Download III. Allegretto—The third Scottish Dance, according to program notes

Concert of Sunday, November 11, 2012, at 3:00pm
Overture Concert
Atlanta Symphony Youth Orchestra
Jere Flint, Conductor
Emmanuel Chabrier (1841-1894)
Joyeuse marche (1888)
Alan Hovhannes (1911-2000)
“Mysterious Mountain” (Symphony No. 2), Opus 132 (1955)
I. Andante
II. Double Fugue
III. Andante espressivo
Intermission
Malcolm Arnold (1921-2006)
Four Scottish Dances, Opus 59 (1957)
I. Pesante
II. Vivace
III. Allegretto
IV. Con brio
Alexander Borodin (1833-1887)
Symphony No. 2 in B minor (1869-1876)
I. Allegro
II. Scherzo. Prestissimo—Trio. Allegretto
III. Andante
IV. Finale. Allegro
Notes on the Program by Ken Meltzer
Emmanuel Chabrier was born in Ambert, France on January 18, 1841, and died in
Paris, France on September 13, 1894.
French composer and pianist Emmanuel Chabrier began his professional career as a
lawyer, working in the French Ministry of the Interior. During that time, he studied
composition, and developed his talents as a pianist and improviser. In 1880, Chabrier left
the Ministry of the Interior to devote himself entirely to music. Emmanuel Chabrier
composed numerous works for solo piano, orchestra, and operas.
Joyeuse marche (1888)
Joyeuse marche is scored for piccolo, two flutes, two oboes, two clarinets, four
bassoons, four horns, four trumpets, three trombones, tuba, timpani, timbales,
snare drum, triangle, bass drum, cymbals, harp and strings. Approximate
performance time is four minutes.
Chabrier composed his Joyeuse marche in 1888. The work’s original title was Marche
française. Chabrier dedicated the Joyful March to his friend and fellow composer,
Vincent d’Indy.
Chabrier once commented: “My first concern is to do as I please; seeking above all to
give rein to my individuality; my second is not to be a damned bore.” One of the most
consistently fetching qualities of Chabrier’s music is its playful humor. Chabrier once
described the Joyeuse marche as “idiotically comical; the musicians were in stitches.”
The music, ever forging ahead in episodic fits and starts, suggests a group of amateur
band members, trying to find their way. Claude Debussy praised Chabrier’s Joyful
March as a “masterpiece of high fantasy.” And indeed, this lighthearted, energetic and
brilliantly-scored work never fails to thrill the audience.
Alan Hovhannes was born in Somerville, Massachusetts, on March 8, 1911, and died
in Seattle, Washington, on June 21, 2000.
American composer Alan Hovhaness once offered the following explanation of his art:
“My purpose is to create music not for snobs, but for all people, music which is beautiful
and healing. To attempt what old Chinese painters called ‘spirit resonance' in melody and
sound.”
“Mysterious Mountain” (Symphony No. 2), Opus 132 (1955)
The first performance of “Mysterious Mountain” took place in Houston, Texas, in
1955, with Leopold Stokowski conducting the Houston Symphony Orchestra.
“Mysterious Mountain” is scored for three flutes, two oboes, English horn, two
clarinets, bass clarinet, two bassoons, contrabassoon, five horns, three trumpets,
three trombones, tuba, timpani, celeste, harp and strings. Approximate
performance time is sixteen minutes.
In 1942, the legendary maestro Leopold Stokowski conducted the United States premiere
of the Symphony No. 1 by the young American composer, Alan Hovhaness. When
Stokowski became Music Director of the Houston Symphony in 1955, he asked
Hovhaness to compose a work for his debut concert. Hovhaness responded with his
Symphony No. 2, which Stokowski conducted in the world premiere performance,
broadcast nationwide by NBC.
Hovhaness, possibly in response to a request by Stokowski, named his Symphony No. 2,
“Mysterious Mountain.” As Hovhaness explained: “I named the symphony for the
mysterious feeling that one has in the mountains—not for any special mountain, but for
the whole idea of mountains.” Hovhannes further commented: “Mountains are symbols,
like pyramids, of man’s attempt to know God. Mountains are symbolic meeting places
between the mundane and spiritual worlds.”
Audiences found the expansive beauty of “Mysterious Mountain” a welcome antidote for
much of the harsh, atonal concert music that seemed in vogue at the time. After the
premiere of “Mysterious Mountain,” critic Hubert Roussel wrote for the Houston Post:
“Hovhaness produces a texture of the utmost beauty, gentleness, distinction and
expressive potential. The real mystery of Mysterious Mountain is that it should be so
simply, sweetly, innocently lovely in an age that has tried so terribly hard to avoid those
impressions in music.”
After its premiere in Houston under Stokowski’s direction, Hovhaness’s “Mysterious
Mountain” soon received performances by several orchestras throughout the United
States. 1958 proved to be a banner year for “Mysterious Mountain.” Stokowski
conducted the work while touring Europe and Russia, and at a Carnegie Hall concert
celebrating the 50th anniversary of the Maestro’s debut. That same year, Fritz Reiner and
the Chicago Symphony Orchestra made their classic RCA recording. Since that time,
Hovhaness’s “Mysterious Mountain” has remained one of the most beloved works by this
unique and prolific American composer.
I. Andante—The lyrical opening movement beings with a hymn-like melody. The
movement is notable throughout for its transparent and exotic orchestral colors.
II. Double Fugue—The second movement features two fugues. First violins and violas
introduce the opening fugue subject (Moderato Maestoso). The second violins launch the
mercurial second fugue (Allegro vivo). Echoes of the opening fugue return, as the second
movement proceeds to a grand climax.
III. Andante espressivo—The reflective mood of the Symphony’s opening movement
returns in the finale. Another hymn-like passage leads to the fortissimo conclusion of
“Mysterious Mountain.”
Malcolm Arnold was born in Northampton, England, on October 21, 1921, and died
in Norwich, England, on September 23, 2006.
English composer Sir Malcolm Arnold learned to play the trumpet as a young child. He
studied trumpet and composition at London’s Royal College of Music. After two years
of study, Arnold joined the trumpet section of the London Philharmonic Orchestra.
Later, Malcolm Arnold played trumpet in the BBC Symphony Orchestra. He returned to
the London Philharmonic as Principal Trumpet, where he remained until 1948. Malcolm
Arnold then focused on composition. A prolific composer, Arnold’s works include Nine
Symphonies, and more than 100 film scores.
Four Scottish Dances, Opus 59 (1957)
The first performance of the Four Scottish Dances took place at the Royal Festival
Hall in London, England, on June 8, 1957, with composer conducting the BBC
Concert Orchestra. The Four Scottish Dances are scored for piccolo, flute, two
oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones,
timpani, percussion, harp and strings. Approximate performance time is nine
minutes.
Malcolm Arnold composed his Four Scottish Dances for the BBC Light Music Festival,
to whom he dedicated the work. The composer led the BBC Concert Orchestra in the
June 8, 1957 world premiere, which took place at London’s Royal Festival Hall. Typical
of Malcolm Arnold’s orchestral works, the Four Scottish Dances are brimming with
haunting melodies, energy, and brilliant instrumental colors.
All of the Dances (with the exception of one, composed by Robert Burns) are original
melodies.
I. Pesante—The first Dance is in the spirit of the strathspey, slow-tempo music whose
origins may have been in the valley (or “strath”) of the river Spey.
II. Vivace—The second Dance is a lively reel.
III. Allegretto—The third Scottish Dance, according to program notes for the work, “is in
the style of a Hebridean song and attempts to give an impression of the sea and mountain
scenery on a calm summer’s day in the Hebrides.”
IV. Con brio—The final Scottish Dance is a spirited fling.
Alexander Borodin was born in St. Petersburg, Russia, on November 12, 1833, and
died there on February 27, 1887.
The strongest unified movement toward Russian nationalistic expression in 19th-century
concert music occurred during the 1860s with the formation of a group of composers
dubbed by critic Vladimir Stasov as “The Five” or “The Mighty Handful.” “The Five,”
organized by self-taught pianist Mily Balakirev (1837-1910), also included Alexander
Borodin (1833-1887), César Cui (1835-1918), Modest Mussorgsky (1839-1881) and
Nikolai Rimsky-Korsakov (1844-1908). At the time of the group’s inception, all except
Balakirev were musical amateurs—Borodin was a chemist; Cui, an engineering officer;
Mussorgsky, an officer of the Guards and Rimsky-Korsakov, a Naval Officer.
One might be tempted to suppose that a lack of formal training would be an impediment
to successful musical composition. Balakirev thought otherwise. He believed that the
traditional theories of music education taught at conservatories inhibited the creation of
music that was truly “Russian.” Indeed, Balakirev actively discouraged all of the
“Mighty Handful,” particularly Rimsky-Korsakov, from seeking formal musical training.
Rimsky-Korsakov came to regret that path and rebelled in later years.
Alexander Borodin’s scientific career was quite distinguished. He was a prominent
researcher and lecturer at the Medico-Surgical Academy in St. Petersburg. It’s not
surprising that his academic obligations made composition difficult. Borodin once
confided to a friend: “I was never able to concentrate upon composition except during my
summer holiday, or when some ailment compelled me to keep to my rooms.” Despite
these obstacles, such works as Borodin’s two Symphonies (1862-67, 1869-76), the two
String Quartets (1874-79, 1881), his orchestral “Musical Picture” In the Steppes of
Central Asia (1880) and the opera Prince Igor (1869-1887) demonstrate a genuine and
individual talent for melody and instrumental color.
Symphony No. 2 in B minor (1869-1876)
The first performance of the Symphony No. 2 took place in St. Petersburg, Russia,
on March 10, 1877, with Eduard Nápravnik conducting. The Symphony No. 2 is
scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons,
four horns two trumpets, three trombones, tuba, timpani, triangle, tambourine, bass
drum, cymbals, harp and strings. Approximate performance time is twenty-six
minutes.
In 1869, Vladimir Stasov suggested to Borodin that he create an opera based upon the
early Russian epic poem, The Story of the Expedition of Igor. Prince Igor takes place in
Russia in 1185. Igor and his son Vladimir attempt to defeat the Polovtsians, and their
leader Khan Konchak, who are marching against the city of Putivl. In the final act, Igor
and his forces emerge victorious.
Other commitments, both scientific and musical, prevented Borodin from devoting his
full efforts to the opera. As Borodin wrote to a friend in 1876:
So far I have felt shy of letting it be known that I am engaged in an opera.
My real business, after all, is scientific work; and I feared lest by
concentrating too much on music I discredit that work. But now,
everybody knows; and I am, so to speak, in the same position as a girl
who, having thrown her cap over the mill, has secured a certain amount of
freedom: willy-nilly, I must finish Igor.
When Alexander Borodin died in St. Petersburg in 1887, at the age of 53, Prince Igor
was still incomplete. Rimsky-Korsakov and Alexander Glazunov then assumed the task
of completing Prince Igor.
From 1869-1876, Borodin also worked on his Symphony No. 2. Stasov and many other
commentators felt the spirit of Prince Igor in this purely orchestral work. Stasov noted
that the opening movement “recalls the chivalry of the ‘Bogatyrs (ancient Russian
warriors),’ in the slow (third) movement, we discern the features of the bard, Bayan, and
in the Finale, we see heroic feasting and revelry to the sound of the gusli (psaltery).”
I. Allegro—The strings forcefully proclaim the opening movement’s stern, principal
theme. The theme undergoes a series of varied treatments. A particularly restrained
version leads to the beautiful second principal theme, sung by the cellos, and marked
dolce (“sweetly”). A return of the opening theme rounds out the exposition. The
ensuing development, based upon the opening theme, begins in a hushed manner, but
soon builds to a forceful climax. A fff statement of the opening theme marks the
beginning of the varied recapitulation. The ensemble’s massive final statement of the
opening theme brings the Allegro to a powerful close.
II. Scherzo. Prestissimo—Trio. Allegretto—The second-movement Scherzo is in A—B—
A form. The opening section (Prestissimo) feature sprightly, repeated quarter notes,
presented in a kaleidoscope of orchestral colors. The more relaxed and lyrical central
Trio (Allegretto) spotlights the winds. A reprise of the opening Scherzo (Tempo I)
resolves to a whispered close.
III. Andante—The Symphony’s slow movement opens with an introduction featuring the
harp and solo clarinet. The solo horn then sings the Andante’s haunting principal
melody, soon repeated by the clarinet. The melody returns throughout the movement,
sometimes alternating with contrasting episodes, one of which builds to a powerful
climax. A final, hushed reprise of the central melody serves as prelude to the Finale,
which follows without pause.
IV. Finale. Allegro—A brief introduction yields to the initial presentation by the strings
of the Finale’s joyous, principal theme. For the most part, the optimism and vitality of
the opening measures continue right to the breathless, Vivo dash to the finish.