<br \/>\nhunting trio, musical entertainment of the hunters in the wood.&#8221;<\/p>\n<p>Six years later, in another letter, he expanded on the program somewhat: &#8220;In the<br \/>\nfirst movement of the &#8216;Romantic&#8217; Fourth Symphony the intention is to depict the<br \/>\nhorn that proclaims the day from the town hall! Then life goes on; in the<br \/>\n<em>Gesangsperiode<\/em> [the second motif] the theme is the song of the great tit [a bird]<br \/>\nZizipe. 2nd movement: song, prayer, serenade. 3rd: hunt, and in the Trio how a<br \/>\nbarrel-organ plays during the midday meal in the forest.&#8221;<\/p>\n<p>Yet when asked years later to elaborate on the meaning of the finale, Bruckner<br \/>\nconfessed, &#8220;I&#8217;ve quite forgotten what image I had in mind.&#8221;<\/p>\n<p><strong>Bruckner and Wagner<\/strong><br \/>\nAt the age of 41, when he attended the Munich premiere of <em>Tristan und Isolde<\/em>,<br \/>\nBruckner became a committed Wagnerian. In 1873 he made his first pilgrimage to<br \/>\nBayreuth, uninvited and barely tolerated, so that he could show his idol the score to<br \/>\nhis Third Symphony, dedicated &#8220;in deepest veneration to the honorable Herr<br \/>\nRichard Wagner, the unattainable, world-famous, and exalted Master of Poetry and<br \/>\nMusic, by Anton Bruckner.\u201d Upon meeting his hero, Bruckner allegedly fell to the<br \/>\nground, yelping, &#8220;Master, I worship you!&#8221; Despite or because of his strenuous<br \/>\nenthusiasm, he made a dismal impression on his hosts. In her diary, Wagner\u2019s wife,<br \/>\nCosima, speaks disparagingly of the visitor as \u201cthe poor Viennese organist.&#8221;<\/p>\n<p>In summer 1876, Bruckner made his second trip to Bayreuth, where he attended the<br \/>\nfirst complete performance of Wagner&#8217;s <em>Ring<\/em> cycle. He was so profoundly affected<br \/>\nby the experience that he immediately began major revisions of several earlier<br \/>\nworks, including his Fourth Symphony.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nBruckner&#8217;s 1878\u201380 revision of the Fourth has the following tempo markings and<br \/>\nkey signatures:<\/p>\n<p>Bewegt, nicht zu schnell (With motion, not too fast), in the home key of E-flat major<br \/>\nAndante, quasi allegretto, in C minor<\/p>\n<p>Scherzo. Bewegt (with motion)\u2014Trio: Nicht zu schnell (Not too fast), in B-flat major<\/p>\n<p>Finale: Bewegt, doch nicht zu schnell (With motion, but not too fast), in E-flat major<\/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=\"c5bd1278cbfbcf0a21593d259445f4b5\">\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=\"c5bd1278cbfbcf0a21593d259445f4b5\">\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=\"c5bd1278cbfbcf0a21593d259445f4b5\">\n                            <div class=\"concert__card\" style=\"margin-right: 15px\">\n    <a href=\"https:\/\/www.dallassymphony.org\/es\/productions\/shostakovich-symphony-no-5\/\">\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-CLA8-388x218.jpg\" class=\"attachment-388x218 size-388x218 wp-post-image\" alt=\"Shostakovich Symphony No 5\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-388x218.jpg 388w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-300x169.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-1024x576.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-768x432.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-1536x864.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-18x10.jpg 18w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-540x303.jpg 540w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-666x375.jpg 666w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8-735x413.jpg 735w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Web-Graphic-CLA8.jpg 1600w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/>        <\/div>\n        <div class=\"content__wrapper\">\n            <h4 class=\"serif__light-22\">\n                Shostakovich &#038; 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The Guardian describi\u00f3 a MacMillan como \"...un compositor tan seguro de su propio lenguaje musical que lo hace inmediatamente comunicableative a sus oyentes\".<\/p>","protected":false},"featured_media":8089,"template":"","dso_concert_series":[31],"class_list":["post-8166","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\/8166","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\/8166\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media\/8089"}],"wp:attachment":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media?parent=8166"}],"wp:term":[{"taxonomy":"dso_concert_series","embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_concert_series?post=8166"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}