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Eureka, Eroica
August 13 2011, 2:00 and 7:30 at the Barshinger Center (2011 Schedule)
So how much better can these Allegro concerts get? When we last met (July 9), you experienced history with the WORLD PREMIERE of Ralph Lehman’s composition “Laudo per Gaudium”, you winced at Brian Norcross’ baseball analogies, plus we consumed TJ sundaes, all on a gorgeous summer Saturday. Well buckle your Barshinger seat belts as we move onto “Epic-Eureka-Eroica-August” with compositions by J.S. Bach, Galante, and Beethoven. For me, epic music is often reflected in the goose bumps and moist eyes that I experience during an exceptionally great movie. I’ll be innocently sitting there with my low-carb popcorn and diet ginger ale, following the plot, enjoying the adventure…when all of the sudden the soundtrack climatically erupts with heroic, grandiose orchestral offerings that transport my being into an emotional puddle. At that point I usually pretend to be scratching my eyes while secretly wiping the tears away. Music can definitely “push my buttons” and I celebrate the awesome potential of this unexplainable phenomenon to do so. Whether the music makes me smile or cry, laugh or cower, it reminds me that I am alive and music has powers beyond my understanding. With Dr. Norcross’ baseball references still fresh in our mind, let’s take a look at tonight’s concert “line-up.” Batting leadoff: The Brandenburg Concerti are simply the pinnacle of Bach’s genius; it doesn’t get any better than this! On-deck: Our friend, Rossano Galante, gifts the Allegro Orchestra and audience with his latest epic composition that promises to stir the emotions of the listener. Hitting clean-up: Perhaps the quintessential composition that transports musical art from 18th Century Classicism to 19th Century Romanticism is Beethoven’s “Eroica” Symphony. Indeed, it’s an epic line-up that will surely enrich our lives and touch our souls.
Brandenburg Concerto No. 2 in F Major, BWV 1047 by Johann Sebastian Bach (1685-1750)
In the spring of 1721, Bach was working in Cöthen, supporting his family by working as Kapellmeister. In this capacity, he was in charge of the musical activity of the court. His employer, Prince Leopold, was a music lover, and Bach and his family were getting along very well in that city. Then two things happened to change Bach’s fortunes. One was the death of his first wife, and the second was Prince Leopold’s marriage to a woman who didn’t care much for music. Bach slowly began to feel that it was time to move on to greener pastures. After running into the Margrave of Brandenburg by chance, as Bach was shopping for a new harpsichord, the composer decided to try and capitalize on this fortuitous meeting. Bach sent a set of six concerti to the Margrave in response to a request for “some music”, but also, many speculate, as a bid for a new job. As the story goes, Bach did not get the job in Brandenburg and the Margrave ignored these masterpieces of High Baroque style, perhaps due to the virtuosic nature of the compositions.
“Brandenburg Concerto No. 2” features trumpet, flute (in Bach’s day the recorder), oboe and violin as the solo instruments. Bach specifically wrote the trumpet part to fit the skills of Cöthen’s own trumpeter Johann Ludwig Schrieber. In Bach’s time, both the trumpet and the horn were “natural” instruments, which meant that they could only play the natural overtones of their fundamental pitch. (think of the notes often played by a bugle…that’s it) The higher we go in the series of overtones, the closer the tones will be to one another. For this reason, Bach’s trumpet parts make frequent use of the instrument’s highest register, the only option for executing a complete melody.
Movement One is a brisk Allegro with sparkling solos, duets, and trios; all related to each other and to the principal refrain. The character of the movement is fanfare-like in nature.
Movement Two is slow in tempo, minor in tonality, and intimate, perhaps introspective stylistically. The majority of the orchestra and solo trumpet are silent during this movement with the three remaining soloists engaged in a heartfelt lyrical conversation.
Movement Three is an exuberant fugue-like finale, opening with a spirited trumpet call. As one instrument after the other dances upward with the theme, Bach seems a master juggler, exulting in the virtuosity with which he keeps four objects, or rather four solo instruments, flying through the air, each in its own astonishing orbit.
The Throne of Christ by Rossano Galante
So are you still buckled in? Here comes another WORLD PREMIERE by Allegro, The Chamber Orchestra of Lancaster. By the way, did you notice the lack of a birth date beside Mr. Galante’s name above? When I pulled up his website, he doesn’t exactly give his year of birth but we can get close by doing the math. Yes, I checked Facebook but Rossano hasn’t plunged into social networking at this point. He graduated from SUNY at Buffalo (trumpet performance) in 1992. My guess is that he’s turning 40 as Allegro turns 10. Sorry, I wasn’t about to ask!
After his time at SUNY, Rossano Galante moved to California, studying at the prestigious University of Southern California’s Film Scoring Program. Among his dozens of commissioned works is “Rays of the Sprit”, premiered by the Franklin & Marshall Orchestra, under the direction of Dr. Brian Norcross. Let’s just say that Brian knew what he was getting by commissioning Mr. Galante to write for Allegro during its 10th Anniversary Year.
I recently e-mailed Rossano and asked him about his efforts and inspiration for today/tonight’s premiere work, “The Throne of Christ.” Here’s what he had to say:
“The Throne of Christ is a composition comprised of three main themes. The first is a
fast, dramatic melody stated by winds and accompanied by a driving, rhythmic ostinato
in strings. The second theme is a lyrical, lush melody that builds to a riveting climax.
The third theme is a fast paced heroic melody stated in Trumpets and later in the horns.
The piece climaxes with a powerful, brass fanfare.”
“When composing the piece I wanted to capture drama, heroism, romance, sadness and
beauty. It wasn’t until after I composed the piece that I came up with the title, “The
Throne of Christ.” I felt the piece had an epic, biblical feel to it.”
Symphony No. 3, E-Flat Major, Opus 55 (Eroica) by Ludwig van Beethoven (1770-1827)
Among history’s innumerable examples of symphonic genius, the “Eroica” stands pre-eminent. What makes this particular work so epic in the evolution of symphonic development? Forged in a fiery new style, the impact of this Symphony was such that its influence would be heard for several generations to come. Equally significant, the “Eroica” initiated the notion that a symphony could be used as a vehicle to convey beliefs and the ideas of the “Eroica” are well known: Napoleon, Heroism, Death, Revolution-the list goes on. Imagine a public accustomed to the somewhat “genteel” characteristics of Mozart and Haydn, attempting to digest these new poignant, sometimes gritty themes of Mr. Beethoven. The audience was not prepared for this manifesto in the concert hall and thus, another reason for its eminence. It brought about massive change.
Beethoven first noticed a ringing and buzzing in his ears about the age of 26 or 27. In the winter of 1801 he was advised to “go easy on his hearing” and rest in the country village of Heiligenstadt, a peaceful location outside of Vienna, an environment conducive to rest. Unfortunately, Beethoven’s hearing was not improving and he felt compelled to draft a last will and testament. In this testament he writes at length of his illness, pleading for understanding. He goes on to reveal that he has considered suicide but that his art has prevented him taking that course. What does a will have to do with the “Eroica?” Its revelation has helped to explain, psychologically, Beethoven’s sudden and drastic stylistic change around 1803. Immediately following Heiligenstadt, Beethoven’s music suddenly becomes more daring. Within weeks, perhaps days, of signing the will, Beethoven jotted down the first sketches of his Third Symphony.
The “Eroica” will be forever connected with Napoleon Bonaparte. Our knowledge of the Bonaparte connection originates from a friend and student of Beethoven.
In 1803 Beethoven composed his third symphony in Heiligenstadt. In writing this symphony, Beethoven was thinking of Bonaparte, but Bonaparte while he was First Consul. At that time Beethoven had the highest esteem for him and compared him to the greatest consuls of ancient Rome. Not only I, but many of Beethoven’s closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word “Bonaparte” inscribed at the very top of the title-page and “Beethoven” at the very bottom. I was first to tell him the news that Napoleon had declared himself Emperor, whereupon he broke into a rage and exclaimed, “So he is no more than a common mortal! Now he too will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!” Beethoven went to the table, seized the top of the title page, tore it in half and threw it on the floor. The page was later re-copied and it was only now that the symphony received the title “Sinfonia Eroica.”
–Ferdinand Ries
You can choose to accept this century-old staple of Beethoven lore or create your own hypothesis. In the meantime, let’s look at a few Beethoven innovations that make the “Eroica” Symphony unique.
- “Size matters” when it comes to Beethoven’s first movement. In a single move, he doubles the duration of the typical opening movement construction by making the development and coda sections equal to the exposition and recapitulation.
- Before I get smacked by the horn section, let me also acknowledge that Beethoven has added a third horn to the traditional orchestra instrumentation of two. This is radical stuff but quite essential for the heroic spirit desired by the composer.
- Beethoven begins the first movement in ¾ time, a meter reserved generally for dance (3rd mvts.)
- For the second movement, Beethoven took the bold step of employing a funeral march. Could it be his own or that of Napoleon?
- Beethoven’s lighthearted Scherzo (mvt. 3) replaces the outdated 18th Century Minuet. Yes, he called this movement a “Menuetto” but he’s not fooling us! Although the movement is in ¾ meter, the composer leaves us slightly disoriented at the onset with phrasing that suggests double meter.
- The final movements of Mozart and Haydn usually meant a brisk rondo. Beethoven takes this opportunity to present a vast theme and variations instead.
When asked, over a fish dinner at the little tavern Zur Rose, which of his eight symphonies was his favorite, (the Ninth hadn’t yet been composed),Beethoven exclaimed “Ah, ha! The Eroica” We’ll let our Allegro audience decide that for themselves. But make no mistake, this was a “futuristic” work by a composer determined to express himself, truly an epic endeavor.
Doug Albert