January 12, 2008 The Magic Flute, K. 620: Overture Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756; d. Vienna, Austria / December 5, 1791 The Magic Flute, Mozart’s final work for the stage, premiered in Vienna on September 30, 1791. The libretto by actor/impresario Emanuel Schikaneder provides a dizzying mixture of storybook fantasy, low comedy, melodrama and high-minded philosophy. The plot concerns Prince Tamino, who must bravely undergo rituals of spiritual purification in order to achieve two goals: priesthood in the Temple of Wisdom, and the hand of his sweetheart, Pamina. Piano Concerto No. 2 in F Minor Fryderyk Chopin b. Zelazowa Wola, Poland / March 1, 1810; d. Paris, France / October 17, 1849 Chopin composed his two piano concertos between 1829 and 1830, at the end of his teens. Due to a delay in publishing, they appeared in the reverse order of their composition. Therefore the Concerto in F Minor, which will be performed at these concerts, though labelled No. 2, is actually the earlier piece. It received its premiere, in Warsaw, shortly after its completion. In typical early Romantic fashion, the first movement begins with a lengthy orchestral introduction. It presents the two main themes, and sets the music’s overall tone of poetic melancholy. The second movement is one of Chopin’s loveliest creations, flowing straight from his love-stricken heart. The Finale, brisk but never overstated, features hints of Polish-flavored dance music. It gradually discards its early traces of emotional uncertainty, to end the concerto in a totally carefree atmosphere. Academic Festival Overture, Op. 80 Johannes Brahms b. Hamburg, Germany / May 7, 1833; d. Vienna, Austria / April 3, 1897 Brahms composed this merry work as a gesture of thanks for a degree granted him by the University of Breslau. His ironic sense of humor led him to make it as jolly and informal as the university was conservative and stuffy. The main section is founded on four traditional German student songs. After a soft timpani roll, the brass proudly proclaim We Had Built a Stately House. This is followed in turn by Most Solemn Song to the Father of the Country (a heartfelt tune first heard in the strings); What Comes There From on High (a satiric ditty on the bassoons); and at the climax, Gaudeamus igitur, a solemn medieval hymn in praise of student life. Variations on an Original Theme, Op. 36 (Enigma) Sir Edward Elgar b. Broadheath, England / June 2, 1857; d. Worcester, England / February 23, 1934 The origin of the “Enigma” Variations, the English orchestral work par excellence and Elgar’s ticket to fame, can be precisely dated: October 21, 1898. As he recalled, “One evening after a long and tiresome day’s teaching, aided by a cigar, I musingly played on the piano the theme as it now stands. The voice of Lady Elgar asked with a sound of approval ‘What was that?’ I answered, ‘Nothing – but something might be made of it; Powell would have done this (Variation 2) or Nevinson would have looked at it like this (Variation 12).’ Variation 4 was then played and the question asked, ‘Who is that like?’ The answer was, ‘I cannot quite say, but it is exactly the way W.M.B. goes out of the room. You are doing something which I think has never been done before.’ Thus the work grew into the shape it has now.” Hans Richter conducted the highly acclaimed premiere, in London on June 19, 1899. Elgar never fully explained a mystery he had woven into the score. In later years he stated that throughout the variations “another and larger theme ‘goes,’ but it is not played.” It was long assumed that he was referring to a concealed melody, which could be played in counterpoint to the variations. After the melancholy theme has been presented, the slightly more animated and affectionate Variation 1 characterizes Elgar’s wife, Caroline. The bustle of Variation 2 mimics Hew David Steuart-Powell’s characteristic warmup at the piano, while the third variation’s light-hearted mood recalls the mimicking talents of Elgar’s friend Richard Baxter Townshend. The sharply accented Variation 4 presents a portrait of the brusque country squire William Meath Baker. It is followed in by Variation 5 by a gently dreaming picture of music lover Richard Penrose Arnold. Amateur violist Isabel Fitton is the next person to be portrayed, in a lyrical variation featuring a solo for her chosen instrument. A rambunctious variation featuring timpani and trombones then shows us Arthur Troyte Griffith, an outgoing architect. Variation 8 takes a glowingly colored look at a young woman named Winifred Norbury. The score’s most celebrated section, the ninth variation, offers Elgar’s heartfelt tribute to one of his most steadfast friends, German-born music editor and journalist August Johannes Jaeger. The fleet, delicately orchestrated Variation 10 brings us Dora Penny, portraying her stammer in a delicately affectionate manner. The boisterous Variation 11 presents not so much its dedicatee, organist George Robertson Sinclair, as his bulldog Dan, leaping into the river to fetch a stick. A gorgeous cello solo is featured in Variation 12, depicting Basil G. Nevinson, a friend who played that instrument. Variation 13 paints a sombre portrait of Lady Mary Lygon. The finale is a self-portrait, written, as Elgar stated, “at a time when friends were dubious and generally discouraging as to the composer’s musical future.” His reply to their doubtfulness is vigorous and triumphant. |
Our Super Sponsors 
|
