January 2003 Concert Program

Rossini was one of the most influential innovators in the history of opera. His credits include anticipating the idea of the "leitmotiv" which is the assignment of a distinct melody to each character of the opera. This technique was later perfected by Wagner. Rossini also added a number of instruments to the opera orchestra, giving it more dramatic weight as well as more color possibilities. He was also the first composer to use the orchestra rather than the cembalo to accompany the singers during their recitatives. He broke from the formalness of the Italian opera and paved the way for other composers to be innovative.

This composer was known to borrow ideas from one opera as a basis for the overture of another opera. The “William Tell Overture” is not included in the procedure. In fact, this overture is often thought of as a tone poem that describes the plot of the opera. It can be divided into four parts. The first part, played by the cello and bass sections, represents the Swiss Alps, which is the backdrop for the opera. The second portion of the opera is the storm. The third section is the tranquility that often follows the storm. The fourth part begins with the trumpet calls of the Swiss army, as well as a march that is familiar to those of us who remember the 'Lone Ranger' theme from radio and television.

Like so many Rossini overtures, 'William Tell' is standard repertoire of most orchestras and a favorite of many listeners. The opera was written in 1829. The Metropolitan Opera included the opera in their performances during their second season in 1884.

Havanaise for Violin and Orchestra, Op. 83, Camille Saint-Saens

Saint-Saens was one of the most versatile composers in history. He was a noted composer, conductor, editor, pianist, organist, scholar and teacher. He was also a linguist and was equally gifted in the fields of astrology, natural history and archaeology. He wrote plays, essays and poetry.

His music also showed his versatility. He wrote equally well for solo instruments, chamber ensembles and orchestra, and was a successful opera composer. Saint-Saens was also able to write in different styles suggestive of different countries and cultures. A case in point is the piece being performed in this concert. Havanaise can be translated into Spanish as a habanera, which is a stately dance in two-four time originating in Cuba. The piece definitely has a Spanish flavor in the melodies, rhythms and harmonies used in the composition of the piece.

For the listener, this is sure to be a welcome addition to any concert, due to the refreshing lightness as well as the interest created through the performance demands on the performer. The composition allows the performer to explore the beautiful sounds in the lower and middle registers of the instrument as well as some of the intricate bowing and multiple string techniques used in the finale.

“Dance Bacchanale” from Samson and Delilah, Camille Saint-Saens

This is a short section lifted from the opera "Samson and Delilah." The opera is based on accounts described in the Bible having to do with the attraction these two characters have toward each other.

When produced as the composer intended, the opera includes several ballet sequences. The music to be performed today is one of those sequences. This is the music depicting a celebration by the Philistines after defeating Samson and the Hebrews. In the scene, Samson is ushered into the temple of Dagon by a child. He is chained to two pillars while praying for his strength to be regained. Having regained that strength, he pulled the pillars down, followed by the temple, killing the Philistines, Samson, and Delilah.

Entrance of the Sirdar from “Caucasian Sketches,” Ippolitov-Ivanov (1859-1935)

“Entrance of the Sirdar” is from the “Caucasian Sketches” written in 1894. The 'Sketches" were inspired by the music of various groups that formed the Russian Empire. The music begins softly as the procession approaches from a distance. The dynamics grow and the melodies become increasingly chromatic and complex as the procession passes by.

Jesu, joy of Man's Desiring from 'Cantata No. 147, J.S. Bach (1685-1750)

Bach composed nearly 300 cantatas, of which 200 have been preserved. They are especially characteristic of his genius and represent a major portion of his output. A melodic line of triplet eighth notes is interrupted by and combined with a chorale melody in the brass. These ideas, combined with a simple bass line, are woven into a complex fabric typical of Bach's work.

Hornpipe from “Purcelliana,” Henry Purcell (1659-1695)

The English stage of the 17^th century inspired much music for the theater. This “Hornpipe” was extracted from “The Indian Queen” written by Purcell in 1695. Alfred Akon has modernized it with contemporary rhythms and orchestral effects, but the 17^th century flavor remains.

Three Pieces from “Swan Lake,” Peter llich Tchaikovsky

"Swan Lake" is a ballet in four acts first performed at the Bolshoi Theater in Moscow in May 1877. Although the music is delightful, the production was not a success. The opening “Scene” is short but dramatic with chromatic harmonies and broad themes. The “Dance of the Swans” belongs to the woodwinds. Visualize a white swan gliding across a black lagoon. The "Valse" is one of Tchaikovsky's most familiar melodies with dramatic full orchestra ending.

Songs of Travel, Ralph Vaughn-Williams

Today's performance includes six of the nine sections of this song cycle. All nine sections are based on the poetry of Robert Louis Stevenson and deal with a vagabond lamenting about his lost loves. The first performance and publication of this music was in 1960. The performance was two years after the death of the composer. The delay in publication was a direct result of the composer's refusal to release the last section of the composition. It was discovered after his death and was published.

The song cycle is an example of the composer's ability to blend beautiful melodies, interesting and sometimes unexpected harmonies and folk-like qualities into an appropriate accompaniment to the poetry. There is a mournful, yet uplifting, quality to the music, which is only achieved by a composer with outstanding musicianship and sensitivity. This is typical of all of the music of Ralph Vaughn-Williams.

Nutcracker Suite No. 1, Peter llich Tchaikovsky

Tchaikovsky wrote some of the most memorable ballet music in history. “Sleeping Beauty” and “Swan Lake” have been part of the repertoire for most ballet companies for many years. However, the music from the “Nutcracker” is some of the most recognizable music ever written. This is partly due to the fact that the composer first introduced the music as an orchestral suite and is often performed as a concert composition. The other reason this is so recognizable is that it has become linked to the Christmas season and is now part of the tradition of the season.

The first performance of the composition was done in 1892 as an orchestra suite in concert form. The music was so successful that five of the six sections had to be repeated due to audience response. The ballet performance was not received as well. Part of the problem was the fact that the first act is performed primarily by children, which was different than any ballet up to that time. The other reason for the initial response was that the Russian audience would not readily accept a ballet based on a German rather than a Russian story. The first performance of the ballet in the United States was in 1940 and was performed in New York City by the Ballet Russe de Monte Carlo.

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