May 2001 Concert Program

Like most overtures, this piece was intended to be part of an opera. Berlioz intended this music to be the introduction to the second act of his opera Benvenuto Cellini. When the opera was first performed in 1838, he had not finished the overture. In fact, he did not complete it until 1844. By that time, he decided to make it a composition independent of the opera. When it was first performed, the Parisian audience gave it such an ovation that the orchestra performed it again.

This has become a favorite of many concert goers and musicians alike due to the wonderful variety and excitement within the piece. There is everything from a beautiful love song played on the English horn to the rhythmic pulse similar to an Italian tarantella. Like many compositions by Berlioz, you can expect the unexpected. Themes are sometimes entering at other rhythmic points than you would expect, harmonies are sometimes startling, and even the last chord of the piece produces an orchestrational effect that people don't expect since he only uses the brass section. All of these effects aid in making this piece one of the most amazing “show-stoppers” in musical literature.

Adagio for Strings, Samuel Barber

Samuel Barber originally wrote this piece as the second movement of a string quartet in 1936. Within the next two years, he arranged it for string orchestra. Since that time, the piece has become Barber's most popular work. It has also become an unofficial anthem of mourning. It was performed after the deaths of Presidents Franklin D. Roosevelt and John F. Kennedy. It has also been used by filmmakers when they want music that will convey a feeling of despair or devastation, such as in the movies “Platoon” and “The Elephant Man” (to name two).

There are no unique or sophisticated compositional techniques used that make composers like Aaron Copland, William Schuman, Roy Harris and Ned Rorem ask themselves how he achieved such success with the piece. The bottom line is that it is simply a stirringly beautiful piece of music that is recognizable by most concertgoers.

Dance of the Swans and Mazurka from “Swan Lake,” Peter Ilitch Tchaikovsky

The two selections to be performed are only a small part of the 33 musical numbers in the ballet. There are many sections of the ballet, including these parts, that have become frequently performed pieces in a concert setting.

The ballet was first performed in 1876 and was a disaster. The dancers were displeased with the music, saying it was not complimentary to their style of performance. The conductor was not prepared to rehearse a work of this length. The scenery and the choreography were suspect as well.

After disappearing from the repertory for several years, it was revived in 1895. This time, it was successful. There were new costumes, scenery, and choreography, as well as a new conductor. The result was a successful performance. Unfortunately, the composer did not live long enough to see the revival of the ballet. “Swan Lake” has become a standard in the ballet repertory.

Pachelbel’s Canon for Orchestra, Johann Pachelbel (1653-1706)

Pachelbel was a composer and organist in the polyphonic tradition that culminated a generation later in the complex fugues of J.S. Bach. This is a fanciful arrangement for full orchestra of the famous canon. Although the strict rules of the canon are relinquished here, the contrasting moods and style remain. Unlike the original, this setting builds to a resounding full orchestra climax.

Little Baroque Suite, Johann Kirnberger (1721-1783)

Johann Kirnberger (all composers were named Johann in those days) was an organist, violinist and a pupil of J.S. Bach (another Johann). German composers of the period often used French dance forms in their compositions; hence, this dance suite. The third dance, "La Lutine," imitates the light plucking of the lute, which was a popular instrument of the time.

Overture to “The Village Bride,” Karl Friedrich Abel (1725-1787)

Abel was also a pupil of J.S. Bach. He moved to London in 1759, where for many years he conducted concerts with Bach's son, Johann Christian. Abel was expert at playing the viol da gamba (cello). This is evident in the ambitious cello part in this overture.

Hansel and Gretel Selection, Engelbert Humperdinck (1854-1921)

Humperdinck's talent for music showed early when he won several prizes for musical composition. He was befriended by Richard Wagner and worked lively with him on the production of “Parsifal.”

Hansel and Gretel is a delightful opera based on the folk tale well known to children. This selection includes: “Evening Prayer,” “A Little Man,” “The Dancing Lesson,” “Suszie, Little Suzie,” and the Finale.

Fanfare for the Common Man, Aaron Copland

Aaron Copland has to be considered one of America's musical giants. He wrote for everything from film scores to chamber music. He wrote operas, choral works, piano solos and symphonies. There are probably few people who have not heard some of his music, even if it has only been background music for television ads.

One of the most famous of his compositions is this fanfare. It was used as part of his Symphony No. 3, which is considered by many historians as the most important American symphony written to date. It has been performed at numerous ceremonial functions, such as inaugurations and dedications. You may have heard the piece used as background music for movies or television shows. Much like the Adagio for Strings being performed this evening, the fanfare has a mystique of its own. It is one of the most recognizable pieces of serious music ever written.

Capriccio Italian, Peter llitch Tchaikovsky

On February 17, 1880, Tchaikovsky wrote to his patron, Mme. Von Meck: “I am working on a sketch of an Italian fantasia based on folk songs. Thanks to the charming themes, some of which I have heard in the streets, the work will be effective.” The composer was correct. Not only was the piece effective, but it has endured the test of time and has become one of his most often performed pieces.

The composition starts with a trumpet fanfare that the composer heard every day he lived in Rome, which is where he was visiting while writing the piece. His hotel was next door to an army barracks and the bugle call came from there. Also included in the piece are beautiful Italian melodies and tarantellas that he heard being performed in the streets of Rome. The production ends with one of those rhythmically forceful finales that are typical of Tchaikovsky's music.

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