(light orchestral music) - [Melissa] We are live at Orchestra Hall in Minneapolis with performances, interviews, and more.

- Music is exuberant.

- Beautiful and uplifting.

- Joyful and profound.

- Exhilarating.

(light orchestral music continues) - [Melissa] This is Minnesota Orchestra.

- Good evening everyone.

Happy New Year, and welcome to Orchestra Hall in Minneapolis.

I'm your host, Bill Eddins, and what a joy it is to be with you tonight for the Minnesota Orchestra's very first concert of 2023.

Tonight's program features pianist Kirill Gerstein, performing a work that is equal parts thunder, lyricism, and lightning.

Rachmaninoff's sweeping "Piano Concerto No.

3".

Later in the show we will hear a perennial favorite Mussorgsky's "Pictures and an Exhibition".

This was originally a set of piano pieces inspired by 10 vivid canvases by his close friend, Viktor Hartmann.

"Pictures" has been arranged for orchestra dozens of times.

Tonight we will hear the luminous version by Maurice Ravel.

The most popular and my personal favorite.

Susie Park is our concert master for tonight's concert and we will begin with a piece that received its US premiere just last year.

Samuel Coleridge-Taylor's "Solemn Prelude" was commissioned by Britain's Three Choir Festival and premiered in 1899.

Despite favorable reviews, it was never published, and all the orchestral parts were lost for more than a century.

But in 2021, the original manuscript was uncovered at the British Library, and "Solemn Prelude" had its revival at the very same festival, and is now receiving major orchestral performances worldwide.

What a marvelous opportunity to hear this rediscovered work.

And now we welcome guest conductor Ryan Bancroft, making his Minnesota Orchestra debut and he will lead the Minnesota Orchestra in Coleridge-Taylor's "Solemn Prelude".

(audience applauding) (dramatic orchestral music) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (audience applauding) - That was "Solemn Prelude" by Samuel Coleride-Taylor played by the Minnesota Orchestra under Ryan Bancroft who's making his Minnesota Orchestra debut.

Ryan is from California, he now lives in London.

He's the principal conductor of the BBC National Orchestra of Wales, and Chief Conductor Designant of the Royal Stockholm Philharmonic.

That piece composed by Coleridge-Taylor when he was just 24 years old.

The second performance was more than 120 years later.

We are live at Orchestra Hall in Minneapolis with the Minnesota Orchestra.

Still to come on tonight's program, Mussorgsky's "Pictures at an Exhibition" and in just a few minutes, the "Piano Concerto No.

3" by Rachmaninoff.

I'm Melissa Ousley in the MPR radio booth and Bill Eddins is backstage tonight taking care of the TPT audience, Twin Cities Public Broadcasting, and also those watching on the orchestra's website.

Hey there, Bill.

- Good evening, Melissa.

- I think both of us are pretty excited for this next piece, the third piano concerto by Rachmaninoff, who was famously a triple threat in music as conductor, composer, and of course, pianist.

And the conductor piece, sometimes I forget, he had a couple of big job offers right here in the United States.

Two from the Boston Symphony Orchestra one from Cincinnati Symphony.

He turned all three of them down.

- I can't believe he turned down Boston twice.

- I know.

- That's really amazing.

And he must have been a very intimidating conductor because he was not a small man and it just, I can think of him as, you know, if you remember the pitcher Randy Johnson when he would throw a a fastball and their batter said, it was like he would stride and he'd be halfway to to the plate.

It must have been like that to deal with Rachmaninoff, amazing musician however, even though we know him mainly as a pianist and as a composer of piano music.

- Well, I think one of the things that probably made him a great conductor was some of the same stuff that made him a great composer and pianist.

That sense of knowing the architecture of a piece, knowing exactly what he was after, the big stuff and the details as well.

- Absolutely.

He could put together a piece.

He had great craft in putting together his music and some people consider that an insult but when you look at it from a performer's point of view, you know that the music is going to work and that it's going to go somewhere.

And you really appreciate that.

- Yeah, yeah.

You mentioned he was tall.

Stravinsky called him a six and a half foot scowl.

He didn't smile all that much.

- No, no.

Well, Stravinsky didn't either, so I don't know what he was talking about.

- But if you look at his piano music, you don't even have to try to play it.

You can tell there are just these massive chords in there and for us mortals, sometimes that's kind of hard to pull off.

- Yeah, I have huge hands for my size and I can comfortably reach a 10th with both hands but Rachmaninoff, if you ever see the plaster casts of his hands, they're just enormous.

And the guy evidently had a reach of a 12th, so C to a G above the octave and that's just enormous.

I don't know any other pianist who has a reach like that.

- Yeah, it's nuts.

Well, we're gonna hear the "Piano Concerto No.

3" and it's a piece that starts kind of quietly and it makes me think of this story I have heard, I don't know if it's true, that he suffered from a bit of stage fright and he could take care of that when he wrote his pieces.

For example, the second piano concerto starts with those big chords and then it's the orchestra that has this lush melody while the pianist is playing a lot of notes but you can't hear all of them until later in the piece when he is kind of warmed up.

So the theory is maybe Rachmaninoff was building in a little bit of warmup for himself and when he was fully, you know, exposed with the big solo parts, he was comfy.

What do you think?

- Oh, this is very smart if it is indeed the truth because you look at the Beethoven and the Mozarts and you have five minutes where the pianist does nothing and suddenly you have to play.

So it was a smart move on his part.

- Listen, Bill Eddins, it is always a pleasure to talk to you and thank you so much for your time.

I hear them tuning up so we better let them play Rachmaninoff soon.

- Thank you, Melissa.

Enjoy.

- The Rachmaninoff "Piano Concerto No.

3" was composed in Russia for part of Rachmaninoff's first North American tour, and it started with a solo recital at Smith College in Massachusetts.

And then he went on to New York and played the concerto with the New York Symphony Orchestra as it was called at that time.

And when I asked Kirill Gerstein what draws him to this concerto, he talked about the marriage of technical richness and a kind of musical opulence and eloquence.

And he said, "Yep, there are a lot of notes, but it's very rewarding to play.

And all of that helps to carry you through the technical difficulties."

(audience applauding) Kirill Gerstein, certainly a Rachmaninoff specialist among other composers, and I think you'll be pleased with what you hear.

So let's listen to that quiet beginning in the piano part and then how it evolves as well.

A live broadcast with Ryan Bancroft conducting the Minnesota Orchestra.

(light orchestral music) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (light orchestral music continues) (audience applauding) - Well, a thunderous reception for our pianist tonight Kirill Gerstein performed the third piano concerto of Sergei Rachmaninoff.

Ryan Bancroft conducting here with the Minnesota Orchestra.

My colleague Melissa Ousley earlier said that she was excited to hear the third piano concerto.

For us pianists, it's not so much excitement as it is sheer terror and trepidation.

I've heard rumor from the stage crew that Kirill was here practicing for a good four hours today before he even went on stage this evening, which means that he probably played more notes in this one day than I have in the entire last year and I am in shape for a recital.

The third piano concerto of Rachmaninoff is just such a monstrous piece.

It is the epitome of a piano playing, of concerto playing, and just to get through it is an absolute wonder and I have the greatest respect for any pianist who can do it, let alone someone who can do it with the flair and grace that Kirill has brought to this performance this evening.

And you can tell from the audience reaction that they absolutely loved the performance as well.

They should have.

Incredible, incredible performance by Kirill Gerstein.

(audience applauding) He's coming on for a solo bow now, thunderous reception not only from the audience but also from his colleagues on stage of the Minnesota Orchestra who appreciate his artistry and his pianism.

There are not a lot of pianists who can play this piece and there are not a lot of pianists who can play it with the flair that he has brought to it this evening.

A truly impressive performance.

Kirill Gerstein here at the Minnesota Orchestra.

Now these concerts, mark Conductor Ryan Bancroft's debut with the Minnesota Orchestra, a native of Los Angeles, Bancroft currently makes his life in Europe, where he is Music Director of the BBC National Orchestra of Wales, orchestra I've conducted before.

And he's also Music Director Designate of the Royal Stockholm Philharmonic.

And tonight we're looking forward to Ryan conducting on the second half, the wonderful "Pictures at an Exhibition" by Modest Mussorgsky.

Now the aesthetics and the acoustics in Orchestra Hall are absolutely striking.

When you walk into Orchestra Hall or see it on screen, you're immediately drawn to the massive cubes.

They are front and center on stage, before they blossom onto the ceiling of this beautiful hall.

So what's the story behind the cubes?

This feature narrated by violinist Hannah Landrum will provide some answers.

(light orchestral music) - [Hannah] A cube is defined as a solid bounded by six equal sides and when those sides are tilted, cut to various sizes and positioned at different intervals, they become the acoustical marvel that is Orchestra Hall.

The 114 cubes of various sizes are more than an architectural showpiece.

They significantly contribute to how audiences hear the music.

Unique to the Minnesota Orchestra's downtown Minneapolis home, the cubes were considered modernist design when the hall was built in 1974.

They were created by revered acousticians Cyril Harris who was known for using geometric and unusual shapes as sound reflective surfaces.

The wood and plaster cubes appeared as though they were falling from the sky and soon gained national recognition as a source of near perfect sound.

- The cubes that everybody recognizes as iconographic elements of this hall do play a role in the acoustics.

What we have in this hall with the cubes is to provide some surfaces that scatter the mid and high frequency sound.

They do the same sort of thing that in older halls that have columns and coffers and other aspects of of classical architecture, which are important aspects of blending the sound and keeping the sound from being too harsh.

The cubes were a modern evocation of that physics in a different architectural form.

(light orchestral music) - [Hannah] Even though the initial acoustic design was superior, it wasn't exactly perfect, at least not from the stage.

While audiences enjoyed optimum sound, musicians began to notice some flaws in their ability to hear one another on stage.

When the building underwent a lobby expansion in 2013, the auditorium itself also went through an upgrade process.

London-based engineers from Sound Space Vision were brought in to make adjustments based on the musician's feedback.

- Our work with the players involved off and on all the way through the project considerations that are not just about the physics and the architecture but are about making music and about performance practice.

Our challenge in reducing the sound level or loudness on stage was we had to work within the architectural concept, including the cubes.

So what we did was we modified some of the cubes that are over the upstage players, the back of the stage where the percussion and brass typically are, and changed some of those surfaces into sound-transparent and sound-absorbing surfaces still with the white cubicle geometry, so it's not really visible.

- [Hannah] Toronto-based KPMB Architects led the renovation and worked very closely with Robert Essert and his team to make improvements in the auditorium.

- The hall that I like best are the ones where it is one room and you kind of, the audience is drawn onto the stage.

The sound sort of permeates out from the stage.

So when it was time to decide what we would put on those side walls, I suggested that we take the balcony fronts, which were faceted anyway and drive them into and beside the orchestra.

And this was a solution that Bob liked and worked acoustically.

- [Hannah] Orchestra Hall's acoustics have solidified its reputation as one of the finest performance spaces in the country.

And to understand why, you just have to look up.

- The cubes are a wonderful part of the hall.

When I saw this hall, I thought pretty amazing.

It's a hall that captures the spirit of its times.

It also captures the spirit of the individuals who contributed to create this hall.

(light orchestral music) - This is a wonderful hall.

People around the world respect it as so.

In my experience, the resident orchestra that plays in the hall regularly considering it their home develops a sound that goes with the sound of the, the physics of the hall.

And the two become one, in essence.

- [Hannah] Every year, tens of thousands of school-aged children come to engage with the orchestra and the cubes make a lasting impression on these young audiences.

Through the years it has been said that the inspiration for the original cube design came from a comic book superhero figure made of falling rocks or a river running through stones.

Whether they appear as quirky geometry or creative architecture, the iconic cubes of Orchestra Hall are an enduring testament to the science and art of acoustic design.

(light orchestral music) - Orchestra Hall.

This is really known for its vivid acoustics and the cubes play an essential role in the aural vibrance of this space.

Now we love seeing old photographs of the hall from over the years.

There's a lot of history here at Orchestra Hall.

So much of that history and what we know about the Minnesota Orchestra is stored 80 feet below street level in the limestone caverns of the renowned University of Minnesota Archives, right off of the Mississippi River.

Let's see what violinist Michael Sutton discovered during his recent visit there.

- So Chris, this looks amazing.

How many pieces of information do you have on the Minnesota Orchestra in these archives?

- Easily hundreds of thousands.

The collection altogether is probably well over five to 600 bankers boxes.

They're in environmentally protected storage down in the caverns.

- Did you say caverns?

- Yes.

We call them caverns.

We don't call them caves.

- Sounds like something out of "Phantom of the Opera".

I can't wait.

- Most people say "Indiana Jones".

- Okay.

(both laughing) Right, right.

Even better.

(dramatic orchestral music) Chris?

- Here.

- Marco.

- There you are.

- Hi, where to next?

- Here we go.

We are in the Elmer L. Anderson Library on the University of Minnesota campus, which is the home of the Department of Archives and Special Collections, one of the largest collections of archival and rare materials in the country in a university setting.

- [Michael] These are all full, these boxes- - These boxes are all full.

- Absolutely full.

Boy, I could spend a lot of time in here.

- Yeah.

The Performing Arts Archives started in the, about the mid-1960s and we tried to collect materials from the major performing arts organizations in the Twin Cities.

So the Minnesota Orchestra, the Guthrie Theater, Children's Theater, Minnesota Dance Theater, and then a lot of smaller theaters and performing arts organizations as well.

So it's a great resource if you wanna look at the history of the performing arts in the Twin Cities.

The orchestra stands out as an organization that values its history.

Here's the famous Wheaties Box.

- Eiji!

- So this was to celebrate Eiji Oue.

New Music Director.

- This is neat and it's got a nice picture.

He hired me back in '96 and that just looks like charming Eiji.

That's the way he, that's the way he was with everybody.

- In the late 1990s, the orchestra was starting to look at its history.

Kathy Cunningham and Mary Anne Feldman and other people who had been supporting the orchestra working with the orchestra for many years wanted to make sure that the orchestra's legacy was protected and made available for researchers.

The Minnesota Orchestra's archives is hundreds of thousands of items ranging everywhere from publicity materials and box office records to photographs of the orchestra, scrapbooks, just about anything you could think of having to do with the business of an orchestra.

- Look at this.

- So this is the 1910, 1911 season scrapbook.

- This is before my time, so- - Mine too, believe it or not.

- "Minneapolis prides herself on her music."

I love that.

- Here's an October 16th, 1910 clipping that says, "Orchestra concerts for the school children among the possibilities."

- "Among the possibilities."

They were at least thinking about it.

- Yeah.

- In 1910.

- Yep.

- Okay.

Well that's a huge part of our mission.

So, "The concert is brilliant."

- Okay.

- Obviously they didn't keep the bad review maybe, but- - (laughing) The materials in this library are available for anyone to use.

We have researchers who come from all over the world to use materials here.

(light orchestral music) We have lots of photographs of conductors.

- I know these guys.

- So we have Dimitri Mitropoulos.

- Dimitri Mitropoulos is one of the big names of his day.

I overlapped with some of the old guys who either worked with him or new guys that worked with him and he was incredibly generous.

Apparently if a guy didn't have enough money for rent or whatever, he would give them a loan.

- That's impressive.

- Yeah.

- Especially in the old days where the conductor was a dictator, kind of tyrant.

You hear bad stories too.

- Sure.

- I've only heard good stuff about Dimitri Mitropoulos.

(light orchestral music) - Conducting.

- That's really quite dramatic as is this one of him, apparently a on top of a mountain.

- He's mountain climbing.

- The jacket's torn.

I mean, it looks like he fell a couple of times.

(dramatic orchestral music) You tell me about this lady, Jenny.

- Her name is Jenny Collin and she was the first female musician in the orchestra.

Pre-World War II.

- Orchestras were almost exclusively males for up until about the '70s.

So this is really unusual to have her a member of what was then the Minneapolis Symphony.

There's another lady over there.

- Yeah, so we have another first here.

This is Mrs. Carlyle Scott.

She was the first female manager of the orchestra from 1930 to '38.

- And so this was during the time when the orchestra was dubbed the Orchestra on Wheels because we did so many railway tours they had their own Pullman cars and they would go all around the country.

There's a great photo in Orchestra Hall lobby of when one of the tracks failed and there's cars overturned and everybody's fine.

They're just standing there.

- (laughing) In 1957, the orchestra did a tour in the Middle East.

This is one of two scrapbooks put together by Steven Zellmer who was a trombonist.

He's got some stamps here, some clippings about the symphony playing for the Shaw.

- Well, there's a nice picture of the actual performance in Tehran.

Wow.

Well here's Greece.

"Minneapolis Symphony Orchestra.

It's first overseas concert at the Herodes Atticus Theater in Athens, and there they are standing on the tarmac.

September 5, 1957.

The Minneapolis Symphony did so many great things, especially across the country but then taking this across the world, I think it was kind of us being ambassadors for Minnesota.

- Absolutely.

- That's kind of what touring is about.

It's about showing the world what you can do and recording projects are to have easy access for our listeners and perhaps get a Grammy or something and get accolades like that.

- Here we have a letter from Sibelius to the Minneapolis Symphony Orchestra thanking them for playing his works.

- [Michael] Wow.

- In honor of his 90th birthday.

- August 26th, 1955.

"Dear sirs, to my great pleasure, I have learnt that the Minneapolis Symphony Orchestra is to perform my works on December nine in celebration of my 90th birthday, profiting of this opportunity.

I send your fine orchestra and its famous conductor, Mr. Antal Doráti, my kindness regards.

I am happy that my music will sound through your medium to the music lovers of Minneapolis."

Wow.

He was just one of the giants of the early 20th century and it's wonderful to see this letter and this signature right here in front of me having just, you know, we recorded all the Sibelius symphonies with Osmo, and Osmo has been the, you know, considered the leading interpreter of Jean Sibelius's works.

- Very cool.

- Well, I am personally very grateful to the University Archives for keeping all this stuff for us.

And I mean, just to see all the boxes downstairs in the caverns is so important.

I mean, because if you don't know your history, I mean, who are you?

Chris, I just found something that's like really important to me.

I'm not kidding.

This is amazing.

You have stuff on the Stagecoach Players and my dad, even my mom, were part of the Stagecoach Players before I was born.

Photobooks.

Oh my God.

Chris, can I take this home with me?

- [Chris] No.

Bring your dad in.

- 1966.

There he is.

Bingo.

This is my dad, Vern Sutton.

Do I look anything like him?

My dad, Vern Sutton, he was a fixture here for so long, head of the music department for at least a dozen years and then the director of the opera department for at least four decades.

And a professor here for a very long time.

Oh, dad died again.

- [Chris] (laughing) Does he do that a lot?

- He does that a lot.

You know, it happens every night in this show.

I'm gonna come back.

- Okay.

- I'm gonna bring dad.

- You bet.

- Okay, thanks.

- Ah, the University of Minnesota Archives.

They have millions of items in their collection.

I've always wanted to go down there and just browse.

It's fascinating to hear just a few stories about the Minnesota Orchestra that are stored at the U.

Now we wrap up our concert tonight with the selection that has a lot of history.

In fact, it's been performed by this orchestra in one way, shape, manner, or form, whether excerpted or in full nearly 200 times.

Modest Mussorgsky was a member of the Mighty Handful.

It was a collective of five composers who sought to elevate the Slavic sensibility above the Western musical influences at the time.

And "Pictures at an Exhibition" is certainly a prime example of the Russian style, both in its use of popular music and its unusual and decidedly un-Western form.

The impetus for "Pictures" comes from a memorial exhibition by Mussorgsky's close friend, Viktor Hartmann.

And it is a musical depiction of the composer's journey through Hartmann's paintings and sketches.

And we hear among the "Pictures," Mussorgsky walking, or more accurately, promenading through the exhibition.

Now each of these pictures are an extraordinary musical miniature, depicting everything from a portrait of a wooden gnome to costumes for a ballet with children dressed as eggs, a sketch of old women quarreling at a marketplace, to a painting of a resplendent gate.

Unfortunately, you know, one can't really pick favorites, but I'm going to, I have to say that mine is "The Ballet of the Unhatched Chicks".

You get to hear something unusual.

That is Modest Mussorgsky's humorous side.

Now originally conceived as a piano work, I played it, "Pictures at an Exhibition" is best known as a symphonic work.

Tonight, we'll enjoy Ravel's vibrant and inventive orchestration, where every color of the orchestra is on full display.

The Minnesota Orchestra will be be conducted by our guest conductor Ryan Bancroft who is making his debut this week, and will now be taking the stage for this performance of Modest Mussorgsky's "Pictures at an Exhibition", orchestrated by the great Maurice Ravel.

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