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I See London, I See France…
July 9 2011, 2:00 and 7:30 at the Barshinger Center (2011 Schedule)
Who comes up with these Allegro concert themes anyway? If I’m being charged with relating the July musical repertoire with UNDERPANTS…well, “I got nuttin!” Instead, I’d prefer reflecting on the 9 year tenure of TJ Titcomb as President of The Allegro Chamber Orchestra. TJ’s passion for this orchestra basically “willed” the organization to succeed in 2001, at a time when performing ensembles were simply trying to remain status quo or diminishing concert schedules. Her positive spirit and love for the musicians of Allegro have sustained us through both modest and relatively comfortable times. TJ never received the memo that states the #1 rule for a President is to “delegate the task.” We’ll never be able to thank this red-headed bundle of energy and creativity enough; suffice it to say that we love you TJ Titcomb and tonight’s performance is dedicated to YOU!
Concerto in D minor for Violin and Oboe, BWV 1060R by J.S. Bach (1685-1750)
So the experts tell us that this Concerto was originally written as either a double violin concerto or a violin and oboe concerto. Just to add a twist to the story, Bach would later re-work the piece as a “Concerto for Two Harpsichords in C minor, BWV 1060”. What does this have to do with your appreciation and understanding for this composition? Well, the original work for either two violins or violin and oboe has been lost forever. In the 1930s, music scholar Max Schneider transcribed the remaining double harpsichord concerto, returning it to its probable original state. The original violin and oboe solo lines were extracted from the right hand keyboard parts in order to return this piece to its authenticity. Bach’s music has always transcended the boundaries of instrumentation, interpretation, and style, so readapting this concerto to its initial intention certainly wouldn’t have bothered J.S.
In its three-movement, fast-slow-fast structure, this Concerto follows the model of Vivaldi concerti, which were enormously popular in Bach’s day and which he admired.
I. Allegro. The first movement is cast in the traditional late Baroque form of a recurrent main theme for the orchestra, alternating with lighter episodes for the solo instruments.
II. Adagio. The slow middle movement is a duet for the two solo instruments; a melancholy outpouring in which the two instruments almost seem to sing.
III. Allegro. The finale is a fiery piece cast in the same basic form as the opening movement, alternating orchestra and solo passages.
Aside from the two solo instruments, the Concerto is scored for string orchestra only. It was understood in Bach’s time that the ensemble would be completed by a keyboard instrument-in this case, presumably Bach himself conducting from the harpsichord.
Laudo Per Guadium (To Praise with Joy) by Ralph Lehman
Commissioning and premiering new works is not for the faint of heart. Composer and conductor communications must be frequent and exacting. For example, does the commissioned composition fit the instrumentation of the performing ensemble? Just to raise the ante, what if the composer takes on the challenge and responsibility of capturing the heart and soul of the orchestra itself? In this particular case, we have Mr. Ralph Lehman writing a work specifically commemorating the 10 year anniversary of the Allegro Chamber Orchestra. Rest assured that today’s premiere work fits this blue-shirted ensemble like a glove. Ralph is both a member of Allegro, bassoonist, and secretary on the board of directors. Please understand that you are witnessing a rare and personal offering of one’s artistic gifts, courtesy of Mr. Lehman.
Ralph recently sent me an e-mail explaining his thoughts and techniques for composing “Laudo Per Guadium”, subtitled Vision-A Foundation-A Celebration.
In Ralph Lehman’s words:
Laudo et Gaudium is a straightforward celebratory work to celebrate this tenth anniversary of the founding of Allegro. I decided to create the melodic material by 1) using the letters of the name of Gene Oliver, an original benefactor who's generosity enabled Allegro to become a reality, and the name "allegro"; and 2) incorporating the hymn tune "How Firm a Foundation," thus recognizing the importance of good planning and the dedicated efforts of the original board of directors.
Explaining the exact method used to associate notes with alphabetic letters would result in a very lengthy and ultimately boring dissertation. I will tell you this: the opening section presents the melody based on Gene Oliver's name. Subsequently, I use the hymn tune in various ways, sometimes just a few notes, and later on, the entire hymn as a basis for a majestic fanfare section. The tune based upon "allegro" appears fairly early in the work, and it appears throughout in different guises.
There is one additional musical fragment which appears very near the beginning and is a tongue-in-cheek homage to one of Allegro's most frequently performed composers: the amazing Herr Mozart. See if you can hear where it is - it disappears very quickly.
Finally, I want you to know that my intention is to present a composition rich with melodic beauty, rhythmic excitement, and a varied and colorful orchestration. I hope that you will enjoy it with a feeling of happiness in the existence of our Allegro Chamber Orchestra.
Symphony No. 1 in C Major (The Four Ages of Man) by Carl Ditters von Dittersdorf (1739-1799)
Mozart and Haydn are such towering musical figures of the Classical period that other composers of that era tend to be diminished to a historical footnote. But who knows, perhaps this introduction to “Dittersdorf’s” music will having you captivated and in search of more music by this prolific composer. Let’s take a brief look at his life and influences as a musician.
Born simply Carl Ditters, he was an Austrian contemporary of Haydn and one of the most popular composers in Europe in his day. As a virtuoso violinist and composer he was a favorite of various court ensembles. His popularity was said to rival that of Haydn, Gluck, and Mozart. During his 60 years of life, he composed over 120 symphonies, 45 operas, a myriad of sacred and chamber works, and completed his autobiography two days before his death. Talk about timing! Although his music had circulated all over Europe, he never found a source of stable patronage as Haydn did, and he reportedly died in dire financial straits.
In general, Ditters moved from court to court as both a violinist and composer, usually after a dispute with management. The year 1786 proved to be a defining one for Ditters: his comic opera, Der Apotheker and der Doktor (The Pharmacist and the Doctor) premiered in Vienna, soon becoming the most popular opera in Europe. Some believe that his comic operas with spoken dialogue and folkish elements influenced Mozart’s crafting of The Magic Flute. In case you’re wondering about the whole “Ditters von Dittersdorf” thing, let’s just say that Herr Ditters received this noble title in order to entice the cosmopolitan composer to remain as court composer in the rather isolated village of Johannesberg (today Czech Republic). It would be like us referring to Dr. Norcross as “The Earle of Barshinger.” When possible, keep the employee happy!
Dittersdorf’s Symphony in C Major offers an unusual 1st movement Larghetto of a strongly ceremonial nature followed by the 2nd movement Allegro Vivace that streaks across the sky with wild abandon. In the 3rd movement Minuet Con Garbo (with grace), the composer takes on a stern demeanor with sharp phrasing and assertive ascending lines. The 4th movement seems somewhat “war-like,” replete with military drum beats and slashing rhythms. The whole reference to Roman poet Ovid’s (43BC-17AD) Four Ages (Golden, Silver, Bronze, and Iron) was totally lost on this trumpet player. Apparently these are the four stages of human existence on earth according to Greek mythology, much too intellectual when we’re all focused on TJ Sundaes.
Symphony 104 in D Major by Franz Joseph Haydn (1732-1809)
“The hall was filled with a picked audience.
The whole company was thoroughly pleased and so was I.
I made 4,000 gulden on this evening.
Such a thing is only possible in England.”
-Haydn’s diary following the1795 premiere of his “London” Symphony
In 1790, Haydn met German-born violinist and international impresario, Johann Salomon, who persuaded him to come to England. “I am Salomon and I have come from London to fetch you.” Haydn had worked as composer for the Austrian-based Esterhάzy court since 1761. After bidding a tearful farewell to his friend Mozart, whom he would never see again, Haydn set off for London in December 1791. Salomon commissioned a series of twenty concerts, each to include a first performance of a new work. The initial commission specified six new symphonies, for which he was to be paid £300. He was persuaded to return for a second series of concerts in 1794; by all reports, the second series was an even greater success. It was the last of the twelve symphonies composed for the two London concert series, the D major, that eventually became known as the “London.”
First Movement
Haydn’s final symphony opens with a slow and grand introduction in d minor, containing the seeds of much that will follow. He launches the movement proper with a switch to Allegro and the home key of D major. He treats his materials, as appealing as always, with the confident mastery that only unfailing ingenuity and decades of experience can earn.
Second Movement
From the simplest of ideas, Haydn constructs one of his most fetching slow movements. The musical content is filled with surprises, including a plaintive little woodwind lament, a wild outburst of full orchestral texture, and a delicate cadenza-like episode for solo flute.
Third Movement
The slyly pompous minuet sports a relaxed, sparely scored country dance as its central trio. Again we have some delightful surprises, including tiny solos for the bassoon and other winds.
Fourth Movement
Recent research has identified the joyous sole theme of the finale as a folk melody, one heard commonly in several lands, including Croatia and its surrounding territories, where Haydn had once lived. This same tune was used as two separate London street peddlers’ cries at the time of his visits: “Hot cross buns!” and “Live cod!” Perhaps the shouts that he heard daily as he walked the bustling streets of the city awakened his memories of the long ago days he had spent in southeast Europe.
Please join us again on Saturday, August 13 as we continue our 10-year Anniversary Celebration with the music of J.S Bach, Rossano Galante, and Ludwig van Beethoven.
Doug Albert