Schumann composed his Third Symphony in six weeks in 1850, after moving to the Rhineland to take up the post of music director in Düsseldorf. This symphony, which he premiered in 1851, quickly became one of his most popular works and is a masterpiece of romanticism.
Its five-movement structure is unusual, although not unique (both Beethoven and Berlioz had previously written multi-movement “programmatic” symphonies). The title “Rhenish” was not given by Schumann himself, but rather by his publisher. However, Schumann rejected a program idea for this symphony, believing that the music should be heard without the artifice of titles coming between the listener and the music, and he even removed some initial movement titles before publication. Despite this, glimpses of Rhenish life and influence can be easily discerned, especially in the second and fourth movements.
Structurally, this symphony can be viewed as having three sections – two thematically connected movements at the beginning and at the end, which bookend a lyrical “song without words” middle movement. The main theme is based on the interval of a falling fourth (E-flat to B-flat) followed by a rising sixth and rising fourth. These harmonic relationships are the basis for many of the themes in the other movements. The first movement begins with a theme propelled by rhythmic displacement, vigorously driving the piece forward. It is interrupted by a rising scale motive in the strings, which then leads to a lyrical second theme played by the woodwinds. All three themes become prominent and intertwined in the section. A triumphant return of the main theme is heralded by the horns and then taken up by the full orchestra at the end.
The second movement Scherzo is based on a German “ländler” folksong; like the first movement, it opens with a rising fourth in the ‘cellos, bassoons, and violas. After several variations, the Scherzo segues into a trio featuring horns and woodwinds. It reaches a climax, before ending in a hushed restatement of the main theme by the ‘cellos and first bassoon. The third movement is a tranquil musical miniature, akin to a song without words. Opening with a flowing theme by the clarinets and violas, it features a four-note motif in the strings imitated by other sections in the orchestra, which Schumann combines in the ending section.
The stately fourth movement is a magnificent example of Schumann’s inventiveness. It is marked “Feierlich” (solemnly), in the somber key of E-flat minor. Opening with trombones, horns and bassoons, the main theme is again based on a rising fourth. Schumann develops the opening theme in a remarkable overlapping and contrapuntal style, punctuated by brass fanfares towards the end of the movement. The last movement, “Lebhaft” (lively), is brisk and light-hearted. The opening theme again based on a rising fourth, this time in scale form. Towards the end of the piece, the brass – after yet another set of fanfares – return to the fourth movement theme, now in an optimistic tone. Brass flourishes and a quick coda propel this symphony to its triumphant ending.
Born in late 19th-century Russia, Rachmaninoff was one of the last great Romantic composers. An accomplished composer, pianist and conductor, he was born into a musical family and began piano lessons at age 4. After graduating from conservatory, he became well known for his piano works and symphonic compositions, and made his conducting debut in 1897. He left Russia in 1917 after the Russian Revolution, and eventually made his way to the United States, where he focused on a career as a pianist. In the 1930s he lived for a time in Switzerland, where he composed the Rhapsody on a Theme of Paganini in 1934. The Rhapsody quickly became a concert staple and is today one of his best-known works.
Although titled a “Rhapsody”, this work is actually a set of variations for solo piano and orchestra. It is based on a theme composed by Niccolò Paganini, the great 19th-century Italian violin virtuoso, in his 24th Caprice for solo violin. The Rhapsody on a Theme of Paganini consists of 24 separate, highly diverse variations, each based on Paganini’s original theme, with close collaboration between the soloist and orchestra. For the solo pianist, the Rhapsody is an extraordinary tour-de-force, with technical demands intermixed with delicate passagework, cadenzas and ultimate Romantic lyricism.
The work can be divided into several broad sections: an opening fast section (Introduction and Variations I-V); a more free-form “rhapsodic” section (Variations VI-XI); a minuet and scherzando section (Variations XII-XV); a slow section, including the emotional heart of the work (Variations XVI-XVIII); and a rousing finale (Variations XIX-XXIV).
Unconventionally, it does not open with the theme itself, but with a bare harmonic skeleton; the theme itself appears in Variation II, appropriately introduced by the violins. In Variation VII, Rachmaninoff introduces a notable counter-theme based on the Dies Irae, a medieval Latin hymn referring to Judgment Day, and a tune with which Rachmaninoff had a life-long fascination. Probably the best known part of the Rhapsody is Variation XVIII, with its lush romantic theme played first by the solo pianist, and taken up in turn by the orchestra. The last section of the Rhapsody is a driving accelerando and ends, after a forceful reprise of the Dies Irae, with a witty pianistic flourish.
Borodin composed In The Steppes of Central Asia in 1880 as part of a production to commemorate the Silver Jubilee of Tsar Alexander II, who had been instrumental in expanding the Russian Empire into Asia. While the production itself never took place, Borodin’s piece was premiered in 1880 under the baton of Rimsky-Korsakov and has been immensely popular ever since. Borodin himself provided the following programmatic description in a note to the score:
In the silence of the sandy steppes of Central Asia, the sounds of an unfamiliar peaceful Russian song are heard. In the distance we also hear the melancholy sounds of an oriental melody, and the steps of approaching horses and camels; a caravan approaches. Under the protection of Russian soldiers, the caravan continues its long journey securely and without fear on its way through the immense desert. The Russian and Asiatic melodies join in a common harmony; their refrains continue to be heard for a long time before finally dying away in the distance.
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.
Georg Philipp Telemann was one of the most prominent composers of the baroque era. Widely respected and well-known throughout Europe, he was a friend of Johann Sebastian Bach and corresponded with Handel. A self-taught musician, Telemann early on became adept at playing many instruments, including organ, violin, recorder, viola da gamba, double bass, flute, oboe and bass trombone.
Initially setting out to study law in Leipzig, his musical talents were quickly discovered. After holding a number of posts in Leipzig, Sorau, Eisenach and Frankfurt, in 1721 Telemann became music director in Hamburg of five churches as well as its opera, and remained in Hamburg for the rest of life. Telemann traveled widely throughout Europe, and was familiar with many different styles and schools of musical composition. He was a prolific composer, writing thousands of compositions, many of which survive. His output included operas, cantatas, orchestral suites, concertos, and chamber music.
The concerto grosso we’re playing today was composed by Telemann in 1716 to celebrate the birth of Prince Leopold, heir to Emperor Charles VI in Frankfurt. As befitting the occasion, Telemann scored it for an impressive array of instruments, including three trumpets and two oboes, highlighting them effectively throughout this piece.
The concerto opens with a stately intrada in “French Overture” style, with dotted rhythms.
The second movement is a fugal allegro, first introduced by the violins and oboes, and taken up by the other instruments in turn.
The aria-like third movement features a lyrical oboe solo set against a background of soft strings and continuo.
The dance-like last movement closes out the concerto in joyous fashion, befitting the occasion for which it was written.
The “Reformation” is one of Mendelssohn’s most programmatic works. As befits its title, the symphony’s first and last movements each contain elements of religious struggle and triumph. Though catalogued as Mendelssohn’s fifth symphony, it is actually his second “full” symphony, written in 1829-30, just three years after Beethoven’s death.
He originally composed his “church symphony” to be played at the 300th anniversary of the Augsburg Confession of 1530 (which defined the doctrines of the Lutheran Church). For various reasons, however, his new symphony was not chosen for that occasion. Mendelssohn then sought out other venues for it to be performed, and it was eventually performed in Berlin and played at a rehearsal in Paris. Unfortunately, it was not favorably received by critics or musicians, even after Mendelssohn made revisions to it in 1832. He finally “shelved” the symphony for the remainder of his life, refusing to let others see it, and even contemplated destroying it. The symphony was finally published in 1868, over 20 years after his untimely death. Since four other Mendelssohn symphonies had already been published, this one was presented as his “Fifth” Symphony. Since then, it has made its way into the standard symphonic repertoire, albeit in Mendelssohn’s “revised” 1832 version. The version we’re performing today is the original 1829 version, which notably includes a rarely-performed Recitative movement before the Finale.
While written in Mendelssohn’s unique style, the “Reformation” contains references to other composers, including Mozart (opening theme based on four-note “Jupiter Symphony” theme); Bach (fugal and counterpoint sections in the fourth movement); and most interestingly, Beethoven – in the choice of key (D minor/Major), the use of a recitative before the last movement, and a last movement based on a hymn or song (all possibly hearkening back to Beethoven’s Ninth Symphony).
The first movement opens in an “antique” polyphonic style reminiscent of Catholic Church ceremony, interrupted increasingly by strident brasses and woodwinds (possibly showing the Catholic order being challenged by the new Protestant movement). At the end of the opening Andante, Mendelssohn has the strings softly playing the “Dresden Amen” — a rising six-note theme. The fiery Allegro which follows is full of musical struggle and combat, with violent string passages met with wind outbursts based on a two-note theme (also derived from the “Dresden Amen”).
Andante – Allegro con fuoco
by Felix Mendelssohn | The Broadway Bach Ensemble, Fall 2017
The second movement is a carefree scherzo, with a singing trio section featuring oboes and strings.
Allegro Vivace
by Felix Mendelssohn | The Broadway Bach Ensemble, Fall 2017
The intense third movement is an orchestral “song without words” featuring strings, oboes and bassoons, in turns introspective and impassioned.
Andante
by Felix Mendelssohn | The Broadway Bach Ensemble , Fall 2017
The Recitative, prominently featuring a solo flute and wind choirs, follows without a break. It leads directly into the choral finale based on the Lutheran hymn “Ein feste Burg ist unser Gott” (A mighty fortress is our God). The opening chorale is introduced by solo flute and woodwind choir. Mendelssohn develops the movement into increasingly faster variations, complete with Bachian counterpoint in the strings. He overlays passages from the chorale in the middle of the movement, and uses it again in the coda as an exclamation point to end the symphony in dramatic fashion.
Andante con moto – Allegro vivace – Allegro maestoso
by Felix Mendelssohn | The Broadway Bach Ensemble, Fall 2017
Driving rhythms characterize this joyous symphony, described by none other than Wagner as “the apotheosis of the dance.” Premiered in Vienna 1813, Beethoven’s 7th Symphony received enthusiastic reviews, with the audience even demanding an encore of the second movement! Outside Vienna, reaction was not as favorable (the noted composer Carl Maria von Weber said that “Beethoven was ripe for the madhouse;” Friedrich Wieck, Clara Schumann’s father, called it “the work of a drunkard”). Little did they know; over time these critics were proved wrong, and this magnificent, powerful symphony has become one of Beethoven’s most enduring and well-loved works.
Each of its four movements is built around a specific rhythmic motif. After a contemplative introduction (almost a movement in itself), the opening Allegro’s three-note theme is introduced by the woodwinds, taken up by the strings in turn, and traded back and forth among strings, woodwinds and brass.
The famous second movement Allegretto is a somber march built around a five-note motif (long-short-short-long-long) starting in the lower strings, with a subtle singing countermelody taken up in turn by the rest of the orchestra. A lyrical interlude featuring clarinet and bassoon offers a warm ray of sunshine in the middle of the movement.
The third movement Presto is based on a relentless three-note motif, interspersed with a sonorous trio section featuring winds and brass. This combination is repeated several times (with surprise variations).
The energetic last movement has been described as “elemental fury unleashed.” It features driving 16th-note runs, offbeat accents, brass/wind fanfares and exclamation points, and a long coda culminating in a marking of “triple forte” (fff) — the first use of that marking in a Beethoven score. Accelerating driving passages bring this symphony to its triumphant conclusion.
This delightful overture is the precursor to Mozart’s last opera, and indeed one of his last compositions. It opens with three grand chords and a slow adagio evoking the high priest Sarastro and his attendants. A lively allegro, built on four repeated notes, is taken up in turn by strings, winds and brass.
The overture’s contrasting elements, by turns grandiose and playful, make a perfect introduction to the opera which also embodies them.
This symphony was composed by Dvorak in a short span of several months in 1889. A sunny, cheerful work, it alternates major and minor keys in each of its four movements.
Dvorak wrote this work in a new style, transitioning from traditional symphonic structure (exposition-development-recapitulation) towards a more poetic musical structure, stitching together many melodic and thematic fragments (particularly evident in the first movement).
The symphony opens with a wistful theme in G minor by ‘celli, clarinets, bassoon and horn. The violins lead an energetic transition to G Major; a clarinet theme in minor keys is interspersed several times in the movement, which ends on an optimistic note.
The second movement is more introspective. Beginning softly in the strings, upper winds join in to combine in a duet. Singing passages in C Major, first in the winds and then in the strings, lead to rousing climaxes featuring brass and timpani.
The third movement is a graceful waltz, bracketed by a folk-melody trio and a sudden vivace at the end. A rousing trumpet flourish starts off the last movement. A series of string variations feature ‘celli and violas, abruptly followed by a rousing orchestral Allegro. Midway through the movement, Dvorak gives the winds a contrasting restless theme in C minor. The “theme and variations” return in the strings and woodwinds; the main Allegro theme then reappears. Led by surging horns, trumpets and trombones, the symphony accelerates to a triumphant close.
