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Symphony in B Flat Major 11 Min Wilhelm Friedemann Bach Andrew Manze, conductor Johann Georg Pisendel: Symphony in B flat major 11 min I Allegro di molto II Andantino III Tempo di menuet Wilhelm Friedemann Bach: Adagio and Fugue in D minor Fk 65 10 min I Adagio II Fugue Jan Dismas Zelenka Hipocondrie Overture in A major 9 min Antonio Vivaldi: Concerto for the Dresden Orchestra in 12 min G minor RV 576 I Allegro II Larghetto III Allegro INTERVAL 15 min Antonio Lotti: Crucifixus (arr. Andrew Manze) 4 min Dmitri Shostakovich: Chamber Symphony in C minor, 23 min (arr. Rudolf Barshai) Op. 110bis I Largo II Allegro molto III Scherzo (Allegretto) IV Largo V Largo Interval at about 7.55 pm. The concert ends at about 20.45 pm. Broadcast live on YLE Radio 1 and the Internet (www.yle.fi) 1 Music from Dresden Sometimes known as “the Florence on the Elbe”, ern Germany. By contrast, the Elector was more Dresden grew in the first half of the 18th century in favour of the French style while his son, Crown into a city of Baroque palaces, art and music with a Prince Friedrich August II, preferred the Italian. thriving court culture. It was to the German-speak- On the death of his father, the Crown Prince be- ing regions of Europe what Florence had been to came Elector of Saxony and King August III of Po- Renaissance Italy. land in 1733. The credit for Dresden’s golden era goes to Au- Despite his debts, August III continued the gran- gust II the Strong (1670–1733), who in 1694 be- diose court culture established by his father. He came Elector of Saxony. August II had travelled the lacked his father’s brilliance, both as a ruler and length and breadth of Europe, soaking up ideas. He as a patron, but he did succeed in keeping many was impressed by the court and palace of the Sun of the institutions and practices alive. In 1756 the King Louis XIV at Versailles and wanted something war that was to last for seven years broke out and similar in Dresden. To this end he invited artists the city finally fell to the Prussians. The final blow of various kinds to the city, collected art and set to Dresden’s golden era was the death of August building projects in motion. His court in time ac- III in 1763. quired a reputation for being one of the most splen- The subsequent centuries have likewise seen the did in Europe. rise and fall of Dresden’s fortunes. The most devas- Music occupied a leading position at the court in tating blow came in February 1945, when the city Dresden. August II enticed some of the very best was almost totally destroyed by the Allies’ bombs. musicians from all over Europe to enter into his The centre became a pile of smouldering ashes – the service and his court orchestra became one of the Zwinger Palace, the dearly-loved Frauenkirche, the finest of its day. Whereas in 1709 he had some 30 Gothic Sophienkirche and one of the great monu- musicians, by 1719 their number had risen to over ments to the city’s 19th century architecture, the 40. Music in Dresden was coloured by a certain ten- Semper Opera House. Dresden has risen from the sion between the national styles. The majority of ashes and the old centre has been restored. Despite the musicians had inherited the ideals of North- its wounds, it is once again the Florence on the Elbe. Johann Georg Pisendel (1687–1755): Symphony in B flat major Pisendel arrived in Dresden in 1712 and stayed ship, and on his return to Dresden, Pisendel for the rest of his life. He got a job as a vio- widely performed Vivaldi’s music. The compos- linist in the court orchestra and was appoint- er in turn held Pisendel in such high esteem as ed its leader in 1728. His stay in Dresden was a violinist that he wrote works for him. The few interrupted by the periods he spent studying compositions by Pisendel are of a high stand- in France, Berlin and Italy. His visit to Ven- ard. It is not known when he wrote his only ice, where he lived for nine months and stud- symphony, but it represents the earliest at- ied with Vivaldi, made the biggest impression tempts in this genre, before the formal ideals on him. The two musicians struck up a friend- became established. 2 3 Wilhelm Friedemann Bach (1710–1784): Adagio and Fugue in D minor Fk 65 The Bach dynasty, spreading as it did across sev- an organ built by the German master Gottfried en generations, was so vast and influential that Silbermann. Wilhelm Friedemann also com- some of its members found their way to Dres- posed religious vocal and instrumental music. den. In 1733 the post of organist at the So- In time, he nevertheless got fed up with the job. phienkirche became vacant and attracted ap- In 1746 he therefore moved to the Liebfrau- plications from three musicians. One of them enkirche in Halle, leaving Dresden behind. He was the oldest son of Johann Sebastian, Wil- most probably wrote the Adagio and Fugue in D helm Friedemann Bach. The appointments minor in the early 1740s. The profound and el- board considered him by far the best. evated Adagio is followed by a four-part Fugue Wilhelm Friedemann Bach took up the post that, though quick, is still serious in tone. in 1733. Awaiting him at the Sophienkirche was Jan Dismas Zelenka (1679–1745): Hipocondrie Overture in a major (1723) Though conditions for musicians were better in harmony. The Hipocondrie Overture dates from Dresden than elsewhere, there was still some 1723, when Zelenka was staying in Prague. It discontent at court. Bohemian Zelenka was one well illustrates his distinctive style. The overall of these. Most of his output consists of music form is that of a French overture. At the heart for the church, which he wrote for the court’s is an unusual quick, contrapuntal section in tri- Catholic liturgy. The style is utterly Baroque, ple metre and at the end a slow section in sim- and he was praised by his contemporaries for ple time coloured by harmonic tensions and di- his command of counterpoint and richness of minished chords. Antonio Vivaldi (1678–1741): Concerto for the dresden orchestra in G minor RV 576 The publication by the prestigious Estienne certos, enjoy the potential afforded by a large Roger of Amsterdam of L’estro armonico, a col- court orchestra. Whereas he normally had to lection of 12 concertos, in 1711 was to make confine the orchestral parts of his concertos to Antonio Vivaldi the most popular concer- strings only, he had many woodwinds at his dis- to composer of his day. It is therefore no sur- posal in Dresden. He was also inspired by the prise that the Vivaldi concertos ended up in the solo musicians, for he had Pisendel, whom he hands of the Dresden violinist and composer greatly respected, on the violin, and he proba- J.G. Pisendel. After visiting Venice in 1716–17, bly got to know the oboist Johann Christian Pisendel began recommending Vivaldi’s music, Richter during a visit to Venice by Richter and and Dresden gradually became the main Vivaldi a few of the other Dresden court musicians in stronghold in German-speaking Europe. 1716–17. Vivaldi composed a number of works for the Dresden court orchestra. He could, in the con- 2 3 Antonio Lotti (1667–1740): Crucifixus (arr. Andrew Manze) Vivaldi never visited Dresden, but many oth- In his operas Lotti favoured dramatic effects er Italian composers and musicians did in and experimented with bold harmonies, but in the 18th century. One of them was a Vene- his church music he adhered to a more tradi- tian by the name of Antonio Lotti, who trav- tional line. Crucifixus – one of his three settings elled there in autumn 1717 at the invitation of of the same text and possibly his best-known Crown Prince Friedrich August II. Lotti was or- work – dates from the Dresden years. It is part ganist at St Mark’s and conscientiously com- of the longer Credo movement of his full-length posed music for the church, but he also won ac- Missa Sancti Christofori and is scored for choir claim as an opera composer. His operas were and continuo. The instrumental transcription what took him to Dresden, and while he was to be heard in this concert is by Andrew Manze. there, he composed three more. Despite the fame and glory they brought him, he neverthe- Kimmo Korhonen (abridged) less returned to his old job in Venice after their performance. Dmitri Shostakovich (arr. Rudolf Barshai): Chamber Symphony in C minor, Op. 110bis The Chamber Symphony is by Shostakovich, but his personal feelings. The eighth string quartet he wrote it for a string quartet, not an orches- of 1960 is a veritable masterpiece, and the on- tra. The transcription for string orchestra of the ly one he mentions in his memoirs. String Quartet no. 8 in C minor is by violist-con- The String Quartet no. 8 and the Chamber ductor Rudolf Barshai, for many years conduc- Symphony seem to be direct reflections of Shos- tor of the Moscow Chamber Orchestra. Tran- takovich’s fate and the way his work has been scriptions of quartets for string orchestra are interpreted at different periods in time. It is not usually very earth-shattering: most of the macabre to think that the origin of the heart- music can be left in the original.
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