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Orchestra Hall at Symphony Center
220 South Michigan Avenue
Chicago
more info…
R. Carlos Nakai, Native American Flutist
Paul Freeman, conductor
Download: PDF • Word Document
Since the beginning of time, the Earth has been an ever-changing, volatile environment. For millions of years, the earth has undergone vast transformation.
Now, in 2007 – in our own lifetime, we are experiencing changes in the world’s climate. However negligible, we cannot afford to be bystanders. Change may very well be needed.
This concert, presented in partnership with the Chicago Humanities Festival and the Peggy Notebaert Nature Museum, is the Chicago Sinfonietta’s attempt to reveal the connection between music and the environment- a continuously evolving relationship.
Symphony No. 5 - Ludwig van Beethoven
In1808, almost two hundred years ago, Ludwig van Beethoven composed
the epic Fifth Symphony. This piece provides a backdrop that battles
the possibility of serene joy against fateful apocalyptic events. In an interesting
microcosm of his symphonic work, Beethoven was indeed enduring his own struggles
that were perpetuated by his environment.
In Beethoven’s famous Heiligenstadt Testament (see below), he writes, “I have been hopelessly afflicted…compelled to withdraw myself, to live life alone.” Of course, as audience members and listeners are well aware, Beethoven lost his hearing and was nearly deaf upon the composition of the Fifth Symphony.
Beethoven lived in the flourishing urban city of Vienna and was surrounded by other creative artists and thinkers. He wrote, “..what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing…my misfortune is doubly painful to me because…I must live almost alone, like one who has been banished; I can mix with society only as much as true necessity demands.”
To escape affliction of the city, Beethoven spent much time in the quiet countryside. It spared his hearing and allowed him to compose. Nature was a plentiful muse. Often, Beethoven’s works represent the beauty and wonder of nature as a force versus man’s blistering jungle.
Beethoven was a composer who lived in a time of minimal urban development and had the opportunity of visiting untouched nature. Yet, hanging overhead was a sense of tragedy about the destruction of the natural. However, at this time, Beethoven was able to escape urban life allowing his music to be rich, pastoral and beautiful.
Two World Concerto for Cedar Flute and Orchestra – James
DeMars
Cedar Flute – R. Carlos Nakai
Premier Native American flutist, R. Carlos Nakai is a native Arizonian of
the Navajo-Ute heritage. It is evident that his southwestern surroundings
and culture heavily influence his work. Nakai exclaims that “a lot
of what I've been taught culturally comes from an awareness of the environment.”
James DeMars, composer of Two World Concerto for Cedar Flute and Orchestra has been a resident of Arizona since 1981. His musical works represent a number of compositions that explore intercultural possibilities. Influenced by diverse musical languages and cultures of the world, DeMars found an opportunity to explore serene, flowing melodic lines for this concerto. He describes the work as distinctly Native American, “not so much a concerto as an utterance of faith in the wonder and goodness of the world we inhabit.”
According to the Reno Philharmonic, who Nakai performed with recently, the Two World Concerto “is so closely linked to the temperament and spiritualism of Mr. Nakai anyone hearing him perform the work is hearing it as it was conceived – with all the depth, nuance and skill (virtuosity, to be exact) it takes to make the concerto soar as if on the wings of a haunting song.”
R. Carlos Nakai performs on the cedar flute with a sense of mysticism. Nakai said, “how I feel is based on my impressions of being in certain spaces at certain times. Thinking back...on personal tribal stories and the history of my culture figures into how I organize my music."
Global Warming - Michael Abels
Here’s a vision - a vast desert, beating down sun, relentless heat,
the sound and buzzing of cicadas.
In Abel’s Global Warming, visual and musical ideas weave around each other, intertwining forgotten melodies and sounds of a hot and dusty landscape – a vision of what was, and a vision of what may be.
The opening of Global Warming is a vision of the traditional idea of global warming, punctuated by a frantic violin solo; this section gives way to other episodes reflecting and celebrating vigorous world music of many cultures. The climax of the piece sounds like a celebration, noisy and wild with delight. This moment is broken by a return to the vision of the opening sounds of the piece.
What accurately describes the future? Scene one or scene two?
Ponderings:
For my brothers Carl and Johann Beethoven
Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me? You do not know the secret cause which makes me seem that way to you. From childhood on, my heart and soul have been full of the tender feeling of goodwill, and I was ever inclined to accomplish great things.
But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible).
Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to withdraw myself, to live life alone. If at times I tried to forget all this, oh how harshly I was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak louder, shout, for I am deaf." Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed. — Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you.
My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas. I must live almost alone, like one who has been banished; I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed.
Thus it has been during the last six months which I have spent in the country. By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship.
But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing.
Such incidents drove me almost to despair; a little more of that and I would have ended my life — it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me. So I endured this wretched existence — truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the very worst. — Patience, they say, is what I must now choose for my guide, and I have done so — I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread.
Perhaps I shall get better, perhaps not; I am ready. — Forced to become a philosopher already in my twenty-eighth year, oh it is not easy, and for the artist much more difficult than for anyone else. 'Divine one, thou seest me inmost soul thou knowest that therein dwells the love of mankind and the desire to do good'.
Oh fellow men, when at some point you read this, consider then that you
have done me an injustice; someone who has had misfortune man console himself
to find a similar case to his, who despite all the limitations of Nature
nevertheless did everything within his powers to become accepted among worthy
artists and men. 'You, my brothers Carl and [Johann], as soon as I am dead,
if Dr. Schmidt is still alive, ask him in my name to describe my malady,
and attach this written documentation to his account of my illness so that
so far as it possible at least the world may become reconciled to me after
my death".
At the same time, I declare you two to be the heirs to my small fortune (if
so it can be called); divide it fairly; bear with and help each other. What
injury you have done me you know was long ago forgiven. To you, brother Carl,
I give special thanks for the attachment you have shown me of late. It is
my wish that you may have a better and freer life than I have had. Recommend
virtue to your children; it alone, not money, can make them happy. I speak
from experience; this was what upheld me in time of misery. Thanks to it
and to my art, I did not end my life by suicide — Farewell and love each
other — I thank all my friends, particularly Prince Lichnowsky's and Professor
Schmidt — I would like the instruments from Prince L. to be preserved by
one of you, but not to be the cause of strife between you, and as soon as
they can serve you a better purpose, then sell them.
How happy I shall be if can still be helpful to you in my grave — so be it. — With joy I hasten to meet death. — If it comes before I have had the chance to develop all my artistic capacities, it will still be coming too soon despite my harsh fate, and I should probably wish it later — yet even so I should be happy, for would it not free me from a state of endless suffering? — Come when thou wilt, I shall meet thee bravely. — Farewell and do not wholly forget me when I am dead; I deserve this from you, for during my lifetime I was thinking of you often and of ways to make you happy — please be so —
Ludwig van Beethoven
Heiligenstadt, October 6th, 1802
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