≈ 90 minutes · No intermission
Last updated: October 7, 2021
This concert pairs Robert Schumann’s Piano Concerto and Symphony No. 4, both of which had their compositional origins in the year 1841, though he eventually revised them—in 1845 and 1851, respectively—to the final versions you’ll hear performed tonight. This bears mentioning, because these works shed light on some of Schumann’s aesthetic preoccupations in writing for the orchestral medium. Like many composers in the generation after Beethoven, Schumann was concerned with the future directions of the symphony and the concerto genres, and how he could make his own creative contribution. For these two works, it seems the idea of “fantasy” was at the core. Notably, Schumann himself referred to his Fourth Symphony as a “symphonic fantasy”, and his Piano Concerto originated as a Phantasie for piano and orchestra.
Repertoire
Symphony No. 4 in D minor, Op. 120
I. Ziemlich langsam – Lebhaft (Quite slow – Lively)
II. Romanze: Ziemlich langsam (Quite slow)
III. Scherzo: Lebhaft (Lively)
IV. Langsam – Lebhaft (Slow – Lively)
With this symphony, Schumann was interested in creating a large-scale work in which all the movements are unified by common thematic and harmonic threads and motives, as well as are linked together with no breaks in between. The composer’s model may well have been Franz Schubert’s Wanderer Fantasy for solo piano, the four movements of which are played continuously, and are bound by all their themes coming from a single motive. (This would further clarify his reference to the D minor symphony as a “symphonic fantasy”.)
In the Fourth Symphony, the thematic “motto” on which the entire work’s musical material is based is the flowing melody presented at the beginning of the slow introduction. The ensuing main movement unfolds rather freely (again, in keeping with musical notions of “fantasy”), and is dominated by an energetic, restless theme of shifting character. Later, two other important ideas appear—one, a triumphant march-like motive that reaches two pauses, the other, a gracious lyrical theme. Before the movement’s close, all three themes return, in more closely integrated fashion.
Following a brief pause, the Romanze opens with oboe and solo cello singing a folk-like melody, after which the flowing “motto” from the symphony’s introduction makes a return. In the movement’s central section, the motto assumes a more uninhibited quality in the major mode, played by the strings with solo violin sinuously elaborating overtop.
The Scherzo introduces a vigorous new theme—it has an up-then-down shape that is the reverse of the motto’s. It returns between two Trios, which feature the winding solo violin melody from the middle of the Romanze, now played by the first violins. At the end of second Trio, the melody becomes fragmented, and its initial energy dissipates. Here, the music transitions from mystery to grandeur, with trombones and then all brass slowly intoning the march-like motive from the middle of the first movement, alongside an ascending figure in the violins from the end of the opening introduction. These ideas become the main themes of the Finale, now robust and triumphant. A culmination of all that has come before, the movement evolves into a joyous dance, gathering increasing energy, to bring the symphony to a thrilling finish.
Program notes by Dr. Hannah Chan-Hartley
Concerto in A minor for Piano and Orchestra, Op. 54
I. Allegro affettuoso
II. Intermezzo: Andante grazioso –
III. Allegro vivace
In May 1841, around the time he was also sketching his D minor symphony, Robert Schumann drafted a Phantasie in A minor for piano and orchestra. On August 13, his wife, the virtuoso pianist and composer Clara Schumann (née Wieck) gave two trial performances of this one-movement concert piece at the Leipzig Gewandhaus. She was keen about the work, commenting that “the piano is interwoven with the orchestra in the most subtle way—one cannot imagine the one without the other.” This would have encouraged Robert, who thought the future direction of the concerto laid, in part, in creating a new equal and more integrated relationship between soloist and orchestra.
Lack of interest from publishers and concert organizers led Robert to put the Phantasie aside. However, he picked it up again in the summer of 1845, when he reworked it into a concerto, adding a Rondo finale and an Intermezzo to come before, while the Phantasie, revised, became the first movement. In December, Clara, as the soloist, gave the first performance of the Concerto in Dresden, then in Leipzig a month later, to positive reviews. Since the late 19th century, it continues to be one of the most frequently performed and admired concertos.
The Concerto begins as a dramatic intrusion by orchestra and piano; the oboe then sings the tender first theme, to which the piano immediately responds. Soloist and orchestra continue in dialogue—subtly at first, more impassioned as the movement progresses, to finally, exuberance. The “fantasy” element is clearly borne by the piano part, with its rippling arpeggios and constantly evolving melodies.
The brief Intermezzo has a gracious elegance. There’s a gentle theme on tiptoe but the middle section is the movement’s emotional heart, with a luscious cello melody of yearning leaps, around which the piano weaves embellishments. The tiptoe theme returns but seems to lose its way. As if a summons, the opening theme from the first movement, in a brighter version, is recalled by clarinets and bassoons; the piano responds with delicately falling chords. Suddenly, the tempo rushes forward into the finale’s exuberant rondo theme (in fact a variant of the opening melody). Lively episodes ensue, including a playful use of metres and orchestral counterpoint. In the final minutes, the piano part becomes its most fantastical and virtuosic, driving the Concerto to an exhilarating conclusion.
Program notes by Dr. Hannah Chan-Hartley
Artists
Since its debut in 1969, the National Arts Centre (NAC) Orchestra has been praised for the passion and clarity of its performances, its visionary educational programs, and its prominent role in nurturing Canadian creativity. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, reaching and representing the diverse communities we live in with daring programming, powerful storytelling, inspiring artistry, and innovative partnerships.
Alexander Shelley began his tenure as Music Director in 2015, following Pinchas Zukerman’s 16 seasons at the helm. Principal Associate Conductor of the Royal Philharmonic Orchestra, and former Chief Conductor of the Nuremberg Symphony Orchestra (2009–2017), he has been in demand around the world, conducting the Rotterdam Philharmonic, DSO Berlin, Leipzig Gewandhaus, and Stockholm Philharmonic, among others, and maintains a regular relationship with the Deutsche Kammerphilharmonie and the German National Youth Orchestra.
Each season, the NAC Orchestra features world-class artists such as the newly appointed Artist-in-Residence James Ehnes, Angela Hewitt, Joshua Bell, Xian Zhang, Gabriela Montero, Stewart Goodyear, Jan Lisiecki, and Principal Guest Conductor John Storgårds. As one of the most accessible, inclusive, and collaborative orchestras in the world, the NAC Orchestra uses music as a universal language to communicate the deepest of human emotions and connect people through shared experiences.
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Alexander Shelley succeeded Pinchas Zukerman as Music Director of Canada’s NAC Orchestra in September 2015. The ensemble has since been praised as being “transformed... hungry, bold, and unleashed” (Ottawa Citizen) and Shelley’s programming credited for turning the orchestra into “one of the more audacious in North America” (Maclean’s).
Shelley is a champion of Canadian creation; recent hallmarks include the multimedia projects Life Reflected and UNDISRUPTED,and three major new ballets in partnership with NAC Dance for Encount3rs. He is passionate about arts education and nurturing the next generation of musicians. He is an Ambassador for Ottawa’s OrKidstra, a charitable social development program that teaches children life skills through making music together.
Alexander Shelley is also the Principal Associate Conductor of London’s Royal Philharmonic Orchestra and, starting with the 2024–2025 season, Artistic and Music Director of Artis-Naples and the Naples Philharmonic in Florida, USA. In the spring of 2019, he led the NAC Orchestra on its critically acclaimed 50th Anniversary European tour, and in 2017, he led the Orchestra in a tour across Canada, celebrating Canada’s 150th anniversary. Most recently, he led the Orchestra in its first performance at New York’s Carnegie Hall in 30 years.
He has made eight recordings with the NAC Orchestra, including the JUNO-nominated New Worlds, Life Reflected, ENCOUNT3RS, The Bounds of Our Dreams, and the acclaimed Clara, Robert, Johannes four-album series, all with Canadian label Analekta.
The Music Director role is supported by Elinor Gill Ratcliffe, C.M., O.N.L., LL.D. (hc)
Hélène Grimaud, piano
Renaissance woman Hélène Grimaud is not just a deeply passionate and committed musical artist whose pianistic accomplishments play a central role in her life. She is a woman with multiple talents that extend far beyond the instrument she plays with such poetic expression and peerless technical control. The French artist has established herself as a committed wildlife conservationist, a compassionate human rights activist, and as a writer.
Grimaud’s musical career is characterized by concerts with most of the world’s major orchestras and many celebrated conductors, as well as extensive tours she undertakes as a soloist and recitalist. Her prodigious contribution to and impact on the world of classical music were recognized by the French government when she was admitted into the Ordre National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight).
Hélène Grimaud has been an exclusive Deutsche Grammophon artist since 2002. Her recordings have been critically acclaimed and awarded numerous accolades, among them the Cannes Classical Recording of the Year, Choc du Monde de la musique, Diapason d’or, Grand Prix du disque, Record Academy Prize (Tokyo), Midem Classic Award and the Echo Klassik Award. Recent releases include Perspectives (2017), a two-disc personal selection of highlights from her DG catalogue, and Memory (2018), which explores music’s ability to bring the past back to life. In her latest recording The Messenger, released in October 2020, Grimaud has created an intriguing dialogue between the composers Silvestrov and Mozart.
In 1999, Grimaud established the Wolf Conservation Center, her love for the endangered species sparked by a chance encounter with a wolf in northern Florida. She is also a member of the organization Musicians for Human Rights. For a number of years she also found time to pursue a writing career, publishing three books that have appeared in various languages: Variations Sauvages (2003), and the semi-autobiographical novels Leçons particulières (2005) and Retour à Salem (2013).
Robert Schumann (1810–1856)
Robert Schumann was a German composer and music critic. Many of his works—including piano pieces, art song (lieder), symphonies, chamber music, oratorio, opera, dramatic music, and church music—are considered major contributions to their respective genres and significantly influenced subsequent generations of European composers, such as Johannes Brahms, Anton Bruckner, and Gustav Mahler. Stylistically, Schumann’s lifelong love of literature frequently shaped his musical compositions, with traditional structures infused with narrative techniques drawn from literary models, leading to often bold and innovative conceptions. He also developed a new kind of music criticism, which took a historically informed, multi-perspective approach to describing musical processes that involved close analyses of works.
Born in Zwickau, Saxony on June 8, 1810, the youngest of five children, Schumann showed a talent for music at an early age—initially in singing, then on piano; his first compositions included piano miniatures and songs. To fulfill his family’s wishes, he went to Leipzig in 1828 for a course in law, though he left a year later to devote himself to composition lessons and studying piano with Friedrich Wieck.
During the 1830s, after hopes of being a concert pianist were dashed by a weakened middle finger on his right hand, Schumann sought a full-time career as a composer. While it progressed in starts and stops, he carved another intellectual and creative path as a music journalist, eventually founding the Neue Zeitschrift für Musik, for which he was editor from 1835 to 1844. Meanwhile, he and Wieck’s daughter, Clara, already a highly lauded, touring concert pianist and composer, had fallen in love. After a protracted battle with Wieck who had forbidden them to marry, they were finally granted legal permission to do so and wedded in September 1840.
The 1840s were artistically fruitful years for Robert as he and Clara settled into family life while also continuing their respective professional careers. With Clara as muse and with her encouragement, Schumann composed numerous songs and completed major works for orchestra during this period, as well as made forays into other genres, such as his opera Genoveva. In 1850, he became Düsseldorf’s municipal music director; in this role, he made his début as a conductor and led the orchestra and the chorus of the Allgemeiner Musikverein in subscription concerts. He continued to compose prolifically, completing close to 100 new works between 1849 and 1854.
Throughout his adult life, Schumann suffered progressively worsening episodes of depression. Eventually, his mental condition deteriorated to the point that on February 27, 1854, he threw himself into the Rhine river, but he was rescued by local fishermen. To protect Clara and his children, he insisted on being placed in an asylum, and was admitted to a private sanitorium at Endenich, near Bonn. He died there on July 29, 1856.
By Dr. Hannah Chan-Hartley
NAC Orchestra
FIRST VIOLINS
Yosuke Kawasaki (concertmaster)
Jessica Linnebach (associate concertmaster)
Noémi Racine Gaudreault (assistant concertmaster)
Marjolaine Lambert
Jeremy Mastrangelo
Manuela Milani
Leah Roseman
Erica Miller*
Annie Guénette*
SECOND VIOLINS
Mintje van Lier (principal)
Winston Webber (assistant principal)
Mark Friedman
Carissa Klopoushak
Frédéric Moisan
Edvard Skerjanc
Karoly Sziladi
Andréa Armijo-Fortin*
Renée London*
Heather Schnarr*
VIOLAS
Jethro Marks (principal)
David Marks (associate principal)
David Goldblatt (assistant principal)
Paul Casey
Ren Martin-Doike
David Thies-Thompson
Sonya Probst*
CELLOS
Soo Gyeong Lee*
Rachel Mercer (principal / solo)
John Corban*
DOUBLE BASSES
Hilda Cowie (acting assistant principal)
Marjolaine Fournier
Vincent Gendron
Joel Quarrington*
Paul March*
FLUTES
Joanna G'froerer (principal)
Stephanie Morin
OBOES
Charles Hamann (principal)
Anna Petersen
CLARINETS
Kimball Sykes (principal)
Sean Rice
BASSOONS
Christopher Millard (principal)
Vincent Parizeau
HORNS
Lawrence Vine (principal) (Symphony)
Julie Fauteux (associate principal) (Concerto)
Elizabeth Simpson
Louis-Pierre Bergeron
Micajah Sturgess*
Olivier Brisson* (Symphony)
TRUMPETS
Karen Donnelly (principal)
Steven van Gulik
TROMBONES
Donald Renshaw (principal)
Colin Traquair
Douglas Burden
TIMPANI
Feza Zweifel (principal)
PRINCIPAL LIBRARIAN
Nancy Elbeck
ASSISTANT LIBRARIAN
Corey Rempel
PERSONNEL MANAGER
Meiko Lydall
*Additional musicians
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Official Car of the NAC Orchestra
