Regal Classics On the first half of today’s concert, music by two German composers provides us with a travelogue of Scotland: Mendelssohn’s descriptive Hebrides and Bruch’s delightful Scottish Fantasy. After intermission, we’ll hear one of the great symphonies of the 20th century, Sir William Walton’s No. 1.

FELIX MENDELSSOHN Born 3 February 1809; Hamburg, Germany Died 4 November 1847; Leipzig, Germany

The Hebrides Overture (“Fingal’s Cave”), Op. 26 Composed: 1829-33 First performance: 14 May 1832; London, England Last MSO performance: March 2016; Jun Märkl, conductor Instrumentation: 2 , 2 , 2 , 2 , 2 horns, 2 , , strings Approximate duration: 10 minutes

In the summer of 1829, the 20-year-old and his friend Karl Klingemann went on a walking tour of Scotland. They also traveled to the Hebrides Islands, off the country’s west coast, and later to Fingal’s Cave on the Island of . It is said that, af- ter seeing the breathtaking scenery there, Mendelssohn composed the opening bars of his overture and sent them to his sister Fanny, writing, “In order to make you understand how extraordinarily the Hebrides affected me, I send you the following, which came into my head there.” The composer completed the overture’s first draft in Rome, late in 1830. Unhappy with this initial endeavor, he worked on the piece over the next few years. It was premiered in London in 1832, then further revised before its publication in 1833. Set in sonata form, the overture does not tell a story, but rather evokes the sea and the scenery Mendelssohn encountered. The undulating rhythmic pattern, an arpeggiated frag- ment in B minor, depicts the sea’s ebb and flow. Dramatic crescendi and sforzandi repre- sent the crashing waves. The second theme, set in D major, first appears in the and bassoons. It is unfettered and more expansive, deemed “the greatest melody Mendelssohn ever wrote” by the ever-quotable Sir Donald Francis Tovey. At the end of our voyage, the offers a wistful statement of the opening motive, then defers to the , who has the last word with its ascending B minor arpeggio above hushed pizzicato strings. Recommended recording: George Szell, Cleveland (Sony)  Regal Classics PROGRAM NOTES Composed: Instrumentation: for andOrchestra, FantasyforViolin Scottish Op.46 Died 2October1920;Friedenau,Germany 6January1838;Cologne,Germany Born theme. to materialfrom thefirstmovement,Fantasyconcludeswithastatementofwarlike terial from theFinale’s openingmeasures. Followingablazingsolopassageand briefnod tranquillo episoderecalls themoodofthird movement,butitissoondispelledbyma- priate, though,becauseBruchincorporatesthebattle song“Scots,WhaHae.”Acentral The FinalebearstheunusualmarkingAllegro guerriero (a“warlike”Allegro). It’s appro - for Lacko’Johnnie.”Thecomposer’s loveofanexpressive melodyisonfulldisplayhere. of “Through theWood, Laddie”takesustotheAndantesostenuto, based on“I’ma’Doun straightforward melodywithfiligree from thesoloviolin.Thetemposlowsasa reminiscence drones inthebassprovide thevigorous, abagpipe-likesound,andBruchornaments The livelyscherzoemploysaScottishdancetunecalled“TheDustyMiller oped andfilledoutwithdoublestopsfrom thesoloist. first, “Through the Wood, Laddie,”isintroduced here. It’s anaffecting melody, lushlydevel- moves from minortomajor. Ineachofthemovements,BruchusesaScottishfolksong; of theopening,violinenterswitharecitative-like solo;themoodbrightensasmusic ruined castle and lamenting the glorious times of old.” Following the slow, sustained chords that itsintroduction tookitsinspirationfrom theimageof“anoldbard contemplatinga of aviolinconcerto,thoughitismore OneofBruch’s rhapsodicinform. friendslaterstated Set infourcontinuousmovements,theFantasypossessesspaciousnessandvirtuosity music oftheBritishIsles. associated theinstrumentwithballadsofoldand,more specifically, withthefolk Melodies (asrendered inEnglish).Thementionoftheharpissignificant,becauseBruch withOrchestraunder thetitleFantasyforViolin andHarp,freely usingScottishFolk ings were onBruch’s mindwhenhesettoworkontheScottishFantasy.Itwaspublished In hisbiographyofthecomposer, ChristopherFifieldtellsusthatSir Walter Scott’s writ- composer wasjust28yearsold.) in Gminorwasasource forBruch.Thatearlyworkwaswrittenwhenthe ofconsternation in thestandard repertoire. (Throughout ConcertoNo.1 hislife,thepopularityofViolin of twoviolinconcertos,theScottishFantasy,andKolnidre (Op.47,forcello)remaining their tunefulnessandeasyassimilation,manyofhisworksnowseemdated,withonlyfirst for voiceandpiano,awidevarietyofinstrumentalcompositions.Perhapsbecause ing three operas,melodious andidiomaticchoralmusic(bothsacred andsecular),songs composerMaxBruchcontainsnearly100opusnumbers,includ- The catalogofGerman Recommended recording: Last MSOperformance: Approximate duration: First performance: 1879-80 Orchestra ofLondon(RCARedSeal) ;SirMalcolmSargent, NewSymphony 30 minutes drum, cymbals),harp,strings 2 trumpets,3trombones, ,timpani,percussion (bass 2 flutes,oboes,clarinets,bassoons,4horns, Jennifer Frautschi,violin May 2012;ChristopherWarren-Green, conductor; 22 February1881;LiverpoolEngland  .” Open-fifth

Regal Classics PROGRAM NOTES Composed: Instrumentation: Symphony No.1inB-flatminor[corrected 1968] Died 8March 1983;Ischia, Italy 29MarchBorn 1902;Oldham,England WILLIAM WALTON the symphonytoitsproud conclusion. distant trumpetcallisheard justbefore anonslaughtofstrings,brass,andpercussion bring onation ofKingGeorge VI.It’s nosurprisewhen,afterthefugue,regal musicreturns.A mood toWalton’s musichere, onethatpresages Crown (1937),writtenforthecor Imperial be thebestoflot.Atanyrate,itwillmostpopular it “apieceforthemob,”butwentontosaythat“insomeways,Ithinkmovement The FinalebringsusbacktoB-flat,butthistimeinthemajormode.composercalled minor. outburst. ThemusicthendiminishesandendsquietlyastheflutesingsalamentinC-sharp is introduced bytheclarinet,Walton intertwinesthem,leadingtoanimpassionedclimactic “with melancholy,” openswithadejectedflutemelody. Afterasecondbittersweettheme andresentment Theslowmovement,Andante senses thebitterness ofaloverscorned. The scherzoistobeplayed“fast,withmalice.”Initsdarkandelectrifyingener unrelentingly intenseoutpouring. er mansometimein1934.Thecomposerpoured allhispainintotheAllegro assai.It’s an that Walton’s girlfriend,Baroness ImmavonDoernberg, ayoungwidow, lefthimforanoth- ofintervals,ostinato,pedalpoints,andthelike,butit’sthe musicinterms usefultoknow move- ment,oneinwhichapassionate,personaldramaisplayedout.W An ominoustimpaniroll onB-flatopensthe work.Itforeshadows ofthefirst theturmoil then suggestedafugalepisode,andtheworkwascompletedinlatesummerof1935. the composerwasunhappywithmiddlesection.FellowConstantLambert the symphonywithoutFinale.Bythen,itsbeginningandcodahadbeensetdown,but ticing fee.InDecem-berofthatyear, thethree Hartyperformed completedmovementsof spent muchofthesummer1934writinghisfirstfilmscore, EscapeMeNever,foranen- three movements.TheFinale proved ahugechallengetoWalton, mainlybecausehehad Work progressed slowly—overthecourseoftwoyearshehadcompletedonlyfirst on theB-flatminorsymphonyearlyin1932. When arequest forsuch an opuscamefrom conductorSirHamiltonHarty, hesettowork in hisearly30s,waseagertowriteasymphony;Beethovenwouldserveasr celebrated cantataBelshazzar’s Walton, Feast(1931)already inhiscatalogue, William then Concerto(1929),andthe successfulworkssuchasPortsmouthPoint(1925),theViola With Recommended recording: Last MSOperformance: Approximate duration: First performance: Program notesbyJ.MarkBaker. 1932-35 (RCA GoldSeal) Andre Previn, LondonSymphonyOrchestra 43 minutes 2 timpani,percussion (cymbals,fielddrum,tamtam),strings 3trumpets,,2 bassoons,4horns, tuba, 2 flutes(2nddoublingpiccolo),oboes,clarinets, MSO premiere 6 November1935;London,England  , Ithink.”There’s aceremonial e couldanalyze gy, one ole model. -