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Program Notes March 16-17, 2019, page 1 programBY DR. RICHARD E. RODDA notes , Fantasy- theme suggests the fury and confusion Romeo and Juliet of a fight. The love theme (used here Overture (1869) as a contrasting second theme) repre- ■ PETER ILYICH TCHAIKOVSKY 1840- sents Romeo’s passion; a tender, sighing 1893 phrase for muted violins suggests Juliet’s Romeo and Juliet was written when response. A stormy development section Tchaikovsky was 29. It was his first denotes the continuing feud and Friar masterpiece. For a decade, he had been Lawrence’s pleas for peace. The crest of involved with the intense financial, per- the fight ushers in the recapitulation, in sonal and artistic struggles that mark the which the thematic material from the ex- maturing years of most creative figures. position is considerably compressed. The Advice and guidance often flowed his tempo slows, the mood darkens, and the way during that time, and one who dis- coda emerges with a sense of impend- pensed it freely to anyone who would lis- ing doom. A funereal drum beats out ten was Mili Balakirev, one of the group the cadence of the lovers’ fatal pact. The of amateur composers known in English closing woodwind chords evoke visions as “The Five” (and in Russian as “The of the flight to celestial regions. Mighty Handful”) who sought to create a nationalistic music specifically Russian Violin Concerto No. 1 in G minor, in style. In May 1869, Balakirev sug- Op. 26 (1865-1866) gested to Tchaikovsky that Shakespeare’s MAX BRUCH ■ 1838-1920 Romeo and Juliet would be an appropri- ate subject for a musical composition, German composer, conductor and and he even offered the young composer teacher Max Bruch, widely known and a detailed program and an outline for the respected in his day, received his earli- form of the piece. Tchaikovsky took the est music instruction from his mother, advice to heart, and he consulted closely a noted singer and pianist. He began with Balakirev during the composition composing at eleven, and by fourteen of the work. Though his help came close had produced a symphony and a string to meddling, Balakirev’s influence seems quartet, the latter garnering a prize that to have had a strong positive effect on allowed him to study with Reinecke and the finished composition. Hiller in Cologne. Bruch held various Tchaikovsky’s Romeo and Juliet is in posts as a choral and orchestral conduc- a carefully constructed sonata form, tor in Cologne, Coblenz, Sondershausen, with introduction and coda. The slow Berlin, Liverpool and Breslau, and in opening section, in chorale style, depicts 1883, he visited America to conduct Friar Lawrence. The exposition begins concerts of his own compositions. From with a vigorous theme depicting the 1890 to 1910, he taught composition conflict between the Montagues and at the Berlin Academy and received the Capulets. The rising intensity of the numerous awards for his work, including March 16-17, 2019, page 2 an honorary doctorate from Cambridge overture to the play. On November 19th, University. Felix played the original piano duet ver- The G minor Concerto, a work of sion of the score with his sister, Fanny, lyrical beauty and emotional sincerity, on one of the family’s frequent Sunday opens with a dialogue between solo- musicales in their Berlin mansion, and a ist and orchestra followed by a wide- private orchestral performance followed ranging subject played by the violin. before the end of the year. In February, A contrasting theme reaches into the the work was first played publicly in Stet- highest register of the violin. A stormy tin. It immediately garnered a success section for orchestra recalls the opening that has never waned. dialogue, which softens to lead directly By 1842, Mendelssohn was the most into the Adagio, based on three impor- famous musician in Europe and in tant themes, all languorous and sweet, demand everywhere. He was director of shared by soloist and orchestra. The the superb Gewandhaus Orchestra in finale begins with hints of the upcoming Leipzig, a regular visitor to England, and theme before the soloist proclaims the Kapellmeister to King Friedrich Wilhelm vibrant melody itself. A broad melody, IV of Prussia in Berlin. For Mendels- played first by the orchestra alone before sohn’s Berlin duties, Friedrich required being taken over by the soloist, serves as incidental music for several new produc- the second theme. A brief development, tions at the Royal Theater, including based on the dance-like first theme, leads Sophocles’ Oedipus and Antigone, Ra- to the recapitulation. The coda recalls cine’s Athalie and Shakespeare’s The Tem- again the first theme to bring the work to pest and A Midsummer Night’s Dream. a rousing close. This last would, of course, include the celebrated Overture Mendelssohn had Selections from the Inciden- written when he was seventeen, exactly tal Music to A Midsummer half his age in 1842. He composed the , Opp. 21 and 61 twelve additional numbers of the inci- Night’s Dream dental music the following spring, creat- (1826, 1842) ing a perfect match for the inspiration FELIX MENDELSSOHN ■ 1809-1847 and style of the Overture. The premiere Mendelssohn was enamored during his of the new production in November was teenage years with reading the works of a triumph. Shakespeare, who, next to the arch-Ro- The Overture is the greatest piece of or- mantic Jean-Paul, was his favorite writer. chestral music ever composed by one so Shakespeare’s plays had been appearing young, including Mozart and Schubert. in excellent German translations by Lud- Woven into its sonata form are thematic wig Tieck and August Schlegel (father representations of the woodland sprites, Abraham’s brother-in-law) since the the shimmering light through forest turn of the century, and young Mendels- leaves, the sweet sighs of the lovers, even sohn particularly enjoyed the wondrous the “ee-ah” braying of that memorable fantasy world of A Midsummer Night’s Rustic, Bottom, when he is turned into Dream. The play inspired the already an ass. In matters of formal construction, accomplished budding composer, and orchestral color and artistic polish, this in the summer of 1826 he wrote an Overture is, quite simply, a masterpiece. March 16-17, 2019, page 3 The Scherzo, the Entr’acte to Act II, is the music that, in the words of Sir George Grove, “brought the fairies into the orchestra and fixed them there.” Its winsome grace and incandescent sonorities defined in large part the idea of delicacy in orchestral music. The March of the Fairies accompanies the appearance of the mischievous woodland sprites in Act II, Scene 1. The Song with Chorus (“You spotted snakes ... Philomel, with melody”) is sung by the fairies in Act II, Scene 2 to protect the sleeping Titania from the evils of the enchanted wood. A bumptious country dance accompa- nies the Entry of the Rustics. The Nocturne evokes the magic slum- ber of the lovers in the moonlit forest in Act III, Scene 2 through the burnished sonorities of horns and bassoons. The majestic Wedding March, the Entr’acte to Act V, accompanies the festive triple wedding of Theseus and Hippolyta, Demetrius and Helena, and Lysander and Hermia. After Bottom and the Rustics perform their riotous Pyramus and Thisbe in Act V, they exit to the Dance of the Rustics. The Finale, based on themes from the Overture, is the background to the last lines of the play, some spoken over the musical accompaniment, some sung by a soprano soloist and a chorus of fairies to accompany dancing. Mendelssohn’s incidental music to A Midsummer Night’s Dream closes as it began, with the be- witching woodwind chords that seem to distill the very essence of Shakespeare’s enchanted wood. Inserted into the score are several melo- dramas, spoken lines accompanied by or interrupting the music. ©2018 Dr. Richard E. Rodda March 16-17, 2019, page 4 SONG WITH CHORUS Through this palace, with sweet peace; And the owner of it blest You spotted snakes with double tongue, Ever shall in safety rest. Thorny hedgehogs, be not seen; (Sung) Trip away; make no stay; Newts and blind-worms, do no wrong, Meet me all by break of day. Come not near our fairy queen. Philomel, with melody (Spoken) If we shadows have offended, Sing in our sweet lullaby; Think but this, and all is mended, Lulla, lulla, lullaby: That you have but slumber’d here Never harm, While these visions did appear. Nor spell nor charm, And this weak and idle theme, Come our lovely lady nigh; No more yielding but a dream, So, good night, with lullaby. Gentles, do not reprehend: If you pardon, we will mend: Weaving spiders, come not here; And, as I am an honest Puck, Hence, you long-legged spinners, hence! If we have unearned luck Beetles black, approach not near; Now to ’scape the serpent’s tongue, Worm nor snail, do no offence. We will make amends ere long; Philomel, with melody ... Else the Puck a liar call: So, good night unto you all. Hence, away! now all is well: Give me your hands, if we be friends, One aloof stand sentinel. And Robin shall restore amends. FINALE (Chorus) Through the house give glim- mering light, By the dead and drowsy fire: Every elf and fairy sprite Hop as light as bird from brier; And this ditty, after me, Sing, and dance it trippingly. (Solo) First, rehearse your song by rote, To each word a warbling note: Hand in hand, with fairy grace, Will we sing, and bless this place. (Chorus) Through the house..
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