Last updated: October 17, 2023
Program
CLARA SCHUMANN (7 min)
“Er ist gekommen” (“He came”), Op. 12, No. 1
“Mein Stern!” (“My star”)
“Liebst du um Schönheit” (“If you love for beauty”), Op. 12, No. 4
ROBERT SCHUMANN Symphony No. 3 in E-flat major, Op. 97, “Rhenish” (31 min)
I. Lebhaft
II. Scherzo: Sehr mässig
III. Nicht schnell
IV. Feierlich
V. Lebhaft
INTERMISSION
JOHANNES BRAHMS Violin Concerto in D major, Op. 77 (40 min)
I. Allegro non troppo
II. Adagio
III. Allegro giocoso, ma non troppo vivace
Clara Schumann Lieder – Texts and Translations
Er ist gekommen
German source: Friedrich Rückert
Er ist gekommen
In Sturm und Regen,
Ihm schlug beklommen
mein Herz entgegen.
Wie konnt’ ich ahnen,
Dass seine Bahnen
Sich einen sollten meinen Wegen?
Er ist gekommen
In Sturm und Regen,
Er hat genommen
Mein Herz verwegen.
Nahm er das meine?
Nahm ich das seine?
Die beiden kamen sich entgegen.
Er ist gekommen
In Sturm und Regen,
Nun ist gekommen
Des Frühlings Segen.
Der Freund zieht weiter,
Ich seh’ es heiter,
Denn er bleibt mein auf allen Wegen.
Mein Stern
German source: Friederike Serre
O du mein Stern,
Schau dich so gern,
Wenn still im Meere die Sonne sinket,
Dein gold’nes Auge so tröstend winket
In meiner Nacht!
O du mein Stern,
Aus weiter Fern’,
Bist du ein Bote mit Liebesgrüßen,
Laß deine Strahlen mich durstig küssen
In banger Nacht.
O du mein Stern,
Verweile gern,
Und lächelnd führ’ auf des Lichts Gefieder
Der Träume Engel dem Freunde wieder
In seine Nacht.
Liebst du um Schönheit
German source: Friedrich Rückert
Liebst du um Schönheit,
O nicht mich liebe!
Liebe die Sonne,
Sie trägt ein gold’nes Haar!
Liebst du um Jugend,
O nicht mich liebe!
Liebe den Frühling,
Der jung ist jedes Jahr!
Liebst du um Schätze,
O nicht mich liebe!
Liebe die Meerfrau,
Sie hat viel Perlen klar!
Liebst du um Liebe,
O ja, mich liebe!
Liebe mich immer,
Dich lieb’ ich immerdar!
Repertoire
“Er ist gekommen” (“He came”), Op. 12, No. 1
“Mein Stern!” (“My star”)
“Liebst du um Schönheit” (“If you love for beauty”), Op. 12, No. 4
All throughout her career as a composer, Clara Schumann (née Wieck, 1819–1896) wrote Lieder (songs for voice and piano), from when she was a child right up until Robert Schumann’s death. Today’s audiences know 28 of her Lieder, but many more were lost. The three Lieder presented here showcase different sides of her poetic sensibility and different shades from her composing palette.
“Er ist gekommen,” Op. 12, No. 1 (“He came,” written in 1841) shows Clara the virtuoso, impetuous and eloquent. The piano becomes a reflection of nature unleashed—each stanza begins with the words, “He came in storm and rain”—expressing the narrator’s tumultuous feelings toward her beloved. The piano’s right hand plays sixteenth notes at a sehr schnell (very quick) tempo, underpinning a breathless vocal part. The song’s first lines are brief exclamations that have been compared to lightning in the middle of a storm cloud or to the beating of a tormented heart.
The poem of the lied “Mein Stern” (“My star,” 1846) was written by Friederike Serre, a longtime friend of both Schumanns; she also provided Clara with the text of a second lied (“Beim Abschied”). The tranquil night and the star in the sky, in characteristic Romantic style, are both the expression of the narrator’s emotions and their messengers. Schumann translates that imagery into waves of piano arpeggios evoking starlight that buoy the calm, spacious phrases of the song.
“Liebst du um Schönheit,” Op. 12, No. 2 (“If you love for beauty,” 1841) is brimming with exquisite detail. For example, in every stanza, the singer’s voice describes three descending arcs, each longer than the last, as the piano wraps them in fluid lines that recall the rays of the sun (stanza 1) and then a mermaid’s hair (stanza 3). Each of the first three musical stanzas is open-ended, with the narrator warning her beloved not to love her for her beauty, her youth or her riches. It is only in the poetic denouement of the fourth stanza—love is the only thing that truly matters—that Schumann comes to a definitive conclusion, allowing the piano and voice to come together for the only truly final cadence of the lied, setting a seal on its poetic meaning.
Program note by Julie Pedneault-Deslauriers (translated from the French)
Symphony No. 3 in E-flat major, Op. 97, “Rhenish”
I. Lebhaft
II. Scherzo: Sehr mässig
III. Nicht schnell
IV. Feierlich
V. Lebhaft
In early September 1850, Robert and Clara Schumann moved to Düsseldorf, in the Rhineland, so Robert (1810–1856) could take up his position as the music director of the orchestra and chorus of the Allgemeiner Musikverein. Not long after they arrived, they went to Cologne where they visited the city’s monumental Cathedral, which in 1850, about 600 years after the laying of its foundation, was being completed to its original Gothic design. It made a significant impression on Robert, and, as confirmed by Josef von Waiselewski, the violinist and concertmaster of Schumann’s orchestra, became a source of inspiration for his Third Symphony (the fourth he would write). Soon after returning to Düsseldorf, Robert set to work on it. A few months later, on February 6, 1851, he led the premiere at the Musikverein there to warm reception, successful enough to merit a repeat performance within a month.
Among Schumann’s orchestral works, the Third Symphony remains a favourite with audiences for its picturesque qualities, while also admired by academics and critics for Robert’s distinctive approach to symphonic structure and formal process. Its subtitle “Rhenish”, although not the composer’s, does point to the background inspiration that evidently shaped the pictorial aspects of the piece. At the same time, Schumann uses the recall and development of motivic elements to create a sense of coherence through the Symphony’s movements in a purely structural way that was hitherto unprecedented. It would significantly influence the “developing variation” technique that characterizes the symphonies Johannes Brahms wrote three decades later.
The five movements of the “Rhenish” unfold like a series of “sonic pictures”—or as music scholar John Daverio aptly puts it, like a group of paintings in a highly curated exhibition. Each contains dynamic content that is internally unified within the bounds of their “frame” and is connected to the others in the symphonic “gallery” more through motivic allusion than conveying a narrative progression. The opening movement seems to depict the start of a grand adventure—it launches immediately (without a slow introduction) into an exuberantly swinging theme propelled by energetic cross-rhythms. Woodwinds briefly introduce a graceful winding melody, with a touch of melancholy, but the energy dominates. Later, in the middle section, the winding theme develops more of a presence amid vigorous passages. The swinging tune soon returns but it’s not yet the real reprise. Building through a four-horn proclamation of the tune in a broadened version, the music peaks at the true recapitulation. The main themes proceed as before, and the movement, never lagging in energy, reaches a glorious finish.
Robert initially called the second movement “Morning on the Rhine”; the main melody possibly evokes the river’s flow, which is more like a gently lilting dance than a quicksilver scherzo. Then, a variation in sprightly figuration, after which a mellifluous new idea in the minor mode is presented by the horns, over quiet strings. Additional returns of the lilting theme (in a bright, bold guise) and the sinuous horn tune follow, leading to a full reprise of the scherzo.
A sense of flow continues into the third movement, which features three main elements that first appear in succession: 1) a singing clarinet melody whose leaping intervals allude to the symphony’s opening theme, accompanied by violas with undulating figures; 2) a tiptoe motif with sighing phrases played by violins and horns; and 3) a descending line of devotional character in the violas and bassoons. After the latter two are further developed, the clarinet melody returns, this time combined with the tiptoeing strings. In a neat act of summation, all three elements appear in the coda, which winds down on the tiptoe motif and sighs.
Before the finale, Schumann inserts a remarkable fourth movement. In November, amidst his work on this symphony, he returned with Clara to Cologne Cathedral to witness the elevation of Archbishop Johannes von Geissel to cardinal. His experience made its way into this movement, which he had originally titled “In the style of a solemn procession”, though he later replaced this with the word “feierlich” (“solemnly”). Bassoons, trombones, and horns intone a contrapuntal chorale, to which woodwinds and strings add their voices. As musicologist Michael Musgrave has described, “The form of the main part…does not as much suggest the drama of a service as the metaphor of a building: its developing sections and overtly contrapuntal working seem to suggest the creation of the successive levels and spans of a great physical structure”—indeed, like that of Cologne Cathedral itself.
Returning to lightness, the finale is an inventive summary of what came before. Several motifs—the extroverted first theme, the horn fanfare, and a rising arpeggio in the horns—all subtly reference those that have appeared in earlier movements: the slow movement’s tiptoe figure, the leaping first movement melody, and the scherzo’s first theme, respectively. In the recapitulation, a climactic brass fanfare recalls the ones in the fourth movement, after which the music picks up speed and rushes headlong to a joyous close.
Program note by Hannah Chan-Hartley, PhD
Violin Concerto in D major, Op. 77
I. Allegro non troppo
II. Adagio
III. Allegro giocoso, ma non troppo vivace
Most of the violin concertos from the 19th century we hear in the concert hall today were written for the eminent virtuosos of their time (in some cases, composer and violinist were one and the same). Very few, in fact, collaborated to the extent that Johannes Brahms (1833–1897) and the great Hungarian violinist Joseph Joachim (1831–1907) did to create a work on which the performer made such an indelible mark. As such, Brahms’s Violin Concerto remains a uniquely weighty example of the genre from its time that blurred the boundaries between composer and performer, soloist and orchestra, concerto and symphony.
It was August 1878, 25 years into their friendship, when Brahms surprised Joachim with the first movement of a violin concerto he had been secretly working on, requesting feedback on whatever the violinist found “difficult, awkward, impossible.” Delighted, Joachim responded, “Most of it is playable, much of it violinistically quite original; but whether it will be enjoyable to play in an overheated hall, I cannot confirm unless I play through the whole piece.”
Over the next months, they worked on the concerto together in person and via correspondence until the premiere on New Year’s Day in the Leipzig Gewandhaus, with Joachim performing and Brahms conducting. This first effort was a disappointment; having only received the complete violin part four days before, Joachim was under prepared, and Brahms had been nervous, while the audience was coolly polite and the critics ambivalent. Two weeks later, in Vienna, Joachim played the concerto again (this time conducted by Joseph Hellmesberger) with much better results, though the critics there remained reserved. Learning from these performances, Brahms and Joachim together continued to tinker with the score, adjusting issues of balance (such as thinning out the orchestration in places) and refining violinistic details, even as Joachim continued to perform it. In August, after one last in-person consultation (during which they played it through for Clara Schumann), they agreed on the Concerto’s final version, which was published in October.
As several scholars have revealed, Brahms didn’t just write his Violin Concerto for Joachim, he wrote it with him. He consulted the Joachim not only to be sure that his violin writing was idiomatically natural, but also to create a solo part that best embodied the performance style for which the great violinist was revered. Beyond his exceptional technical skill, Joachim was celebrated for his uncompromising attitude to musical quality and fidelity to the composer’s score. Furthermore, as musicologist Karen Leistra-Jones has discovered, he was especially admired for his “uncanny ability to present composed musical works as though they were being improvised, created on the spot through a mysterious fusion of Joachim himself with the mind or spirit of the composer.” As you’ll hear, it’s this quality of improvisatory spontaneity in Joachim’s playing that Brahms, through working with him, captures in the violin part. Meanwhile, the orchestra isn’t merely a backdrop but is shaped by rigorous symphonic processes, through which the violin solo intervenes and is interwoven.
The tension between these two expressive worlds is most palpable in the Concerto’s substantial first movement. It begins with the orchestra introducing several important motifs: 1) a falling then rising arpeggiated line of calm character; 2) robustly bold octaves; 3) gently winding phrases; and 4) confident snappy rhythms that lead to the soloist’s entry. Throughout the movement, each of these elements recurs and undergoes transformation, while the violin generally ruminates and decorates this material in a free and expansive way. In the lyrical second theme area, the violin interjects an expressive new theme that wasn’t in the orchestral exposition. The conflict between the two worlds escalates in the development section, but eventually culminates in an exuberant return of the opening theme for the recapitulation.
In the traditional point for a cadenza, Brahms had Joachim create his own, which, notably, Joachim wrote out rather than improvising one (today, his cadenza is still the most often played). A serious composition unto itself, the cadenza revisits all the movement’s main themes and motifs. At its conclusion, the violin leads into a final tranquil restatement of the opening theme, which the clarinet and oboe then take up, as the violin continues with a sublime extension that has it reaching ever higher. (This exquisite moment was the result of Brahms accepting Joachim’s advice to make his original conception of the theme less “uncomfortable” for the violin.) Gradually, the violin emerges out of its idyll, liquifying its line into flowing improvisatory phrases, after which the energy picks up and draws the movement to an emphatic close.
The Concerto is rounded off by two shorter movements of contrasting character. Extending the “idyll” from near the end of the “Allegro,” the “Adagio” opens with a gorgeous melody sung by solo oboe. As in the first movement, the violin then takes the theme and muses on it, thoroughly exploring its lyrical and emotional possibilities. Following a rhapsodic middle section, the melody reappears in the oboe, now with the violin weaving around it. Together, they continue in a tender exchange to the movement’s serene end. The Finale is an affectionate tribute to Joachim. In the style hongrois (a blend of Hungarian musical elements and the fluid virtuosity of Romani performing style), the violin is fully unleashed in this boisterous rondo, which alternately features rigorous dance rhythms, florid runs, and charming delicate melodies.
Program note by Hannah Chan-Hartley, PhD
Artists
_cropped__square.jpg)
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)
_james_ehnes_nov_2012_(c)_b_ealovega_(1)_cropped__square.jpg)
James Ehnes has established himself as one of the most sought-after musicians on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism, and an unfaltering musicality, Ehnes is a favourite guest at the world’s most celebrated concert halls.
Recent orchestral highlights include the MET Orchestra at Carnegie Hall, the Gewandhausorchester Leipzig, San Francisco Symphony, London Symphony Orchestra, NHK Symphony Orchestra, and the Munich Philharmonic. Throughout the 2023–2024 season, Ehnes continues as Artist in Residence with the NAC Orchestra and as Artistic Partner with Artis–Naples.
Alongside his concerto work, Ehnes maintains a busy recital schedule. He performs regularly at Wigmore Hall, Carnegie Hall, the Amsterdam Concertgebouw, Verbier Festival, and Festival de Pâques in Aix-en-Provence. A devoted chamber musician, he is the leader of the Ehnes Quartet and the Artistic Director of the Seattle Chamber Music Society.
Ehnes has an extensive discography and has won many awards for his recordings, including two Grammys, three Gramophone Awards, and 11 Juno Awards. In June 2020 Ehnes launched a new online recital series entitled “Recitals from Home” in response to the COVID-19 pandemic and subsequent closure of concert halls. These recordings have been met with great critical acclaim by audiences worldwide and Ehnes was described by Le Devoir as being “at the absolute forefront of the streaming evolution.”
Ehnes studied with Sally Thomas at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation in 1997. He is a Member of the Order of Canada and the Order of Manitoba, a Fellow of the Royal Society of Canada, and an honorary fellow of the Royal Academy of Music in London, where he is a Visiting Professor.
Ehnes plays the “Marsick” Stradivarius of 1715.
Recently named one of CBC’s “30 hot classical musicians under 30,” mezzo-soprano Alex Hetherington is quickly establishing herself as a skilled interpreter of operatic and concert repertoire, with a specialty in contemporary music. She is in her second year of residency at the Canadian Opera Company’s Ensemble Studio and has performed on major stages across Canada.
Operatic highlights include making her Canadian Opera Company (COC) debut as Mercédès in Carmen, singing the role of the Attendant in the COC’s production of Salome, and premiering the role of Riley in R.U.R. A Torrent of Light with Tapestry Opera, which won the 2022 Outstanding Ensemble Dora Mavor Moore Award. Other operatic credits include Rosina in Il barbiere di Siviglia, Carmen in La tragédie de Carmen (UofT Opera), and Nicklausse in Tales of Hoffmann (Toronto City Opera). Alex has also appeared in concert with the NAC Orchestra (Mozart’s Requiem; Golden Slumbers Kiss Your Eyes), the Victoria Symphony (Songs from the House of Death), the University of Toronto Symphony Orchestra (Neruda Songs), and the Toronto Symphony Orchestra (Tilly, in The Bear).
Alex holds a Master’s degree in Opera Performance from the University of Toronto, where she won the Jim and Charlotte Norcop Award in Art Song and completed a research-creation project examining art song performance practice through the lens of modern gender theory. Alex has a passion for contemporary music, composition, and innovative recital programming, and in her spare time she can be found reading, gardening, and admiring dogs.
Pianist, vocal coach, and pedagogue Liz Upchurch is currently in her 25th season as Music Director of the Canadian Opera Company’s Ensemble Studio, Canada’s premier training program for young opera professionals. There, she has now trained a generation of Canadian artists.
She is a recent recipient of Canada’s prestigious Ruby Award for her outstanding contribution to the world of opera.
She performed her first piano recital at the age of eight, one year after having accepted a coveted place at the Centre for Young Musicians, a music school for gifted children in London, England. It was here that her passion for playing with other instrumentalists truly began. Her love of the human voice and its marriage to text was soon to follow. She came to Canada to study art song at the Banff Centre, where she met her mentor, the late Martin Isepp.
Since then, she has curated, performed, and collaborated in hundreds of recitals across Canada, working alongside artists and composers such as Adrianne Pieczonka, Barbara Hannigan, Kaija Saariaho, and Ana Sokolović.
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.
Credits
NAC Orchestra
First Violins
Yosuke Kawasaki (concertmaster)
Jessica Linnebach (associate concertmaster)
Noémi Racine Gaudreault (assistant concertmaster)
Jeremy Mastrangelo
Emily Westell
Zhengdong Liang
Manuela Milani
**Marjolaine Lambert
*Martine Dubé
*Erica Miller
*Andréa Armijo Fortin
*Oleg Chelpanov
*Renée London
Second Violins
*John Marcus (guest principal)
Emily Kruspe
Frédéric Moisan
Carissa Klopoushak
Winston Webber
Leah Roseman
Mark Friedman
Karoly Sziladi
**Edvard Skerjanc
*Heather Schnarr
*Sara Mastrangelo
Violas
Jethro Marks (principal)
David Marks (associate principal)
David Goldblatt (assistant principal)
Tovin Allers
David Thies-Thompson
Paul Casey
*Sonya Probst
Cellos
Rachel Mercer (principal)
**Julia MacLaine (assistant principal)
Leah Wyber
Marc-André Riberdy
Timothy McCoy
*Karen Kang
*Desiree Abbey
*Daniel Parker
Double Basses
Max Cardilli (assistant principal)
Vincent Gendron
Marjolaine Fournier
*Paul Mach
*Doug Ohashi
Flutes
Joanna G'froerer (principal)
Stephanie Morin
Oboes
Charles Hamann (principal)
Anna Petersen
English Horn
Anna Petersen
Clarinets
Kimball Sykes (principal)
Sean Rice
Bassoons
Darren Hicks (principal)
Vincent Parizeau
Horns
*Spencer Park (guest principal)
Julie Fauteux (associate principal)
Lawrence Vine
Lauren Anker
Louis-Pierre Bergeron
*Olivier Brisson
Trumpets
Karen Donnelly (principal)
Steven van Gulik
Trombones
*Steve Dyer (guest principal)
Colin Traquair
Bass Trombone
Zachary Bond
Timpani
*Simón Gómez (guest principal)
Principal Librarian
Nancy Elbeck
Assistant Librarian
Corey Rempel
Personnel Manager
Meiko Lydall
Orchestra Personnel Coordinator
Laurie Shannon
*Additional musicians
**On leave
- Official Car of the NAC Orchestra
