May 7 Program Notes
W. A. Mozart, Divertimento in F major, K.138
Mozart (1756-1791) was clearly one of the best-known prodigies of all time, in any area. By the age of six he was touring Europe with his older sister Nannerl (accompanied by his father, who was his only teacher). He was a favorite of the royalty of Europe, appearing as a charming little performer on harpsichord and violin. He had already composed a large collection of short pieces, then sonatas and that sort of thing, before the age of ten. By the age of 15, returning to his home city of Salzburg after a triumphant tour of Italy, he had written larger works in the field of opera, a symphony, and was working on a piano concerto. At that time and place he composed three works for stringed instruments, entitled “divertimenti.” (The title is not in Mozart’s handwriting – maybe father coined the name.) It is possible that Mozart was thinking of string quartets (although his first official quartets appeared a few months later). These were likely intended for a string orchestra, as they are scored for violin, viola and bass (leaving out the cello). In performance today various combinations of stringed instruments are used and the cello is sometimes included.
The Divertimento in F major, K.138—the third in the set—has the traditional three movements, with a lyrical Andante at the center and Allegro and Presto as the outer movements. In both rapid outer movements, the first violins have a starring role. It has been said that a typically Italian grace and charm pervade the entire piece, suggesting that the ideas for this music came to Mozart—if they weren’t in fact written down—while he was still in Milan on his earlier Italian tour. He was about to embark on subsequent tour of Italy, another possible explanation for the style of music.
The frequent European tours gradually stopped when Mozart was about 21. He was bent on seeking his own fortune (he never succeeded) and took on students, played as an organist, that sort of thing, usually living in Vienna. He took young Hummel into his home for two years, gave Beethoven some lessons, but lived an erratic life. He kept writing prolifically and was equally comfortable with voices and instruments. He married in 1782 and two years later became a close friend of Joseph Haydn (they were in the same lodge as Freemasons) – the two frequently played duets together. (Those lucky audiences!) Mozart died in poverty at age 35 despite his success as a composer.
By Roberta Mielke Go to: May 7 program
Maria Grenfell, Concerto for flute, violin, and viola (see program insert on May 7)
Felix Mendelssohn, Sinfonia No. 4 in c minor
Mendelssohn (1809-1847) was (like Mozart) quite a prodigy. He came from a cultured family, had tutors in many subjects, studied in Paris at age seven, studied at age 10 in Berlin with Carl Zelter, with whom he became acquainted with Zelter’s friend Goethe (who became a powerful influence on Mendelssohn’s life) and in general had a privileged and cultured existence. Like Mozart, he toured Europe with his sister (under the father’s guidance) while very young. Like Mozart, he composed all along the way, producing a piano trio, several string symphonies and smaller pieces by his early teens. In 1827 he went to the University of Berlin, where he acquired a strong interest in the music of Bach, and he became a well-known advocate and promoter of Bach’s music. (Some of Bach’s works unknown to that day were unearthed by Mendelssohn and brought to the public’s attention as we know them now.) He subsequently toured Europe and landed in Dusseldorf, where he became Kapellmeister, then later becoming conductor of the Leipzig Gewandhaus Orchestra. He returned to Berlin, where he opened his own academy.
Earlier, between 1821 and 1823, young Mendelssohn composed 12 string symphonies. Each is called a “sinfonia”, but (because they are short in length) could just as well have been “sinfonietta.” The one performed here was written in 1821. The string symphonies were given almost immediate performances in the Mendelssohn home, at Sunday musicales featuring various family members and friends – young Felix conducted.
The one that stands out is No. 4 in c minor, which is part of our program. The opening movement, marked Grave–Allegro, has a slow introduction, something that became the norm in Mozart’s full-length later works, inspired no doubt by slow openings in Joseph Haydn’s late symphonies. The Grave section is followed by a contrapuntal allegro. The middle movement, Andante, is hypnotically repetitive, an unconventional approach. The closing third movement, Allegro Vivace, is also very contrapuntal and includes a fugal construction. One might wonder if Mendelssohn’s fascination with Bach was already becoming apparent. His unconventional approach includes rhythmical irregularities in many places - for example the andante section. There is remarkable maturity in the compositional style – in a way, Mendelssohn harkens back to some of the great earlier composers, but he had already etched his own style at this young age.
Later, Mendelssohn married, had five children, traveled extensively and composed the works that made him most famous – symphonies, concerti and the like. Eventually an unfortunate, long illness caused his death in 1847 at age 38.
By Roberta Mielke Go to: May 7 program
J. S. Bach, Concerto for Two Violins, Strings and Continuo BWV 1043
This “Double Concerto” is one of Bach’s best-known and most enduring works. Musicologists disagree as to the date it was composed; one school of thought dating it to the period between 1717 and 1723, when Bach was Kappelmeister at the court of Prince Leopold in Cothen; the other dating it to around 1730, after Bach’s move to Leipzig. In any case, Bach himself transcribed the concerto for two harpsichords in 1739. Only the two solo violin parts for the Double Concerto survive in original autograph form; although the continuo manuscript is original, it has no autograph. No original score exists for the Concerto; the string orchestra parts are a supplementary set written out by several contributors, probably including Bach, one of his sons, and his son-in-law.
The two solo violins are equal partners in this work. The first movement (Vivace) begins with a fugal exposition in the orchestra, to which the solo violins respond as a team, punctuating melodic runs with leaps of tenths and elevenths. The middle movement (Largo ma non tanto) is characterized by special poignancy and tenderness, as if the listener is privy to an intimate conversation between two dear old friends. In notable contrast, the final movement (Allegro) is filled with ebullient energy, with the two solo instruments interrupting the orchestra to continue their (much more high-spirited) discussion.
Among the great artists who have recorded the Double Concerto: Heifetz, Oistrakh, Stern, Menuhin, Perlman, Zuckerman, and, more recently, Andrew Manze and Hilary Hahn. The work was first performed by the New York Philharmonic in 1881, by which date it was at least a venerable 150 years old.
By Katherine Runnels Go to: May 7 program
Aaron Copland, Hoedown, from “Rodeo” (1942)
“Hoedown” is the final section of “Rodeo,” a ballet composed by Aaron Copland and choreographed by Agnes de Mille for the Ballet Russe de Monte Carlo. De Mille had been impressed by Copland’s previous ballet “Billy the Kid,” and she chose this most American of composers to write the music for her highly evocative Western cowboy dances. Initially Copland was reluctant to compose “another Cowboy ballet”, but she persuaded him that this show would mark a significant departure from his previous work. The premiere was at the Metropolitan Opera House on October 16, 1942, with De Mille dancing the leading role of the Cowgirl. The show received 22 curtain calls, and proceeded on to a successful tour. It has become a classic favorite among dance audiences around the world.
The principal theme of this music originated as “Bonaparte’s Retreat”, a traditional fiddle tune played by Kentucky fiddler Bill Stepp, who modified it from what had essentially been a “stately march” into a country dance. The tune was meticulously transcribed by Ruth Crawford Seeger, as played and recorded by Stepp in 1937. In turn, Copland incorporated it, almost note for note, when he was writing the music for “Rodeo.”
The “Retreat” theme dominates this piece, with its super-exuberant, rushing sixteenth-notes in traditional fiddling style, presented again and again with the violins in unison, or also in canons, constantly intertwining. A second idea, heard throughout the ballet, is the “Rodeo” theme, recognizable through its incorporation of wood blocks, syncopation and jarring, unexpected rests.
There are other Western tunes. After a reprise of the “Rodeo” theme, the “Bonaparte” idea proper begins in the strings, but instead of achieving any climax, it segues into “Miss McLeod’s Reel,” performed by various solo instruments. Copland also introduces the Irish theme “Gilderoy” in the clarinet and oboe. The “Bonaparte” theme reappears, now breaking into canon, before yielding again to the “Rodeo” theme, which slows down its motion to zero, this representing the climactic kiss between the Cowgirl and the man she has finally succeeded in attracting. The “Retreat” is then resumed by the full orchestra with breakneck enthusiasm. This whirling motion flies on, crowning the end of the piece with a grand fanfare.
Eventually Copland arranged ”Rodeo” as a symphonic suite for orchestra titled “Four Dance Episodes from “Rodeo”. Removing one movement, he produced what resembles a symphonic form with an ambitious first movement, a slow movement, a minuet, and a rousing finale - which is “Hoedown.” In this form “Rodeo”found even greater success following its Boston Pops premier in 1943.
By Robert Molison Go to: May 7 program
W. A. Mozart, Divertimento in F major, K.138
Mozart (1756-1791) was clearly one of the best-known prodigies of all time, in any area. By the age of six he was touring Europe with his older sister Nannerl (accompanied by his father, who was his only teacher). He was a favorite of the royalty of Europe, appearing as a charming little performer on harpsichord and violin. He had already composed a large collection of short pieces, then sonatas and that sort of thing, before the age of ten. By the age of 15, returning to his home city of Salzburg after a triumphant tour of Italy, he had written larger works in the field of opera, a symphony, and was working on a piano concerto. At that time and place he composed three works for stringed instruments, entitled “divertimenti.” (The title is not in Mozart’s handwriting – maybe father coined the name.) It is possible that Mozart was thinking of string quartets (although his first official quartets appeared a few months later). These were likely intended for a string orchestra, as they are scored for violin, viola and bass (leaving out the cello). In performance today various combinations of stringed instruments are used and the cello is sometimes included.
The Divertimento in F major, K.138—the third in the set—has the traditional three movements, with a lyrical Andante at the center and Allegro and Presto as the outer movements. In both rapid outer movements, the first violins have a starring role. It has been said that a typically Italian grace and charm pervade the entire piece, suggesting that the ideas for this music came to Mozart—if they weren’t in fact written down—while he was still in Milan on his earlier Italian tour. He was about to embark on subsequent tour of Italy, another possible explanation for the style of music.
The frequent European tours gradually stopped when Mozart was about 21. He was bent on seeking his own fortune (he never succeeded) and took on students, played as an organist, that sort of thing, usually living in Vienna. He took young Hummel into his home for two years, gave Beethoven some lessons, but lived an erratic life. He kept writing prolifically and was equally comfortable with voices and instruments. He married in 1782 and two years later became a close friend of Joseph Haydn (they were in the same lodge as Freemasons) – the two frequently played duets together. (Those lucky audiences!) Mozart died in poverty at age 35 despite his success as a composer.
By Roberta Mielke Go to: May 7 program
Maria Grenfell, Concerto for flute, violin, and viola (see program insert on May 7)
Felix Mendelssohn, Sinfonia No. 4 in c minor
Mendelssohn (1809-1847) was (like Mozart) quite a prodigy. He came from a cultured family, had tutors in many subjects, studied in Paris at age seven, studied at age 10 in Berlin with Carl Zelter, with whom he became acquainted with Zelter’s friend Goethe (who became a powerful influence on Mendelssohn’s life) and in general had a privileged and cultured existence. Like Mozart, he toured Europe with his sister (under the father’s guidance) while very young. Like Mozart, he composed all along the way, producing a piano trio, several string symphonies and smaller pieces by his early teens. In 1827 he went to the University of Berlin, where he acquired a strong interest in the music of Bach, and he became a well-known advocate and promoter of Bach’s music. (Some of Bach’s works unknown to that day were unearthed by Mendelssohn and brought to the public’s attention as we know them now.) He subsequently toured Europe and landed in Dusseldorf, where he became Kapellmeister, then later becoming conductor of the Leipzig Gewandhaus Orchestra. He returned to Berlin, where he opened his own academy.
Earlier, between 1821 and 1823, young Mendelssohn composed 12 string symphonies. Each is called a “sinfonia”, but (because they are short in length) could just as well have been “sinfonietta.” The one performed here was written in 1821. The string symphonies were given almost immediate performances in the Mendelssohn home, at Sunday musicales featuring various family members and friends – young Felix conducted.
The one that stands out is No. 4 in c minor, which is part of our program. The opening movement, marked Grave–Allegro, has a slow introduction, something that became the norm in Mozart’s full-length later works, inspired no doubt by slow openings in Joseph Haydn’s late symphonies. The Grave section is followed by a contrapuntal allegro. The middle movement, Andante, is hypnotically repetitive, an unconventional approach. The closing third movement, Allegro Vivace, is also very contrapuntal and includes a fugal construction. One might wonder if Mendelssohn’s fascination with Bach was already becoming apparent. His unconventional approach includes rhythmical irregularities in many places - for example the andante section. There is remarkable maturity in the compositional style – in a way, Mendelssohn harkens back to some of the great earlier composers, but he had already etched his own style at this young age.
Later, Mendelssohn married, had five children, traveled extensively and composed the works that made him most famous – symphonies, concerti and the like. Eventually an unfortunate, long illness caused his death in 1847 at age 38.
By Roberta Mielke Go to: May 7 program
J. S. Bach, Concerto for Two Violins, Strings and Continuo BWV 1043
This “Double Concerto” is one of Bach’s best-known and most enduring works. Musicologists disagree as to the date it was composed; one school of thought dating it to the period between 1717 and 1723, when Bach was Kappelmeister at the court of Prince Leopold in Cothen; the other dating it to around 1730, after Bach’s move to Leipzig. In any case, Bach himself transcribed the concerto for two harpsichords in 1739. Only the two solo violin parts for the Double Concerto survive in original autograph form; although the continuo manuscript is original, it has no autograph. No original score exists for the Concerto; the string orchestra parts are a supplementary set written out by several contributors, probably including Bach, one of his sons, and his son-in-law.
The two solo violins are equal partners in this work. The first movement (Vivace) begins with a fugal exposition in the orchestra, to which the solo violins respond as a team, punctuating melodic runs with leaps of tenths and elevenths. The middle movement (Largo ma non tanto) is characterized by special poignancy and tenderness, as if the listener is privy to an intimate conversation between two dear old friends. In notable contrast, the final movement (Allegro) is filled with ebullient energy, with the two solo instruments interrupting the orchestra to continue their (much more high-spirited) discussion.
Among the great artists who have recorded the Double Concerto: Heifetz, Oistrakh, Stern, Menuhin, Perlman, Zuckerman, and, more recently, Andrew Manze and Hilary Hahn. The work was first performed by the New York Philharmonic in 1881, by which date it was at least a venerable 150 years old.
By Katherine Runnels Go to: May 7 program
Aaron Copland, Hoedown, from “Rodeo” (1942)
“Hoedown” is the final section of “Rodeo,” a ballet composed by Aaron Copland and choreographed by Agnes de Mille for the Ballet Russe de Monte Carlo. De Mille had been impressed by Copland’s previous ballet “Billy the Kid,” and she chose this most American of composers to write the music for her highly evocative Western cowboy dances. Initially Copland was reluctant to compose “another Cowboy ballet”, but she persuaded him that this show would mark a significant departure from his previous work. The premiere was at the Metropolitan Opera House on October 16, 1942, with De Mille dancing the leading role of the Cowgirl. The show received 22 curtain calls, and proceeded on to a successful tour. It has become a classic favorite among dance audiences around the world.
The principal theme of this music originated as “Bonaparte’s Retreat”, a traditional fiddle tune played by Kentucky fiddler Bill Stepp, who modified it from what had essentially been a “stately march” into a country dance. The tune was meticulously transcribed by Ruth Crawford Seeger, as played and recorded by Stepp in 1937. In turn, Copland incorporated it, almost note for note, when he was writing the music for “Rodeo.”
The “Retreat” theme dominates this piece, with its super-exuberant, rushing sixteenth-notes in traditional fiddling style, presented again and again with the violins in unison, or also in canons, constantly intertwining. A second idea, heard throughout the ballet, is the “Rodeo” theme, recognizable through its incorporation of wood blocks, syncopation and jarring, unexpected rests.
There are other Western tunes. After a reprise of the “Rodeo” theme, the “Bonaparte” idea proper begins in the strings, but instead of achieving any climax, it segues into “Miss McLeod’s Reel,” performed by various solo instruments. Copland also introduces the Irish theme “Gilderoy” in the clarinet and oboe. The “Bonaparte” theme reappears, now breaking into canon, before yielding again to the “Rodeo” theme, which slows down its motion to zero, this representing the climactic kiss between the Cowgirl and the man she has finally succeeded in attracting. The “Retreat” is then resumed by the full orchestra with breakneck enthusiasm. This whirling motion flies on, crowning the end of the piece with a grand fanfare.
Eventually Copland arranged ”Rodeo” as a symphonic suite for orchestra titled “Four Dance Episodes from “Rodeo”. Removing one movement, he produced what resembles a symphonic form with an ambitious first movement, a slow movement, a minuet, and a rousing finale - which is “Hoedown.” In this form “Rodeo”found even greater success following its Boston Pops premier in 1943.
By Robert Molison Go to: May 7 program
