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And on the Fourth Day, He Created a Symphony
June 11 2011, 2:00 and 7:30 at the Barshinger Center (2011 Schedule)
The themed title above is referring to Wolfgang Amadeus Mozart’s mind-boggling four-day creation of Symphony #36; more on that amazing story as you specifically read the notes of the “Linz Symphony.” You’ll also see how a young Mendelssohn can take seven years to finally realize his violin concerto, a creation stored in the composer’s mind until the appropriate time. And then there’s Allegro, The Chamber Orchestra of Lancaster, prior to 2001, a passionate visionary dream of Brian Norcross and the inaugural Allegro Board of Directors. Yes, dreams do come true, witnessed by this 10 year Anniversary. As if all of that isn’t enough for you, we’ll collectively soak up the awe-inspiring Water Music by Handel and breathe in the history of a world premiere, Down the Labyrinthine Ways: Songs of the Heart, composed by Arlen Clarke.
Water Music Suite No. 2 in D Major, HWV349 by George Frideric Handel (1685-1759)
The year is 1717 in London and the royals decide a nice July river cruise down the Thames would be quite pleasant. Of course you’d want your music nearby and the iPod was still a few centuries away. What to do? Well, I’d suggest a floating orchestra, yes a whole barge-load of musicians playing “water serenades” next to the King’s yacht. A Prussian diplomat in London reported the following:
Next to the King’s barge was that of the musicians, about 50 in number, who played
on all kinds of instruments, to wit trumpets, horns, hautboys (oboes), bassoons, flutes,
violins and basses; but there were no singers. The music had been composed specially
by the famous Handel, native of Halle, and His Majesty’s principal Court Composer. His
Majesty approved of it so greatly that he caused it to be repeated three times in all.
Handel’s manuscript to the Water Music has disappeared, but numerous copies and arrangements have survived, and it has been possible to recreate fairly accurately the music he composed to accompany the King’s river excursions. That music has been divided into three separate suites of varying instrumentation, and this Allegro concert opens with the Suite No. 2. The key of D major is a particularly bright one, well-suited for festive music, and the five movements of this suite are (for the most part) in dance forms.
Concerto For Violin and Orchestra, E Minor, Opus 64 by Felix Mendelssohn (1809-1847)
“I should like to write a violin concerto for you next winter. One in E
Minor runs through my head, the beginning of which gives me no peace.”
Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. Wait a second, don’t the historians often refer to Mendelssohn as the “Mozart of the 19th Century”-effortless in his creativity? The reason for such a lengthy effort is partly because of intervening obligations, such as composing the incidental music to A Midsummer Night’s Dream, but mostly because of his unbounded respect and admiration for his friend Mr. David. Mendelssohn worked closely with David while composing the piece, inviting his suggestions about both the technique of the soloist’s part and the suitability of the music as a vehicle for the violin. In fact, the finely crafted cadenza is most likely the craftsmanship of Ferdinand David.
What are some of the innovative characteristics of this concerto that make its legacy historically significant?
- The opening theme of the concerto is initially presented by the solo violin and not the orchestra.
- The cadenza is written out as part of the concerto, and located before the recapitulation. In a typical Classical concerto, the cadenza would be improvised by the soloist, occurring at the end of the movement, just before the final coda.
- Connectivity between the three movements. There is no break between the first and second movements, thanks to a bassoon note held between the two. Also, the bridging passage between the last two movements begins almost immediately after the middle slow movement. This would have come as a surprise to Mendelssohn’s audience, who unlike today were used to applauding between movements.
- The soloist is called upon to accompany the orchestra for extended periods, an example being the ricochet arpeggios at the start of the recapitulation or return of the opening theme.
In 1906, celebrated violinist, Joseph Joachim wrote: “The Germans have four violin concerti. The greatest, most uncompromising is Beethoven’s. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.”
Down the Labyrinthine Ways: Seasons of the Heart by Arlen Clarke
(notes by Carol Goldsmith, provided by Arlen Clarke)
Symphony No. 36 in C Major, KV425 by W.A. Mozart (1756-1791)
I don’t know about you, but personally, I hate showing up in a new city (in this case Linz, Austria) without a single symphony with me; thus needing to write a new one in the time span of four days, copying parts for the players, AND finding time to rehearse a couple of times before the evening performance. Only Mozart could find himself in such a scenario. Perhaps he had bigger things on his mind in 1783. In July of that year, Mozart travelled to Salzburg with his new wife Constanze, introducing her to his controlling, unimpressed father, Leopold. Let’s just say that the meeting didn’t go real well, the new wife not being “suitable.” It’s now October and the newlyweds are thankfully heading to Vienna via Linz, an industrial center on the banks of the Danube River. They arrive in Linz on October 31 with a scheduled concert and symphony premiere on November 4. Mozart’s priceless quote “I have not a single symphony with me” as if he had forgotten to pack an extra pair of socks, perhaps suggests that he wasn’t daunted by the task at hand.
The “Linz” is the first of Mozart’s truly Viennese symphonies and the work shows how greatly Mozart had come under the influence of Franz Josef Haydn. Haydn had already employed slow introductions in about a dozen symphonies, and Mozart was well acquainted with several of these. Indeed, there exists a small sheet of paper on which the openings of three Haydn symphonies appear in Mozart’s handwriting.
While the influence of Haydn on this symphony is great, it is unmistakably a work of Mozart. The introduction, while slow like one of Haydn’s, contains a great deal more emotional contrast. It begins in heroic fashion, later displaying tenderness and longing as well as intense agitation. The remainder of the first movement, marked Allegro spiritoso, is often quite similar to Haydn. The playful qualities so often present in the older composer’s works are in evidence here. The Andante (2nd movement) admits trumpets and drums into a symphonic slow movement for the first time, lending a mood of tragedy and drama to otherwise gracious and melodic music. Some might suggest that the unusually somber slow movement relates to Mozart’s disappointing Salzburg visit when introducing his new bride to a disagreeable father.
The Minuet (3rd movement) is joyous with its boldly swinging tempo and rhythms, perhaps with a dash of rustic Haydn. The Finale (4th movement) begins with joyous orchestral outbursts before touching on the pessimism of the 2nd movement, like a memory of hurt that cannot quite be banished. Toward the end, festivity returns and the Linz Symphony closes on a note of affirmation.
Memories from 2001:
I can still remember receiving a phone call from Brian Norcross, asking Kristen and me if we’d like to be members of a new chamber orchestra in Lancaster. In fact, would we consider being on the board of directors? Brian’s mission then, and now, was to make great, joyful music while having a kind and respectful atmosphere. We both said “yes” immediately and attended several spring 2001 meetings at T.J. Titcomb’s home. At the meetings, everyone was volunteering to take on various aspects of orchestra building. Since the inaugural board was made up of 99% musicians, it was challenging divvying out the left-brain jobs requiring financial responsibilities and business savvy. Thank goodness not all musicians are exclusively right-brained. At one of our meetings I naively volunteered to write the program notes. Wonder what that will involve? Another recollection that makes me now smile is the May 2001 meeting where we decided to “go for it” based on small but dedicated monetary contributions and ticket sale hopefulness. Ten years later, Allegro continues to thrive because of its noble mission: Great music, joyful presentation, kindness, and respect for all.
Doug Albert