September 22, 2007 Capriccio espagnol, Op. 34 Nikolay Rimsky-Korsakov b. Tikhvin, Russia / March 18, 1844; d. Lyubensk, Russia / June 21, 1908 Rimsky-Korsakov was the most technically skilled member of “The Mighty Handful,” a group of five Russian composes who used their country’s folk music as the inspiration for their compositions. His interest in folk music extended beyond the borders of Russia. In 1886, using a collection of Spanish folk melodies, he made sketches for a virtuoso work for violin and orchestra. Later, he decided to turn them into a showcase for the entire orchestra instead. The five sections of Capriccio espagnol are performed without interruption. After the vibrant opening Alborada (Morning Song), horns introduce the plaintive theme that Rimsky uses for a set of variations, ranging from gentle to highly emotional. The Alborada returns in slightly different scoring. A brass fanfare ushers in a series of virtuoso solos for various section leaders, then the violins launch the fiery Gypsy Song. After a build-up in volume, trombones give out the theme of the dazzling final section, Asturian Fandango. Symphony No. 1 in G Minor Vasily Kalinnikov b. Voina, Russia / January 13, 1866; d. Yalta, Ukraine / January 11, 1901 The tragic brevity of Kalinnikov’s life silenced a genuine talent before it was able to blossom fully. His legacy is slim but it is treasureable to all listeners who enjoy the music of Rimsky-Korsakov, Tchaikovsky and Borodin. Son of an ecclesiastical family, he began his education at the seminary in Oryol after his family moved there. His talent enabled him to become director of the institute’s choir at age 14. In 1884, he relocated to Moscow to study at the Conservatory, but because he couldn’t afford the fees he had to drop out after only a few months. A short time later, he won entrance to the music school of the Philharmonic Society on scholarship. After graduation in 1892, he eked out a meagre living by playing the bassoon, timpani and violin in various ensembles, and by working as a music copyist. Signs of the tuberculosis that Kalinnikov’s life of deprivation had brought about soon made themselves felt, and doctors ordered him to seek a warmer, healthier climate. He spent the rest of his life in Ukraine, devoting himself to composition and relying upon friends to support him. He created primarily orchestral works, including two symphonies, a suite, two intermezzi, a handful of overtures and symphonic poems, and incidental music for Alexey Tolstoy’s play Tsar Boris. Kalinnikov composed the First Symphony between 1894 and 1895. It made his name, finding success not only in Russia (the premiere took place in Kiev, Ukraine in 1897) but in Vienna, Berlin, Paris and London. It remained popular throughout the early years of the twentieth century and is still performed regularly in Russia. None of his other works have enjoyed such a vogue, a pity given that they are equal, if not superior in quality. It is thoroughly infused with the spirit of Russian folksong. The first theme of the opening movement develops from mystery to forcefulness; the instantly memorable second subject glows with passionate yearning. Kalinnikov focuses on the first theme as the movement unfolds, reserving the final flowering of the second subject until quite late in the game. The second movement is a sweet reverie that builds to an agitated central climax. A vivacious Scherzo underpinned by dance rhythms follows, then a festive, energetic Finale in which Kalinnikov ingeniously intertwines new themes with melodies heard earlier in the Symphony. Concerto for Violin, Cello and Piano in C Major, Op. 56 Ludwig van Beethoven b. Bonn, Germany / December 15, 1770; d. Vienna, Austria / March 26, 1827 Beethoven probably did most of the work on this grand piece during the summer of 1804. The first datable public performance took place in Leipzig in April 1808. Despite its widely acknowledged quality, it remains the least performed of his concertos, although its neglect has lessened in recent decades. In it, Beethoven set himself several simultaneous challenges: creating a credible sense of interplay, not only among the soloists but between solo group and orchestra; problems of balance involving the same combinations; creating themes suitable to this context; and designing a convincing overall structure. Truly a genius of his magnitude was required to solve all these problems, and even he had to expend great amounts of thought and energy to achieve the goal. The opening bars, scored for orchestral cellos and basses, are unusually subdued and mysterious, a typical Beethoven joke aimed at creating false expectations. A rapid crescendo leads to the revelation of the main theme as sunny and confident instead of gloomy. This launches a leisurely, expansive movement, the longest in any Beethoven concerto. His insight ensures that it seems neither too long nor overcrowded. Characterized by an unforced elegance, it gives all three soloists their time in the spotlight. The orchestration skillfully and tastefully fills out and adds color to the trio texture. A brief, sublimely beautiful slow movement follows. It ends almost too quickly; Beethoven seems impatient to move on to the Finale, which follows without a pause. Cast in the stately rhythm of a Polonaise, it is nearly as spacious as the first movement. Skillfully balancing elegance, humor and energy as it dances grandly forward, it also makes the Concerto’s grandest demands for solo virtuosity. |
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