Download Program Notes (MW1) - Memphis Symphony Orchestra

Samuel Coleridge-Taylor (1875-1912): Danse Negre, Op. 35, No. 4
Duration: 6 minutes
Samuel Coleridge-Taylor was a noted Afro-English composer whose works thrived
mostly around the decades surrounding the turn of the 20th century. Born and raised
near London, he was educated at the Royal College of Music, studying composition with
Charles Villiers Stanford. His best known work is Scenes from The Song of Hiawatha,
a trilogy of compositions for chorus and orchestra; the writing was largely influenced by
the poem of the same name by American poet Henry Wadsworth Longfellow.
“Danse Negre” is originally the final movement of the larger African Suite, a series of
short movements inspired by the writings of African-American poet Paul Lawrence
Dunbar. Scored for full orchestra, it was published in 1898. It resembles a short but
festive overture in its mood; returning to the second half of its opening material following
a somewhat gentler middle section.
Piotr Ilyich Tchaikovsky (1840-1893): Concerto No. 1 in B-Flat Minor for Piano and
Orchestra, Opus 23
Duration: 33 minutes
19th century Russia’s most famous composer was arguably Piotr Ilyich Tchaikovsky.
Many American concertgoers first become acquainted with his music thanks to early
exposure as children to his Christmas ballet, The Nutcracker. [That was certainly true
for me!!] Happily, there is much more to be considered when approaching
Tchaikovsky’s music. Unlike the “Mighty Five,” who focused almost entirely on a
Russian nationalistic sound base, Tchaikovsky’s works are decidedly western in form
whilst still maintaining a Russian flavour.
The 1st Piano Concerto (of three) was composed between November of 1874 and
February of 1875. It was given its first performance in October of 1875 by Hans von
Bulow (to whom it is dedicated) in Boston, Massachusetts. Following the premiere,
revisions were made to the work off and on at least through 1879. It is a massive and
powerful work, with much of its weight concentrated in the first movement. Its most
famous melody (once known as the song “Tonight We Love”) never returns. Instead, it
serves as a lengthy introduction to a broadly conceived sonata form movement.
Movement Two is in ternary form, with gentle and elegant outer sections enclosing a
vertiginous central scherzo using a French popular song. [It almost reminds me of
squirrels chasing each other under an oak tree!] The Finale is a fiery rondo; the broad
peroration at the climax of the movement is based upon the rondo’s second theme.
Antonin Dvorak (1841-1904): Symphony No. 9 in E Minor, Opus 95, “From the
New World”
Duration: 40 minutes
Antonin Dvorak was one of the first leading composers of a Czech national style
(immediately following Bedrich Smetana), and he incorporated many elements of folk
and dance music into his compositions. He was born in the village of Nelahozeves,
Bohemia, 15 or so miles north of the capital city of Prague. [I went with the Memphis
Youth Symphony on its 2005 tour of Germany and the Czech Republic. I didn’t get to
tour the inside of his first home as it was closed the day I was there--but even getting to
SEE it from a distance was one of the biggest thrills of my life.] The great German
composer, Johannes Brahms, was a staunch supporter from early on, and played a
major role in bringing his works to the attention of a much wider European audience.
He served as Director of the National Conservatory of Music in New York City from 1892
until 1895. He encouraged his students to incorporate the music of African-Americans
and Native-Americans into their compositions to strengthen an emerging American
nationalistic style.
During his tenure at the National Conservatory, Dvorak was commissioned by the New
York Philharmonic to write the symphony that we now know as the New World
Symphony. It was given its premiere at Carnegie Hall in December of 1893. [I first
played the work as a member of the Memphis Youth Symphony under the baton of
founding conductor Vincent De Frank; now it is one of my most important Music
Appreciation teaching selections in addition to continuing to be a personal favourite
composition.] What is so astonishing about this work is the thematic unity that Dvorak
weaves effortlessly into the entire composition. Themes appear and reappear on a
regular basis throughout each movement, tying the entire work together as a cohesive
whole. There are three primary themes in the First Movement; the first reappears in
each subsequent movement, with the third returning in Movements Three and Four.
The Second Movement opening and closing brass chorales return in the climax of
Movement Four. The movement’s main theme, a beautiful English Horn solo that was
eventually set with words (the spiritual we know as “Goin’ Home”), recurs in Movements
Three and Four. A Third Movement rhythmic pattern finds its way also into the climax of
Movement Four.
NOTE: Some VERY exciting news about the New World Symphony: The original
manuscript is “Comin’ Home” to the United States next month as a highlight of weeklong events in New York City celebrating the 25th anniversary of the Velvet Revolution!!!
Here is the website address for any of you who might be in New York City at the same
time:
http://www.classicalsource.com/db_control/db_news.php?id=3009
Oh, how I WISH I could go!!! :-)
by Michelle Pellay-Walker