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Notes on the Program
By Ken Meltzer
Zadok the Priest, HMV 258 (1727)
George Frideric Handel was born in Halle, Germany, on February 23, 1685,
and died in London, England, on April 14, 1759. The first performance of Zadok the Priest
took place at Westminster Abbey in London on October 11, 1727. Zadok the Priest is scored
for mixed chorus, two oboes, two bassoons, three trumpets, timpani, continuo and strings.
Approximate performance time is six minutes.
First ASO Classical Subscription Performances: March 22, 23 and 24, 2001,
Atlanta Symphony Orchestra Chamber Chorus, Robert King, Conductor.
O
n June 11, 1727, King George I died while in Osnabrück.
Prior to his death, the king signed a decree granting
German composer George Frideric Handel British citizenship.
Handel’s first duty as a British citizen was to write a series of
anthems for the coronation ceremony of King George II. Handel
composed four Coronation Anthems for the occasion: Zadok the
Priest, My Heart is Inditing, Let Thy Hand be Strengthened, and The King Shall Rejoice.
The coronation ceremony took place in Westminster Abbey on October 11, 1727. The Norwich Gazette
reported the musicians included a chorus of “40 voices, and about 160 Violins, Trumpets, Hautboys,
Kettle-Drums, and Bass’s proportionable; besides an Organ, which was erected behind the Altar.”
The performances of the Coronation Anthems were not without difficulty. Nevertheless, Zadok
the Priest, with its dramatic orchestral introduction leading to the stunning entrance of the chorus, trumpets and drums, immediately captivated those in attendance at Westminster Abbey.
Handel’s Zadok the Priest has been included in every subsequent British coronation ceremony.
Text
Zadok the Priest and Nathan the Prophet appointed Solomon King. And all the people rejoiced,
and said: God save the King, long live the King, God save the King!
May the King live for ever, amen, alleluia, amen.
I Kings 1:39-40 (adapted)
Suite No. 1 in F Major from Water Music,
HMV 348-350 (1717)
George Frideric Handel was born in Halle, Germany, on February 23, 1685,
and died in London, England, on April 14, 1759. The Suite No. 1 from Water Music is scored
for two oboes, bassoon, two horns, continuo, two solo violins, and strings. Approximate
performance time is thirty-two minutes.
Atlanta’s Performing Arts Publication 29
These are the first ASO Classical Subscription performances of the Suite No. 1 from Handel’s
Water Music. There have been several Classical Subscription performances of excerpts from
Water Music, the earliest being March 10, 1953, conducted by Henry Sopkin.
King George on the Thames
I
n George Frideric Handel’s London, boat trips on the Thames River were an
extremely popular form of recreation, particularly during the summer months.
Those who journeyed along the Thames on sizeable barges often enjoyed the delightful bonus of musical entertainment. England’s King George I, crowned in 1714, hosted
Thames excursions during the summers of 1715, 1716, and 1717. All featured musical
accompaniment.
While it is possible that Handel wrote music for each of these royal parties on the Thames, the
composer’s involvement is confirmed only for the outing of July 17, 1717. Friedrich Bonnet, a
Prussian diplomat in London reported:
At about eight in the evening the king repaired to his barge…Next to the king’s
barge was that of the musicians, about 50 in number—trumpets, horns, oboes,
bassoons, German flutes, French flutes, violins and basses, but no singers. The
music had been composed specially by the famous Handel, a native of Halle and
his majesty’s principal court composer. His majesty’s approval of it was so great
that he caused it to be played three times in all, twice before and twice after
supper, even though each performance lasted an hour. The evening was as fine
as could be desired for this occasion, and the number of barges and boats full of
people to listen was beyond counting.
A similar report of that event is contained in the London Daily Courant:
On Wednesday evening, at about 8, the King took Water at Whitehall in an open
Barge…and went up the River towards Chelsea. Many other Barges with Persons
of Quality attended, and so great a Number of Boats that the whole River in
a manner was cover’d; a City Company’s Barge was employed for the Musick,
wherein were 50 Instruments of all sorts, who play’d all the Way from Lambeth
(while the Barges drove with the Tide while Rowing, as far as Chelsea) the finest Symphonies, compos’d express for this Occasion, by Mr. Hendel; which his
Majesty liked so well, that he caus’d it to be plaid over three times in going and
returning. At Eleven his Majesty went a-shore at Chelsea, where a Supper was
prepar’d, and then there was another fine Consort of Musick, which lasted till 2;
after which, his Majesty came again into his Barge, and return’d the same Way,
the Musick continuing to play until he landed.
These first-hand accounts document the performance of one of the most famous Baroque
works, George Frideric Handel’s Water Music. Both the Water Music and Handel’s later Music for
the Royal Fireworks (1749) are notable for their exceptional vitality, melodic inspiration and stun-
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ning instrumental effects. Small wonder then, that from their very first performances, the popularity of Handel’s Water Music and Music for the Royal Fireworks has continued undiminished.
Handel’s Water Music is divided into three Suites—a “horn” Suite in F, a “trumpet” Suite in D and a
“flute” Suite in G. The last is the most intimately scored of the three Suites. Perhaps the musicians
joined King George ashore in Chelsea to play that music as accompaniment to his royal supper. The
other two Suites may have served as the outdoor music for the actual voyages along the Thames.
The First Water Music Suite
I. Ouverture; Largo—Allegro—The opening movement is in the style of the French overture,
with a grand slow introduction (Largo), followed by a lively, contrapuntal section (Allegro).
II. Adagio e staccato—The strings accompany a beautiful, descending oboe melody.
III. (No tempo marking)—The horns make their first (and quite stunning) appearance in this
dazzling movement.
IV. Andante—This beautiful slow movement juxtaposes the winds (oboes and bassoon) with
the strings. A reprise of the Suite’s third movement follows.
V. (No tempo marking)—This dance, in triple time, features lively music framing a more
restrained, minor-key episode.
VI. Air—This slow-tempo movement is based upon a flowing, dotted-rhythm melody. The
beauty of the melody is further enhanced by Handel’s exquisite scoring.
VII. Minuet—The horns launch this Minuet, a courtly dance in 3/4 meter. The horns and oboes
are silent in the central, F-minor section. The movement concludes with a reprise of the principal Minuet.
VIII. Bourrée—A bourrée is a vivacious French dance quite popular during the 17th and 18th
centuries, cast in duple meter.
IX. Hornpipe—Next is a hornpipe, a sprightly British dance related to the jig.
X. (no tempo marking)—The oboes, accompanied by the bassoon, initiate this haunting movement. Set in D minor, the movement is notable for its frequent and attractive juxtaposition of
the winds and strings.
The performance concludes with two additional movements from Water Music, arranged for
performance by Nicholas McGegan.
XI. Variation 1; Allegro—The ensemble proclaims the bold principal theme. Only the strings
and continuo play the brief, minor-key central episode. A repeat of the opening section brings
the movement to a close.
XII. Variation 2; Alla hornpipe—As in the preceding movement, the concluding Alla hornpipe is cast
in A—B—A form, with two extroverted outer sections framing a more intimate central portion.
Atlanta’s Performing Arts Publication 31
Verleih uns Frieden (1831)
Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and
died in Leipzig, Germany, on November 4, 1847. The first performance of Verleih uns Frieden
took place in Leipzig on October 30, 1839. Verleih uns Frieden is scored for mixed chorus, two
flutes, two clarinets, two bassoons, organ and strings. Approximate
performance time is six minutes.
These are the first ASO Classical Subscription Performances.
M
usic lovers are the happy beneficiaries of Felix
Mendelssohn’s wanderlust. The young composer’s fulfilling 1829 journey to Scotland inspired two of his masterpieces,
the Hebrides (Fingal’s Cave) Overture (1830) and the “Scottish”
Symphony (begun in 1829 and finally completed in 1842).
As much as Mendelssohn enjoyed his Scottish travels, it was the visit to Italy he anticipated
with the greatest relish. On May 8, 1830, the 21-year-old Mendelssohn departed Berlin for
his Italian journey, by way of Munich (stopping first in Weimar to visit Goethe), and Vienna.
Mendelssohn then continued his travels to Venice, Florence, Rome and, finally, Naples.
Mendelssohn’s high spirits during his Italian sojourn are reflected in correspondence to his
family. In a letter of October 10, 1830, he rejoiced: “This is Italy. What I have been looking forward to all my life as the greatest happiness is now begun and I am basking in it.” On October
23, Mendelssohn described Florence: “The air is warm and the sky cloudless; everything is
lovely and glorious.” He later remarked, “The whole country had such a festive air that I felt
as if I were a young prince making his entry.”
Mendelssohn arrived in Rome on November 1, and remained there until mid-April of the following year. As Mendelssohn described:
After breakfast, I play, sing and compose until about noon. Then Rome in all her
splendour awaits me…I go to work methodically, selecting a particular object of
interest. One day it will be the ruins of the ancient city, another the Borghese
Gallery, the Capitol, St Peter’s, or the Vatican. Thus each day is made memorable, and since I take my time I remember what I have seen. When noon comes
I hate stopping work, but I say to myself that I must see the Vatican; yet once
there I equally hate leaving…”
Mendelssohn’s “Italian” Symphony is, of course, his most famous work inspired by the trip to
Italy. But the glories of the Vatican also moved the composer to write sacred choral works. In
November of 1830, Mendelssohn composed his Three Sacred Choruses, Opus 23. On February
10, 1831, Mendelssohn completed his Choral Cantata, Verleih uns Frieden, a beautiful setting
for chorus and orchestra of a text by Martin Luther.
The great German composer Robert Schumann offered this appreciation of Mendelssohn’s brief
choral work: “A singularly lovely composition; simply looking at the score (however) will hardly give
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the impression of its actual effect. The little piece is worthy of being world-famous and will become
just that in the future; Madonnas by Raphael and Murillo cannot remain hidden very long.”
Text and Translation
Verleih uns Frieden gnädiglich,
Herr Gott, zu unserm Zeiten!
Es ist doch ja kein andrer nicht,
Der für uns könnte streiten,
Denn du, unser Gott, alleine.
Mercifully grant us peace,
Lord God, throughout our times!
For indeed there is no other,
Who can fight for us,
Than you, our God, alone.
Text by Martin Luther (1483-1546)
Symphony No. 1 in C minor (1824)
Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and
died in Leipzig, Germany, on November 4, 1847. The first performance of the Symphony No.
1 took place in Leipzig on February 1, 1827. The Symphony No. 1 is scored for two flutes,
two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.
Approximate performance time is thirty-two minutes.
These are the first ASO Classical Subscription Performances.
D
iscussions of classical music’s greatest prodigies invariably begin with Wolfgang
Amadeus Mozart (1756-1791), who by the age of three was playing the keyboard,
composing at the age of five, and giving concert tours at the age of six. But in many
ways, Felix Mendelssohn was almost as precocious. Mendelssohn was born in Hamburg
on February 3, 1809. By the age of seven, he was studying music, and at the age of
nine, made his first appearance as a pianist in a chamber concert. At the age of 11,
Mendelssohn composed his first piece.
And in one aspect, the young Mendelssohn actually surpassed the young Mozart. Although Mozart
was active as a composer from a very early age, the vast majority of his greatest works date from his
adult years. Mendelssohn composed two enduring masterpieces at the ages of 16 and 17.
The first is the Octet for Strings (for double string quartet), completed on October 17, 1825. It
remains one of the greatest of all chamber works. On August 6, 1826, Mendelssohn completed
his Overture to Shakespeare’s A Midsummer Night’s Dream. The magic of this glorious music
prompted one British musicologist to remark: “With A Midsummer Night’s Dream we cannot
think of Shakespeare without Mendelssohn or Mendelssohn without Shakespeare.” Robert
Schumann hailed Mendelssohn’s Midsummer Night’s Dream Overture as “an inspired moment
when the mature master took his first and loftiest flight.”
Mendelssohn completed his Symphony in C minor in March of 1824, a year before the Octet.
Previously, Mendelssohn had composed Twelve Symphonies scored for a string orchestra. The Cminor Symphony was Mendelssohn’s first to add winds, brass and percussion. On the original
manuscript, Mendelssohn designated the C-minor Symphony as his “Sinfonia No. XIII”. However in
1834, when the Symphony was first published, Mendelssohn referred to it as his Symphony No. 1.
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The Symphony No. 1 premiered in Leipzig on February 1, 1827. Two years later, Mendelssohn
made his initial appearances in London. On May 25, 1829, Mendelssohn conducted a concert of
the Philharmonic Society that included his First Symphony. For that performance, Mendelssohn
replaced the Symphony’s third-movement Minuet with an orchestral version of the Scherzo
from his Octet for Strings. The audience demanded and received an encore of the Scherzo.
Mendelssohn dedicated the Symphony to the Philharmonic Society, who soon made the
German composer an honorary member.
Musical Analysis
I. Allegro di molto—The Symphony begins with the violins proclaiming the first movement’s
forceful, initial theme. A lovely descending passage in the winds foreshadows the contrasting
second theme, introduced by the first violins, and softly echoed by the oboes. The opening
theme predominates in the stormy development section. The first violins open the recapitulation
with a fortissimo restatement of the opening theme. The coda begins quietly, but moves to a
powerful close, with the opening theme once again playing the central role.
II. Andante—The trumpets and drums are silent in the Symphony’s lyrical slow movement. The
first violins sing the Andante’s opening theme, to which the clarinets offer a dolce response.
The Andante is notable throughout for its melodic richness and exquisite orchestral sonorities.
The movement finally resolves to a pianissimo close.
III. Scherzo from the Octet, Opus 20 (1825); Sempre pianissimo e leggiero—This performance
of the First Symphony includes the orchestration of the Scherzo from the Octet for Strings
Mendelssohn introduced at the 1829 London Philharmonic Society concert. The Symphony’s
original third movement is a brusque Minuet that evokes the spirit of rustic Viennese landler.
By contrast, the Scherzo is a miracle of gossamer delicacy. The music was, according to
Mendelssohn, inspired by the “Walpurgis Night” in Goethe’s Faust. Felix’s sister, Fanny,
described the Scherzo:
Everything is new and strange, yet at the same time utterly persuasive and
enchanting. One feels very near to the world of the spirits, lifted into the air,
half inclined to snatch up a broomstick and follow the aerial procession. At the
end the first violin (in the orchestral version, the flute) takes flight, light as a
feather—and all is blown away.
IV. Allegro con fuoco—The first violins immediately present the finale’s bracing opening
theme. Pizzicato strings accompany the flowing clarinet melody that provides a brief moment
of repose in this tempestuous movement. A tense, contrapuntal section leads to a recapitulation of the central themes. Once again the contrapuntal episode returns, finally resolving to
the Symphony’s triumphant C-Major concluding bars.
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