Mussorgsky was a member of an influential group of Russian composers known as “The Five” – Mily Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. Together they forged a uniquely Russian musical style based on the country’s folklore and history. Mussorgsky himself composed numerous works for piano, orchestra, opera and voice. Among his best-known works are the opera Boris Godunov, the orchestral tone poem Night on Bald Mountain, and the piano suite Pictures at an Exhibition.
The piano suite was composed in 1874 and was based on a series of drawings and paintings by the Russian artist Viktor Hartmann. It proved so popular that numerous arrangements have been made of it (the Ravel orchestration done in 1922 is the best-known of these). The first orchestration of Pictures at an Exhibition, which we are performing at this concert, was prepared in 1886 by Mikhail Tushmalov, a pupil of Rimsky-Korsakov. Rimsky himself oversaw the editing of the score and conducted the première, in 1891.
This orchestral arrangement contains most of the original movements of the piano suite. After the opening Promenade, the mood shifts to the “Old Castle,” with haunting melodies introduced by bass clarinet and English horn. Next is the spritely “Ballet of the Chicks in their Shells” featuring strings and woodwinds; “Samuel Goldenberg and Schmuyle” is a ponderous dialogue between two Polish Jews, one rich and the other poor. “Market at Limoges” depicts women arguing furiously in a small French town marketplace. The tone shifts abruptly in “Catacombs;” punctuated by sudden brass chords, it is based on a painting in which Hartmann is examining the famous underground catacombs of Paris by lantern light. In the following “Con mortuis in lingua mortua,” the opening “Promenade” theme is eerily reprised in a minor key. The “Hut on Hen’s Legs” is based on a Hartmann drawing of a clock in the form of a witch’s hut; Mussorgsky puts the focus on the witch’s flight, with dramatic scales and passages in thirds.
It leads directly to the grand last movement, “The Great Gate of Kiev”. It is based on Hartmann’s design of a monumental gateway to the city in an ancient massive Russian style, capped with a cupola shaped like a Slavonic helmet. Its familiar grand theme is repeated several times with increasing intensity, interspersed with wind interludes reminiscent of Russian Orthodox chants. It ends in a triumphal paroxysm of massive chords and pealing bells.
Prokofiev composed the original version of the Overture on Hebrew Themes during his sojourn in New York in 1920. He composed it for a chamber group that specialized in Klezmer and other Jewish music; the original orchestration was for clarinet, string quartet and piano. The piece became so popular that he was later asked to arrange it for full orchestra. It consists of two main melodies ostensibly taken from Jewish folk tunes – the first very much in the Klezmer tradition, prominently featuring the clarinet and hairpin dynamics; the second a melody played at Jewish weddings and featuring the ‘cellos and horn.
Debussy composed this atmospheric work in 1909-10 as an audition/competition piece for the Paris Conservatoire.
Originally composed for clarinet and piano, it was officially premiered in 1911 by the Conservatoire’s clarinet professor, Prosper Mimart. Debussy was most pleased after hearing the performance, considering it one of the most pleasing pieces he had ever written. He then proceeded to orchestrate it in 1911, and it is best known in that setting.
The “Première Rhapsodie” is mostly free-form. Although only 8 minutes long, it is musically rich while making great technical and musical demands on the soloist. A slow, dreamy opening gives way to a haunting clarinet theme, later characterized by third and sixth intervals. Clarinet mini-cadenzas and flourishes abound against poignant whole-tone chords in the winds and strings. The latter part of the Rhapsodie is a spirited scherzando that accelerates to a climax in the horns. A soaring clarinet cadenza ends this work with a flourish.
Lully was France’s most significant composer of the 17th century. Born in Florence as “Giovanni Battista Lulli,” he was brought to France as a teenager to help a noblewoman improve her Italian. He quickly became proficient in music and dance.
He captured the fancy of the young Louis XIV, with whom he became a ballet partner at the age of 20. Louis soon selected him as his own instrumental composer, and eventually appointed Lully as the chief composer and impresario of the realm.
Lully began many of the conventions of the French Baroque, including the characteristic “French” overture used by later baroque composers such as Bach, Handel and Telemann. He collaborated with noted French playwrights to compose theatrical entertainments for the king. Among these works was Molière’s “Le Bourgeois Gentilhomme” (“The Would-Be Gentleman”), a “comedy-ballet” which was first performed at Louis’ command in 1670. The plot details the misguided efforts of Monsieur Jourdain, a middle-class merchant, to raise himself to the nobility. Among other antics, he hires masters of music, dance, fencing and philosophy to tutor him in their arts; is fitted with ridiculous-looking clothes (which he thinks are the newest style); and denies permission to his daughter to marry her middle-class suitor. To trick Jourdain into giving permission, the suitor disguises himself as the son of the Grand Turk. A farcical ceremony is held to raise Jourdain to the imaginary rank of “Mamamouchi,” after which Jourdain consents to the marriage!
Lully’s music is an integral part of the play. The selections we’re performing include the Overture; a suite of dances performed by the dancing-master’s students; ceremonial music for dressing Jourdain in his new clothes, and the joy of the tailor’s assistants after Jourdain generously tips them; music for the “Turkish” ceremony; and two sets of dances (Spanish and Italian) from the “Ballet of the Nations” which ends the comedy-ballet.
Dvořák’s masterful Sixth Symphony is at once a sunny, lyrical work with moments of great subtlety, power and magnificence.
It was written in 1880, only three years after Brahms’ Second Symphony, to which it has certain similarities in choice of keys and orchestration. That being said, this is Dvořák’s first “mature” symphony, written in the “Slavic” style that characterizes his other orchestral and chamber works of that period. The Sixth Symphony was premiered in Prague in 1881 and soon became a staple of the orchestral repertoire.
Dvořák incorporates Czech folk melodies throughout, in particular in the famous “Furiant” third movement, based on a Czech dance. The first movement starts on a serene and sunny note, evoking the Bohemian countryside; a vigorous outburst by the horns and violins leads to majestic restatement of the main theme by the entire orchestra. A lyrical second theme is heralded by the oboe; both themes are thoroughly developed and interwoven throughout the entire orchestra. The second movement is a sweet nocturne, with counter-themes tossed back and forth between strings, winds and brass.
The Furiant is all about energy and syncopation, evoking Dvořák’s iconic Slavonic Dances. After a calm and melodious trio section, the Furiant returns in full force. The last movement starts out innocently enough in the strings, with a playful second triplet-based theme, before its massive development in the winds and brass. A stirring rendition of the main theme in slow motion, featuring the full-throated brass section, heralds the triumphant finale.
Mozart’s signature comedic opera, The Marriage of Figaro, opened to great acclaim in Vienna in 1786. Mozart himself conducted the premiere, and it became an instant hit. The opera’s plot, revolving around servants outwitting their aristocratic masters, was socially revolutionary at the time. The sparkling overture, written just two days before the Vienna premiere, is a fitting prologue to Mozart’s brilliant opera.
One of the celebrated “London” Symphonies, this masterwork was composed in 1795 during Haydn’s second triumphal visit to London. By then Haydn was the toast of English upper-class society. Haydn had splendid orchestral forces available to him in London, and he took full advantage of them in composing his twelve London symphonies. That includes Symphony 103, the “Drumroll,” so named because of its timpani opening. The symphony was premiered on March 2, 1795, with Haydn leading the orchestra. It was received with great acclaim; here is the review in the London Morning Chronicle the morning after the premiere:
Another new Overture [Symphony 103], by the fertile and enchanting HAYDN, was performed,
which as usual, had continuing strokes of genius, both in air and harmony. The Introduction
excited the deepest attention, the Allegro charmed, the Andante was encored[,] the Minuets, especially
the Trio, were playful and sweet, and the last movement was equal, if not superior to the preceding.
The symphony begins with a timpani roll or cadenza (a very unusual way to start a symphony). A slow introduction follows, led by the bass instruments (’cellos, basses and bassoon); this opening motif returns in disguised forms later in the movement. A sprightly theme is introduced by the upper strings. The second theme is a lilting tune in the violins and picked up by the woodwinds, reminiscent of a Viennese street song. Before the end of the movement Haydn briefly reprises the slow opening, heralded by another timpani roll.
The magnificent Andante movement is based on two Croatian folk tunes, one in C minor and one in C major. It is a “double variation” movement, in turn featuring strings, woodwinds, a solo violin; and massed horns, trumpets and timpani. The third movement Minuet is by turns energetic and elegant, with a charming trio section featuring clarinets.
The unusual fourth movement is based on just one theme — a horn call, accompanied by a quick-moving folk-like motif in the strings. Haydn fully develops this motif using counterpoint, imitation and brilliant passagework. Initiated by the strings, he gradually involves the whole orchestra before closing with a resounding finish.
Giovanni Bottesini was a renowned 19th-century double bass virtuoso, known world-wide as the “Paganini of the Double Bass.” He was born in northern Italy into a musical family, starting off his musical life by playing timpani and violin. However, when he heard of a potential bass scholarship at the Milan conservatory, he switched to double bass and within a few weeks was accepted by the conservatory.
After graduating, he started a successful career as a bass soloist and toured throughout Europe, the Americas, Egypt and Turkey. He made a number of tours to the United States starting in 1847. Bottesini had immense influence on the recognition of the double bass as a solo instrument. He composed signature virtuoso works for the instrument and significantly contributed to bass technique.
In later life, Bottesini was renowned as a conductor and composer of operas, concertos, and chamber works. He became a lifelong friend of Guiseppe Verdi and conducted the premiere of Verdi’s Aida in Cairo in 1871.
Bottesini’s Concerto No. 2 in B minor is one of his most performed solo works for the bass. Composed in 1845, the concerto uses the full range of the bass to showcase the player’s virtuosity. It has three movements, and many aspects of the concerto are operatic in character.
The opening Allegro moderato features long lyrical lines, spans the instrument from the lowest register to high harmonics, and features an extended cadenza. The lyrical second movement is an extended aria, introspective and soulful. The final Allegro is full of dash and drama. A cascading opening motif in the strings leads to a lively main theme in the bass, dramatic leaps, virtuosic passagework, and ends in a triumphant flourish.
Here’s a video of The Broadway Bach Ensemble performing the Bottesini Concerto, with Timothy Cobb as bass soloist, along with Mr. Cobb’s encore.
Stravinsky’s music for Pulcinella marks his transition from a Russian idiom, evidenced in earlier works like the Firebird and Petrushka, to a “neo-classic” style focusing on smaller-scale works characterized by order, balance, style and clarity.
Pulcinella was originally conceived as a ballet, premiered in Paris in 1920 by the renowned Ballet Russes. Four great 20th-century artists collaborated to create the ballet — Stravinsky (music), Pablo Picasso (scenery and costumes), Léonide Massine (choreographer) and Sergei Diaghilev (impresario). At Diaghilev’s suggestion, Stravinsky based the ballet music on works composed by Giovanni Battista Pergolesi, a gifted baroque Italian composer of the early 18th century — or so he thought! Modern musicological research has shown that many works formerly attributed to Pergolesi were actually written by other composers, having been spuriously attributed to Pergolesi after his death.
In the ballet, 11 of the 21 numbers are based on works written by obscure 18th- or 19th-century composers, including Domenico Gallo, Carlo Ignazio Monza, and Graf Willem Unico van Wassenaer (an 18th-century Dutch nobleman whose music we have played in previous concerts).
The Pulcinella ballet was a great success, and in 1922 Stravinsky combined 12 of the ballet’s musical excerpts into the 8-movement suite for chamber orchestra which we’re performing today. While the movements retain much of their 18th-century origins, Stravinsky recomposed and reworked them for modern instruments, while adding his own unique rhythmic and harmonic features. All of the suite’s movements contain baroque elements; it’s the orchestrations, sonorities, and rhythmic variations — some of which would certainly jar the baroque ear — which clearly stamp this as Stravinsky’s work.
