I. II. III. IV. V E I. II. III I. II. III. IV. Program ROBERT SCHUMANN ( ): Symphony No 3, Op 97, E- at

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1810-1856 I. II. III. IV. V. 1809-1847 E I. II. III. ---- 1833-1897 I. II. III. IV. Program ROBERT SCHUMANN (1810-1856): Symphony No3, Op 97, E-at maor, Rhenish I. Lebhaft II. Scherzo: Sehr mäsig III.

1 I. II. III. IV. V E I. II. III I. II. III. IV. Program ROBERT SCHUMANN ( ): Symphony No3, Op 97, E-at maor, Rhenish I. Lebhaft II. Scherzo: Sehr mäsig III. Nicht schnell IV. Feierlich V. Lebhaft FELIX MENDELSSOHN ( ): Violin Concerto, Op. 64, E minor I. Allegro molto appassionato II. Andante III. Allegretto non troppo Allegro molto vivace ~Intermission~ JOHANNES BRAHMS ( ): Symphony No. 3, Op. 90, F maor I. Allegro con bio II. Andante III. Poco allegretto IV. Allegro :30 PM National Concert Hall, Taipei Günther Herbig, conductor Henning Kraggerud, violin National Symphony Orchestra (NSO)

2 NSO Live Profiles Günther Herbig, conductor Günther Herbig divides his activities between Europe and North America. His conducting career has been equally distinguished on both continents. He has also visited Asia nearly 20 times working with several Tokyo orchestras and those in Hong Kong, Singapore and Taiwan. In 1984 he moved from East Germany to the United States and served for ten years as Music Director first of the Detroit and later of the Toronto Symphony Orchestra. Herbig's musical training took place in Central Europe, where he studied with Herman Abendroth, Herbert von Karajan and Hermann Scherchen. He began his career with appointments in the East German cities of Weimar and Potsdam. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Berlin Symphony Orchestra from 1977 to In Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in Soon he was invited to conduct such major ensembles as the London Symphony, the Royal Philharmonic London, the Philharmonia in London, the Orchestre de Paris, the Israel Philharmonie, and many others in major cities. In the USA he started in 1979 as Principal Guest Conductor of the Dallas Symphony and has since conducted the orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco, Los Angeles, Toronto, Baltimore, and many others. He toured the US several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on an European tour. In 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Japan, Singapore and Taiwan. Herbig made nearly 40 recordings with the leading East German orchestras, including cycles of Haydn and Brahms symphonies before leaving East Germany in His most recent releases include Beethoven Symphony Nos. 3 & 5, Schubert Symphony No. 8, Brahms Symphony No. 1, Mahler Symphony No. 5 and Strauss Ein Heldenleben with the BBC Philharmonic, and some other recordings with London Orchestras. From 2001 to 2006 he was the Chief Conductor of the Saarbrücken Radio Symphony Orchestra, with which he also recorded symphonies of Mahler and Shostakovich. Herbig was the Artistic Advisor and Principal Guest Conductor of the Taiwan Philharmonic (NSO) from 2008 to With the NSO, he recorded Mahler's Symphonies Nos. 6 & 9 and Bruckner's Symphony No. 9. Henning Kraggerud, violin Born in Oslo in 1973, Henning Kraggerud is an artist of exquisite musicianship. He is a recipient of Norway's prestigious Grieg Prize and in 2007 was awarded the Sibelius Prize. His performance highlights in 2012 included stepping in at late notice with the Philharmonia Orchestra under Vasily Petrenko, and the Hollywood Bowl debut with the Los Angeles Philharmonic. Other highlights include returns to the

3 2 BBC Dextra Musica AS London Philharmonic and Hallé orchestras, and debuts with the Beethoven Orchestra Bonn and the Poznan Philharmonic. With his strong commitment to chamber music, Kraggerud performs regularly at the major international festivals, including appearances at the Rheingau Festival and LSO St Luke's in the BBC's chamber concert series. Kraggerud is Co-Artistic Director of the Risør Festival of Chamber Music and from September 2012, Artistic Director of the Tromsø Chamber Orchestra. Henning Kraggerud plays on a 1744 Guarneri del Gesu, provided by Dextra Musica AS. neue Bahnen E3/4 g G200 Scherzo sehr mäßigaba'ac LändlerB a Intermezzo Nicht schnell (feierlilch) E Joseph Joachim, E 1838 Ferdinand David,

4 3 G Hans Richter, Joseph Joachim, frei aber einsam frei aber frohf-a-f AA F- A-F FA ABA' Scherzo Poco Allegretto tw/related_catalog/index.asp?q=201405( ) Program Notes Robert Schumann: Symphony No. 3, Op. 97, E-flat major, Rhenish Rhenish Symphony, the Symphony No. 3 in E flat major, Opus 97, which Schumann sketched and orchestrated in a span of five weeks, starting at the beginning of November The first performance was given at a subscription concert in Düsseldorf on 6 th February, 1851, when the symphony won considerable success. The work, scored for pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, three trombones, two timpani and strings, opens with a theme from which the principal substance of the energetic first movement is derived. The second movement Scherzo is unusual in form, consisting of three variations on a C major melody, the second taking the place of the expected Trio. The third movement is one of calm lyricism, giving way to the ceremonial interlude of the fourth, inspired by the archiepiscopal enthronement in Cologne. The final movement is one of continued contentment and delight Naxos Digital Services Ltd Felix Mendelssohn: Violin Concerto, Op. 64, E minor Mendelssohn's Violin Concerto, in the words of the great violinist Joachim the dearest of all German violin concertos, the heart's jewel, was written for Ferdinand David, leader of the Leipzig Orchestra, during the late summer of Its composition discharged a debt of gratitude to the violinist and expressed, too, something of the relief the composer felt at the end of a period that had involved him in the troublesome musical politics of Berlin. The concerto, the second Mendelssohn had written for the instrument, opens, after two brief bars of orchestral accompaniment, with the entry of the soloist playing the principal theme, which is only then taken up by the full orchestra. There are other structural innovations in the movement, with the placing of the cadenza at the end of the central development section, instead of the end of the movement, and with the use of a sustained bassoon note to link the first movement to the second. The deftly scored slow movement, of masterly economy in means, leads to a brief transitional section, followed by a spirited last movement that offers a fine example of that lightness of touch that Mendelssohn had shown time and again, not least in his famous Overture to Shakespere's A Midsummer Night's Dream Naxos Digital Services Ltd Johannes Brahms: Symphony No. 3, Op. 90, F major Brahms's Third Symphony is surely one of his most poetic, evocative works, with vivid characterization and individuation of themes and their transformations: the bold chordal chromatic opening gesture heralding and underpinning the sweeping arcs of the first theme, the untroubled pastoral second subject, decisive transmutations in development - the second subject now tragic, the first lyric

5 4 and monumental; the naïve march of the slow movement, with its nevertheless complex phrase-lengths and cadence echoes, the archaic quasi-chorale with enigmatic harmonies at the movement's centre, the concluding rich, yearning violin melody evolved from the earlier cadences; the rhythmic play in the tunes of the third movement, where 'upbeats' become winsomely relocated and, in the trio, beguilingly accented; the vigorous minor-key finale, with its veiled, anxiously mobile first theme, the solemn brass version of the slow movement's chorale, the athletic, seemingly carefree major second subject, the emphatically defiant end to the exposition, development which fragments the first theme, then glorifies and energizes the chorale; finally the transfiguring apotheosis as the first theme slows, turns to major, combines with yet another variant of the chorale, now peaceful and celebratory, and with a meditative, valedictory return of the very beginning of the symphony. The conductor of the first performance, Hans Richter dubbed the Third Symphony 'Brahms's Eroica'; this was really a party pleasantry, though one that caught on and engendered serious discussion in the contemporary press. Perhaps more telling were the reactions of Brahms's friends. Clara Schumann wrote to him how, in the symphony, 'one is surrounded from beginning to end by the secret magic of the life of the forest' and Joseph Joachim, little given to such poetic interpretations, heard the story of Hero and Leander in the last movement. Brahms composed the work in Wiesbaden in summer 1883 and his biographer, Max Kalbeck, poet as well as historian, suggested a connection with the great monument celebrating the German nation being built close by, the statue of Germania at Rüdesheim. He also speculated as to a possible origin of the middle movements in Brahms's erstwhile plan to write incidental music for Goethe's Faust. It is, however, Kalbeck's third proposal that has caught the minds of today's public - that in this symphony Brahms used the musical spelling of a personal motto, the notes F-A-F standing for 'frei aber froh' (free but happy) and giving the work a special biographical slant. While there is abundant evidence that the young Joachim used the motto F-A-E, 'frei aber einsam' (free but lonely), there is none at all to support Kalbeck's inventive suggestion of one for Brahms. Nevertheless, Brahms was free and, in the main, happy, and he did have pronounced ability in making arpeggios into tunes - such are the truths of fiction. Brahms himself said just one thing about such origins: that the first theme was 'literally transcribed from the Berchtesgaden yodel'. The theme's pitches do indeed replicate those of a Juchezer sung in Berchtesgaden, but the significant lessons here are about transformation as expressive renewal, and about Brahms's love and use of folk-music, for he makes these notes into a sophisticated high-art theme of symphonic scale and potential. Critics from Brahms's time onwards have pointed to altogether different sources for this theme - in link passages in the slow movement of Schumann's First Symphony, and the opening movement of his Third; these resonances are indisputable, though there is no record of Brahms or Clara Schumann ever alluding to them, but again it is the more general implication concerning Schumannesque facets of Brahms's romanticism which has the greater interest. Recently other critics have pointed to resonances from Tannhäuser, Siegfried and Götterdämmerung, seeing the symphony as a tribute to Wagner, who had died that February. All this testifies to the suggestive richness of the Third, yet to understand the foundations of Brahms's expressivity we should go back to Richter's party pleasantry, not for its specific reference to Beethoven's own Third, but for the more general invocation of Brahms's great predecessor, from the study of whose music he had learnt the core of his creative equipment. For Brahms's Third Symphony is the work of a constructivist poet - the far-reaching 'speaking' themes and their telling transformations articulate the established architecture of the classical symphony and make it new, showing how profoundly Brahms understood his loved heritage. In the historical and structural contexts of its sonata and ternary forms, the symphony's contrastive, transformative and reflexive narratives take on correspondingly greater power, fluency and expressive immediacy. The Third Symphony was first performed on 2 December 1883 in Vienna and became an outstanding success - Brahms's characteristically complex response was to wonder whether he should cancel subsequent performances. The Third Symphony opens with a brief figure played by the wind and this serves as a bass to the intense emotion of the succeeding theme proposed immediately by the violins. A second subject, in A major, is introduced by the clarinet, accompanied by a string drone bass, offering a pastoral contrast to the grandeur of the first theme. The opening motif reappears with particular poignancy played by the French horn in the central development, which closes with a richness of counterpoint typical of the composer. The C major slow movement allows clarinets and bassoons to predominate in the statement of the principal theme, the same instruments introducing a second theme, followed by oboe and French horn. A moving cello theme in C minor starts the third movement, a world away from the traditional lighthearted scherzo. There is a Trio section, its sombre implications replaced by the return of the principal theme of the movement played by the French horn. The last movement, in which much of the argument of the symphony is concentrated, opens ominously, the mysterious initial activity of bassoons and strings, sotto voce, leading to a great storm of sound in which the composer shows all his power. The finale is massive in conception, ending not with the defiance of a Beethoven but with a gentle recollection of the first movement Naxos Digital Services Ltd For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to tw/related_catalog/index.asp?q=

6 / NSO NSO NSO National Symphony Orchestra Founded in 1986 by the Ministry of Education, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became the resident orchestra of the National and an artistic affiliate of the National Performing Arts Center in April The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Maestro Shao-Chia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan. The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hogwood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong, Guangzhou, Shanghai, Hangzhou, and Beijing. NSO () NSO

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