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October2013 Morning,NoonandNightinViennaOverture FranzvonSuppé(1819‐1895) Scoredfor2flutes(onedoublingonpiccolo),2oboes,2clarinets,2bassoons,4horns,2 trumpets,3trombones,timpani,snaredrum,bassdrumandstrings. FranzvonSuppé—akaFrancescoEzechieleErmenegildoCavaliereSuppéDemelli—was borninSpalato,Dalmatia(nowSplit,Croatia)toparentswho,likesomanyothersbefore andsince,discouragedhisaspirationsforamusicalcareer.Thoughhedemonstrated promiseasacomposeratayoungage,vonSuppéagreedtomovewiththefamilytoPadua, Italywhereheintendedtostudylaw.However,uponhisfather'sdeathin1835,he relocatedtoVienna(withhismother),enrolledintheConservatory,andpursuedhistrue passion.HavingbeenswoonedbytheItalianmusicofRossiniandVerdi,hebeganto composeintheeffervescentItalianatemelodicstyle.Attheheightofhislongandprofitable career,vonSuppéwasthefounderandleadingcomposeroflightAustrianoperettainthe middleandlatenineteenthcentury,enjoyingasuccessthatrivaledthatofFrenchman JacquesOffenbach.Areviewofhisfirstscore(YoungandMerry,1841)praisedtheyouthful vonSuppéforallthesamequalitiesassociatedwithhislatermasterpieces: Melodious,richintenderideasandfinenuances,clearlyandeffectively orchestratedandcontainingsuchsurprisingmodulationsandtransitions, thattheovertureandmostofthesongsandchoruseshadtobeencored... ThewholecompositionhastracesoftheItalianstylebutnowandthengoes inforthoroughlyvernacular,simplyhandledthemes. Morning,NoonandNightinViennabelongstoamusicalgenrethatprecedestheoperetta‐‐a humorousplayinterspersedwithsong.Theoverturetosuchaproductionrarely,ifever, relatedtotheactualstorylineoftheplay.Itsfunctionwassimplytogettheattentionofthe audience,quietthehouse,andsetthescenefortheentertainment.Eveninthisrelatively earlywork,composedwhenhewasonlytwenty‐four,vonSuppéhadafeelforhowtograb theattentionoftheaudience.Theplayclosedafterthreenights,buttheoverturewasa hugesuccess. Thelightheartedcharacteroftheplayisapparentinthemusicfromtheverybeginning,as thedramaticopeningstatementbybrassandwindsisanswered,perhapsmockedwould beabetterword,byapizzicatoresponse.Thisisthenfollowedbyabriefandcalming chorale,playedbythewoodwindsandbrass,cappedoffbyarecurrenceofthedramatic openingmaterialandanotherbriefchorale.Alloftheprecedingblustercummelancholy turnsouttobemerelyanintroductiontoanextendedcellosolo,featuringaplaintive melodyoverawaltzaccompanimentplayedbypizzicatostrings.Thelyricalmelodyoccurs twicebeforethefullorchestratakesover,providinganewclosuretothetuneinthehigh strings.Thecellotakesoveronceagain,endingitspassagewithanexpressivemini‐ cadenza.Theopeningbangreturnsabruptly,signalingachangetocome.Anexceptionally activeandagitatedtunecommencesinthestringsandtheremainderoftheovertureisa whirlwindofmelodicmaterialintendedtoexcitethelistenerandpropelthemusiconward toitsdramaticconclusion. “Ombramaifu”fromXerxes GeorgeFredericHandel(1685‐1759) Scoredforstringsandsoprano(originallyforcastrato). TherearetwothingsabouttheoperaXerxes(alsoknowbyitsoriginalItaliantitleSerse) thateveryoneseemstoagree:1)theopera,asawhole,wasacompletefailurewhenit premieredand2)theopeningaria,sungbythetitlecharacter,containsoneofHandel’s mostgorgeousandwell‐knowmelodies.AfterameagerfiveperformancesinApril1738, theoperadisappearedfromthestagefornearly200years.Thereasonsforthepoor showingareusuallyplacedsquarelyonHandel’schoiceoflibretto(text).Theconventions ofoperaatthetimeXerxeswascomposeddidnotallowforthemixingofcomicandtragic elementsinthesameproduction.Thelibretto,written75yearsearlierthanthemusic,is filledwithsuchundesirablejuxtapositionsandHandelwasgametotrysomethingthatwas perceivedasrevolutionary(andclearlyunwantedatthetime):therepresentationofmore thanonesentimentinthecourseofanopera.Forthosewhospeakopera,Handelalso shookthingsupmusicallywithregardstotheformalandfamiliarconstructionofhisarias. Abandoningthestructureoftheheavilyfavored‘dacapo’aria(A‐B‐Ainform),Handel insteademploysshort,tunefulariasinterwovenwithbriefrecitatives,ensemblesand instrumentalsections.Revivedin1924,XerxeshasgrowntobecomeoneofHandel’smost popularandfrequentlyperformedoperas,secondonlytoGiulioCesare.Indeed,thefeatures thatHandel’saudiencesfoundsodisconcerting—theshorterarias,fastermovingplot,and theblatantmixtureoftragedyandcomedy—likelyaccountforitspopularitytoday. TheplotoftheoperaislooselybasedonXerxesIofPersia(ca.480BC)and,loosely summarized,involvesahalfdozencharactersprofessinglovetosomeonewhodoesn'tlove them,exceptforonecouplewhotrulyloveeachother,butinsecret.They(thecouplein love)fendoffanadvancefromamanwholovesthewomanwhilesimultaneouslyfending offthejealousandmanipulativesister‐of‐the‐secretly‐loved‐womanwhoisdoingherlevel besttosplitthecoupleupbecauseshewantsthemanhersisteriswith.Thereisquiteabit more,includinganexcitingtempertantrumendingthathasthreatsofdeathbeingcast aboutbyacertainXerxeswhocannothavethespousehewants.Butwhoneedsallthat confusion?Don'tworryaboutit—everythingworksoutjustfinebeforetheoperacomesto aclose. ThecomicelementisintroducedattheoutsetoftheoperawiththetyrannicalXerxes singingtheopeningaria,thesubtleanddelicate“Ombramaifu.”Whilethetextisnot overtlyhumorous,Handelisplayingontheironyoftheabsurdsituationweareviewing: Xerxespraisingtheshadeprovidedbyatreeinthemostearnestandferventtermswitha heart‐stirringmelodythathardlyseemsappropriateforthesituation.Theariahasonlyone simplelineoftext—perhapsthemostbeautifulmusiceverpennedtodescribethesplendor ofatree: “Neverwasmadetheshadeofanyplant,moredearandlovely,ormoresweet.” “Batti,batti,obelMasetto”fromDonGiovanni W.A.Mozart(1756‐1791) Scoredforflute,oboe,bassoon,2horns,stringsandsolosoprano. Geniusisatitlethatisperhapsthrownaboutabitrecklesslywhenascribingadjectivesto historicpersonalities.However,anythatdenyMozartthismoniker,surelywouldbeplaced inthestockandpilloriesforpublicridicule.WhilemostemphasizeMozart’smusical prowess(aworthyfocus,indeed)considertodayhismulti‐lingualskillsintheoperatic realm.SinceItalianoperawasalltherageinthelateeighteenthcentury,anyserious composerwasexpectedtowriteinItalian,andMozartwasonlytoohappytocomply. MozartclearlyunderstoodthesubtletiesofItalianandpennedmusicthatcorrespondsina waythatwouldsuggestmuchmorethanasimplistictouristvocabulary.Healsohad masteryofFrenchandLatin,alllikelyself‐taughtasthereisnorecordofhimtaking languageclassesatSalzburgCommunityCollegeorindulginginearlyeditionsofRosetta Stone.Sumtotal,Mozart’soperaticcreationsenvelopthelistenerinarichmusicaland linguisticexperiencethatfewothersequalevenwhenwritingintheirownvernacular. DonGiovanniwaspremieredin1787,featuringascandalouslibrettobyLonrenzoDaPonte basedonthelegendsofthefictionalphilanderer,DonJuan.Althoughsometimesclassified asacomicopera(Mozarthimselfcatalogueditaan“operabuffa”),itblendshumorwith melodramaandthesupernatural.ForthosenotfamiliarwiththeDonJuanlegend,thetitle characterisanarrogant,promiscuousnoblemanwhohasapenchantforseducingwomen throughoutEurope—andnotjustafew,mindyou.DuringthecourseoftheoperaDaPonte andMozartintroduceustothreewomenwhohavebeendupedbytheDon:DonnaAnna, ZerlinaandDonnaElvira.Theyhavelooselybondedtogetherforthepurposesofrevenge. TheplottwistssuchthatthefatherofDonnaAnna,knownastheCommendatore,iskilled byDonGiovanniwhenDoniscaughttryingtoseducehisdaughter.DonGiovanniandhis servant,Leporello,laterapproachastonemonumentoftheCommendatorewhereuponthe statueawakensandrebukestheDonforhisdespicablebehavior.Leporelloisterrified,but Giovanni,inafitofdisbelievinggoodhumor,tellsLeporellotoaskthestatuetodinner.The statueaccepts.Whenthestatuearrivesfordinner,theDonpolitelyaskshimtojoinhimfor themealbutthestatuedeclines.Instead,heorderstheDontorepentforhissins.Defiantto theend,Giovannirefusestoatoneforhiswrongsandisdraggeddownintohellalongwith thestatue. Thearia“Batti,batti”issungbyZerlinatoherfiancé,Masetto,afteranattemptedseduction bytheDon.SheistryingtoplacateMasettowhoisclearlyangeredbywhathastranspired. Beatme,dearMasetto,beatyourpoorZerlina. I’llstandhereasmeekasalambandbeartheblowsyoulayonme. Youcantearoutmyhair,youcanputoutmyeyes. AndyetgladlyI’llkissyourdearhands. Ah!Iseeyouhavenotthehearttodoso. Letusmakepeace,mydearestlove! Inhappinessandjoyletuspassourdaysandnights. SymphonieEspagnole EdouardLalo(1823‐1892) Scoredfor:piccolo,2flutes,2oboes,2clarinets,2bassoons,4horns,2trumpets,3 trombones,timpani,triangle,snaredrum,harp,andstrings. EdouardLalowasbornintoamilitaryfamilyinNorthernFrance.Hisfatherfoughtfor NapoleonandassumedthatyoungEdouardwouldpursuethemilitaryasacareeraswell. Althoughhisparentsinitiallyencouragedhismusicaltalents,whenhebegantoconsider musicasacareerpossibility,hereceivedsternoppositionfromhisfather.Frustrated,Lalo lefthomeatage16topursuemusicalstudiesattheParisConservatory.Foratime,things wentwellforhimasastudent,butgraduallytherigidstructureoftheinstitutionandlack offlexibilityintheinstructorsandtheirmethodsforcedLalotoreconsiderhiscareer options.Hedecidednottogivein,perhapsoutoffearofreturninghomeindisgrace,and workedforyearsinrelativeobscurityasaviolinistandmusicteacher.Itwasnotuntilthe 1870s,whenLalowaspasthis50thbirthday,thathefinallygotabreakasacomposer. TheFranco‐Prussianwarof1870anditsaftermathcreatedtemporaryhavocinFrance’s socialconditions;thepracticeofmusichadnearlycometoastandstillinthecountry. However,therapidreconstructionthatfollowedtheconclusionofthewargaverisetothe creationoftheSociéténationaledemusique.TheSociété,inturn,createdaconcertseriesto rallythemusicalarts,whichdemandedthecreationofnewworks.Frenchcomposers, includingLalo,wereinspiredandencouragedtocomposelarge‐scaleorchestralworksfor theseperformances,despitethefactthatsuchworkshadfallenoutoffashioninFrance manydecadesearlier. Lalo’snameasacomposerbecamewidelyknownbeyondtheboardersofFrancethrougha seriesofworkshecomposedfortheSpanishviolinistPabloSarasate.Oneofthemost spectacularviolinvirtuososofthelatenineteenthcentury,Sarasatewasknownforhis beautifultone,perfectintonation,tremendousego,andhisflaironthestage.Many composersdedicatedworkstohim,includingMaxBruch,CamilleSaint‐Saëns,Joseph Joachim,HenriWieniawski,andAntonínDvorak.ThefirstworkLaloandSarasate collaboratedonwastheConcertoinFMajor,whichwaspremieredin1874.Lalowasso takenbySarasate’sabilitiesthathesoonsettoworkonanother,moreambitiouswork, whichhetailoredspecificallytosuitSarasate.Thissecondwork,SymphonieEspagnole, Lalo’smostfamousandenduringcomposition,wasfirstperformedin1875withSarasate assoloist.ParisianaudienceswerehungryfortheexoticSpanishsoundingmusicandtheir responsetotheSymphonieEspagnolewasoneofimmediateenthusiasm. Don’tletthetitledeceive;SymphonieEspagnoleisnotasymphony,noratraditional concerto.Itismorelikeafive‐movementBaroquesuite,especiallywhentheincorporation ofdancerhythmsisconsidered.Althoughthefivemovementsarenotspecificallynamed, theyallcorrespondtoSpanishdancesandfolkrhythms,whilethestructureofthe movementscorrespondstoclassicalsymphonicandconcertomodels.Lalohasthe followingcommentaryontheunusualtitleoftheSymphonieEspagnole: Artistically,atitlemeansnothingandtheworkitselfiseverything;thisisan absoluteprinciple.Butcommercially,atainted,discreditedtitleisnevera goodthing.IkeptthetitleSymphonieespagnolecontrarytoandinspiteof everybody,first,becauseitconveyedmythoughts—thatistosay,aviolin solosoaringabovetherigidformofanoldsymphony—andthenbecausethe titlewaslessbanalthanthosethatwereproposedtome.Thecriesand criticismshavediedorwilldiedown;thetitlewillremain,andinaletterof congratulationBülowwrotetomethatthishappytitleplacedthepiece beyondallothers. Thefirstmovementisahabanera,withthethreemainthemesofthissonataform presentedinthesamerhythm–althoughnotthesamemood.Thefirsttwothemesrun together,andalthoughthefirstislittlemorethanamotive,itservesasthegluethatholds themovementtogetherasbothrefrain,aswellasthemostdevelopedmusicalidea. SymphonyNo.5inFMajor,Op.76 AntonínDvořák(1841‐1904) Scoredfor:2flutes,2oboes,2clarinets,bassclarinet,2bassoons,4horns,2trumpets,3 trombones,timpani,triangleandstrings DvořákwasbornonSeptember8,1841inMühlhausen,Bohemia(todayNelahozeves, CzechRepublic)about20milesnorthofPrague.Hisfatherwasabutcher,innkeeper,and professionalplayerofthezither.Dvořák'sparentsrecognizedandnurturedhismusical talentfromanearlyage.Hestudiedorgan,violinandviola,becomingaccomplishedonall threeinstruments.AsayoungadultheplayedviolaintheBohemianProvisionalTheater Orchestra,andfellunderthespellofitsdirector,CzechnationalistcomposerBedrich Smetana.Bittenbythecompositionalbug,Dvořákturnedhisattentionawayfrom performingin1871andbegantoreceivemodestregionalacclaimforhiswork.Withina fewyearshisreputationasacomposerhadspread,attractingtheattentionofsuchmusical luminariesasJohannesBrahms.BrahmsevenrecommendedDvořáktohispublisher, Simrock,whosubsequentlycommissionedwhatwouldbecomethewildlypopularSlavonic Dances,firstpublishedin1878,andrepresentedDvořák’sbreakthroughcomposition. However,beforehisinternationalcareertookrootinthelate1870s,Dvořákcontinuedto composeinrelativeisolation.HisFifthSymphonywascompletedintheremarkablysmall windowoffiveandahalfweeks,withthefinishedmanuscriptbearingthedateJuly 23,1875.Thissymphony,alongwithotherworks,wassubmittedasapartofhisapplication forthe1876AustrianStatePrize,anannualstipendgivenbytheAustriangovernmentto “young,poor,andtalentedpainters,sculptorsandmusicians.”(Brahmsservedasoneofthe judgesonthecommittee.)Dvořákhadwontheprizeonhisfirstattemptin1874,lostonhis second,andnowhadwonagain.TheFifthSymphonywaspremieredinMarch1879,but wasnotpublisheduntil1888.Thoughthetrueopusnumberofthesymphonyshould rightfullyhavebeeninthemidtwenties,SimrockchoseOp.76,anumberthatcorrelated withotherworksDvořákwascomposingin1888,inordertomaketheworkappearasa ‘hotoffthepress’itemfromthenowworld‐famouscomposer. ForthosewhostudythesymphonicworksofDvořák,thereisamarkedchangethatoccurs betweenthemusicofhisfirstfoursymphoniesandthefifth.Theformer,rarelyperformed works,areoftenclassifiedasexperimental.TheycertainlyforeshadowthecharmingCzech melodiesandrhythmiccomplexitiesthatweassociatewithDvořák’smatureworks,but theyareheavilyinfluencedbytheweightyorchestrationandcompositionaltechniques espousedbyRichardWagner.Bycontrast,DvořákbiographerJohnClaphamboldly proclaims:“Itisasifanewworldisrevealedinthe[SymphonyNo.5].Dvořák'snew‐found masteryisfirstnoticedinthemagicalopeningforclarinetsandabackgroundofhornsand strings,andsubsequentlyseenintheremainderofthework.Butnowhereisitmore apparentthaninthepowerfulfinale.ThisremarkablemovementcommencesinAminor, andavoidstheprincipalkeyofFmajorforwelloverfiftybars.Thisploywasbynomeans new,butnocomposerhadpreviouslyattempteditonsoextendedascale.Thefinale's developmentsectionisthemostdynamicthatDvorákhadproduceduptothistime.” ProgramnoteannotatorfortheBaltimoreSymphonyOrchestra,JanetE.Bedell,describes thefourmovementsoftheSymphonyNo.5thusly: ThefirstmovementismusicoftheCzechcountryside:buoyantand optimistic,withbright,pastoralwoodwindcolors.Twoclarinets,thentwo flutesintroduceabirdlikereveilleofaprincipaltheme,withaserenelyrising three‐noteconcludingmotivethatDvorákwillputtogooduse;Dvorak scholarOtakarSourekdescribesthismusicashaving"thedew‐fresh fragranceofaspringmorning."Itripplesintothesecondpartoftheprincipal theme:aboisterous,syncopatedpeasantdancedeliveredloudlybythefull orchestra.Syncopatedrhythmsalsoanimatethecontrastinglyricaltheme:a chromaticallyslitheringideaproposedbytheviolins.Theseideasarebriefly andenergeticallydevelopedbeforetheentireexpositionisrepeated.The truedevelopmentsectioninitiallyemphasizestheopeningthemeandisyet morestormilyenergetic.Therecapitulationreturnsquietly,withapairof hornsreprisingthebirdsongreveilletheme.Themovementclosesasgently asitbegan. Movementtwo,inAminor,isapensiveintermezzorevolvingarounda lovely,gentlymelancholymelody,firstsungbythecellos.Themiddlesection, castinthecontrastingAmajoranddominatedbythewoodwinds,brightens themood;ithasatendersprightlinessthatrecallsoneofDvorák'sfavorite composers:FranzSchubert.Thereisnopausebetweentheendofthesecond movementandtheopeningofthethird.Theintroductionbrieflyreprisesthe droopingmelodyofthesecondbeforeacceleratingintoanenchanting scherzodance,itssparkleaccentedbythetriangle.TheensuingTriosection againemphasizesthewoodwindsectionbeforethescherzodancerepeats. Afterthelightnessofthetwomiddlemovements,thefierceentranceofthe lowstringssinginganintenselypassionatemelodyinAminorcomesasquite ashock.ThisisthesurprisinglaunchoftheFifth'sgreatfinale,whichbegins asabattletofindthewaybacktothehometonalityofFmajor.Afteraseries oftempestuouspassages,thisdarkminorthemeisfinallytransformedintoa boldlytriumphantoneinFmajor.Thisdone,thestormcanabate momentarilyforasmoothlyromanticsecondthemebycoolwoodwinds, toppedbyswooningviolins.ThemusicflowsintooneofDvorák'smost excitingdevelopmentsections,fulloffireanddrama.Asitdiesout,the passionatetheme,stillstubbornlyclingingtoAminor,quietlyrecapitulates intheviolins.Intheclosingcoda,listenforthehighwoodwindssoftly recallingtherisingthree‐notemotiffromthebeginningofthesymphony. Withalastexuberantbrassfanfare,Dvorákjoyfullydemonstrateshowwell thefirst‐movementreveillethememesheswiththefinale'striumphant theme,thusbringingtheworktoasatisfyingfull‐circleclose.