b'PROGRAM NOTESERICH WOLFGANG KORNGOLDConcerto in C major for Cello and Orchestra from Deception, Opus 37COMPOSER: Born May 29, 1897, Vienna; died November 29, 1957, Hollywood, CAWORK COMPOSED: 1946WORLD PREMIERE: Henry Svedrofsky led cellist Eleanor Aller and the Los Angeles Philharmonic on December 29, 1946.INSTRUMENTATION: Solo cello, 2 flutes (1 doubling piccolo), 2 oboes (1 doubling English horn), 2 clarinets, bass clarinet, 2 bassoons (1 doubling contrabassoon), 2 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion, celesta, piano, harp, and stringsESTIMATED DURATION: 13 minutesE rich Korngold was out of sync with time. Had he been born a century earlier, his romanticsensibilities would have aligned perfectly with the musical and artistic aesthetics of 19th century Europe. Instead, Korngold grew up in the tumult of the early 20 thcentury, during a time when his lyrical style had been eclipsed by the horrors of WWI and the stark modernist trends championed by fellow Viennese composers Arnold Schoenberg, Alban Berg, and Anton Webern.Korngolds prodigious compositional talent emerged early. At age ten, he performed his cantata Gold for Gustav Mahler, whereupon the older composer called him a genius. Just after his bar mitzvah, the Austrian Imperial Ballet staged Korngolds pantomime The Snowman. In his teens, Korngold received commissions from the Leipzig Gewandhaus Orchestra; pianist Artur Schnabel performed Korngolds Opus 2 Piano Sonata on tour, and Korngold also began writing operas, completing two full-scale works by age eighteen. At 23, Korngolds opera Die tote Stadt (The Dead City) brought him international renown.But by the 1920s, composers had fully embraced modernism. The music of Korngolds contemporaries bristled with dissonance, unexpected rhythms, and often little that resembled a recognizable melody. Korngolds music reflected an earlier, bygone era, and his unabashed Romanticism was derided as hopelessly out of date. Fortunately for Korngold, around this same time a new forum for his kind of lush expressiveness emerged: film scores. In 1934, director Max Reinhardt invited Korngold to write a score for his film of A Midsummer Nights Dream. Korngold subsequently moved to Hollywooda fortuitous decision for a Jewish man living in Nazi Austriawhere he spent the next dozen years composing scores for 18 films, including his Oscar-winning music for Anthony Adverse (1936) and The Adventures of Robin Hood (1938).While some composers and critics regarded film music as less significant than concert works, Korngold did not. I have never drawn a distinction between music for films and for operas or concerts, he stated. Tonights concerto is a case in point. This one-movement work emerged from Korngolds score for the 1946 film noir Deception, starring Bette Davis, Paul Henreid, and Claude Rains. The plot centers on a twisted love triangle featuring Henreid as Karel, a Czech cellist newly arrived in America after WWII; Rains as Hollenius, an arrogant, conniving composer/conductor; and Davis as Christine, a young pianist and composition student who thought Karel, her lover before the war, had died. She is now Hollenius mistress, but ends that relationship when she discovers Karel is alive. After Karel and Christine marry, Hollenius, attempting to coerce Christine back to him, threatens 14 Santa Rosa Symphony(707) 546-8742'