…This weekend Runnicles will lead the Grand Teton Festival Orchestra in Haydn’s Symphony No. 101 (finished in 1793 or ’94), nicknamed “The Clock” for the metronomic tick-tock of its second movement.
Bookending Haydn are Anton Webern’s breezy “Im Sommerwind” and Richard Strauss’ tone poem “Ein Heldenleben,” featuring rigorous soloing by Concertmaster Madeline Adkins.
…“Ein Heldenleben” was the eighth of what would grow to 10 tone poems, orchestral visions that Strauss undoubtedly mastered. Clocking in at about 50 minutes, it consists of six movements, starting with an introduction of The Hero (probably Strauss, though he said it was not), his Adversaries (his critics) and his Companion (his wife, Pauline de Ahna).
The piece reaches a clamorous climax in the movement “The Hero at Battle,” with lots of percussion and trumpet, followed by “The Hero’s Works of Peace,” which ultimately leads to “The Hero’s Retirement from this World and Completion,” a serene and pastoral section suggesting a new-found peace of mind.
The weekend performances will be Runnicles’ first since the festival announced the most recent extension of his contract as music director. Hired in 2005 and starting his post with the 2006 season, the Edinburgh native and festival board recently agreed to continue their relationship through 2029.
“I speak on behalf of the entire board when I share our gratitude and admiration for the leadership of Sir Donald Runnicles,” said board Co-chairman David Donovan. “We are delighted that with his guidance, GTMF will continue to bring world-class music experiences to the Jackson Hole community. Our board recently completed an extensive strategic vision project, and time and time again, the community of musicians, staff, and audience members expressed gratitude for Donald’s stewardship.”
Runnicles said he was “thrilled” by this most recent extension.
“You know how long this partnership has gone on and how it’s blossomed,” he said. “I’m above all thrilled because of this bond with the musicians. It’s not always the case that, after this number of years, there’s always that trust and respect. … I have a certain way of working which the musicians enjoy, and for all their love of the place and the festival and their colleagues, they maintain a very professional attitude toward making music and they tap into what I’m trying to achieve with them. … They give me so much trust and respect, and I like to think that I do as well, as we explore this repertoire. It never gets old.”
