![[NSO]](images/tinynso.gif)
Newark
This afternoon's performance is being presented as a Family Concert. Each of these compositions enjoys enormous popularity. With melodies that are memorable, orchestrations that are extraordinary and programmatic subjects that inspire awe and wonder in listeners of all ages--you are in for a treat of poetic adventure. Truly a rewarding experience for a family outing.
Humperdinck was a student of and assistant to Richard Wagner. The influence on technique, form and orchestration is quite clear. Humperdinck's inspiration, though, is unique and original. The opera Hansel and Gretel was first presented in Weimar at Christmastime in 1893 and was conducted by Richard Strauss. It was an instant success and has remained an international favorite to this day. The overture is a grand introduction which seems to say, "Once upon a time..." Within we hear the peaceful sounds of the forest, the loving song of the Dew Fairy, the children's playful innocence and their youthful courage. It is interesting that Wagner's heirs were highly annoyed at the renown this opera achieved and tried to suppress it, implying that no one was worthy to follow in the master's footsteps.
Hovhaness was himself something of an artistic solitary. He remained aloof from the musical establishment and employed a highly personal musical style. His compositions, never-the-less, are readily received by listeners because of their immediacy and relevance. Of the Mysterious Mountain, Hovhaness states: "Mountains are symbols, like pyramids, of man's attempt to know God. Mountains are symbolic meeting places between the mundane and spiritual worlds." "The first and last movements are hymn-like and lyrical, using irregular metrical forms. The first subject of the second movement, a double fugue, is developed in a slow vocal style. The rapid second subject is played by the strings, with its own counter-subject and with strict four-voice canonic episodes.... In the last movement a chant in 7/4 is played softly by muted horns and trombones. A giant wave in a 13-beat meter rises to a climax and recedes.... A middle melody is sung by the oboes and clarinets in a quintuple beat. Muted violins return
Visionary conductor Leopold Stokowski commissioned Mysterious Mountain and gave its first performance in 1955 with the Houston Symphony. Of that premier, Hubert Roussel wrote in the Houston Post: "Hovhaness produces a texture of the utmost beauty, gentleness, distinction and expressive potential. The real mystery of Mysterious Mountain is that it should be so simply, sweetly, innocently lovely in an age that has tried so terribly hard to avoid those impressions in music."
These stories constitute a body of literature that is simply unparalleled and can be traced back to a 15th century Arabic manuscript. Fantastic invention, exotic custom and culture, and insights into human character permeate these tales as precious gems waiting to be plucked from the branches of a magical tree like enchanted fruit.
One of the absolute masters of orchestration, Russian composer Rimsky-Korsakov found a treasure of inspiration in these Arabian Nights for his symphonic suite Scheherazade. The first movement begins with the powerful theme of Shahryar (low brass and strings) as he beckons his new wife to enter the bed chamber. The veiled and gossamer-attired Scheherazade (solo violin and harp) gracefully presents herself to the emperor, and her seductive presence is instantly captivating. In The Sea and Sinbad's Ship, Scheherazade tells of the young sailor's travels and trades; fortunes made and lost. The ship rolls with the sea, and we experience the wonder of strange sights as they pass. You will sense a reflection of Shahryar in Sinbad's theme along with the zest for adventure and a delight in facing a destiny unknown.
Scheherazade hypnotically begins to spin The Tale of the Kalandar Prince. Kalandars are a sect of beggar monks who forsake a worldly existence. An example of their tone of humble introspection: "If the thorn break in my body, how trifling the pain! But how sorely I feel for the poor broken thorn!" The Prince is a one-eyed mendicant and relates how he was brought so low. The sad story involves a stolen bride, an Ifrit (a being like a Jinni) with magical powers, a delirious love affair and a tragic end. The orchestra is most spectacular with flamboyant solos for the clarinet, bassoon, trumpet and 2nd trombone. Psychedelic changes of color and tempo leave one breathless, and the theme of the all-powerful Ifrit is once more imbued with the character of Shahryar.
In The Young Prince and Princess we find soul-mates entwined in bliss and endless delight. Scheherazade's theme returns just before the final climax of ecstasy and continues on as an accompaniment of sympathetic caresses. The movement ends with a brief flurry of woodwinds, as if a flower-scented breeze gently pushes aside the window curtain and reveals a room of peace and contentment.
After an animated dialogue between the emperor and his wife, The Festival of Baghdad erupts into wild revelry requiring virtuoso playing from the entire orchestra. Surges of energy pass from woodwinds to strings to brass, culminating in a frenzy of flourishes from the trumpets. Suddenly we are transported back aboard Sinbad's ship being tossed and shuddering in stormy seas. With waves breaking over the deck, it is inevitable--the ship is wrecked on the rocky shore (stroke of the tam-tam). A gigantic Bronze Warrior gazes at the scene as the storm and passion seem to evaporate. Serenity prevails, and as if by enchantment Shahryar and Scheherazade are gazing at each other.... The journey on the magic carpet has come to its end. A deep and glowing affection has at last been kindled, and the force of love has earned an eternal abode in legend.
--R. P.
Schumann was never happier than when he could combine his passionate love of literature with his musical gifts. Immediately upon completing his opera Genoveva in 1848, he became immersed in composing incidental music for Lord Byron's dramatic poem Manfred. Schumann felt a deep affinity with Byron's semi-autobiographical poem which relates Manfred's remorse over past deeds that brought death to Astarte, his dearly beloved. According to biographer Wilhelm Waisielewski, once while reading the poem aloud to a small group of friends, "...his voice suddenly faltered...[Schumann] burst into tears and was so overcome that he could read no further..." Byron's "restless, wandering, distracted man tormented by fearful thoughts" must have resonated deeply with Schumann's own troubled emotional history. The Manfred Overture is considered by many to be Schumann's finest orchestral work.
In the words of Wolfgang Sawallisch, "I think Schumann is the true Romantic composer. He has deep feeling, from the heart. His personal life was very painful, and yet his music is often full of hope and inspiration."
The viola has been neglected as a solo instrument. This concerto has only one worthy predecessor: Harold in Italy by Berlioz composed in 1834. As the 'Cinderella' of the stringed instruments, the viola has been chained to the inner musical line for so long that its seductive charm and expressive potential have gone unheralded.
The first movement of Walton's Viola Concerto is a songful development of bittersweet melancholy with a playful ambiguity that teeters between major and minor tonalities.
The second movement is a 'perpetual motion' that charges ahead with dazzling invention, requiring incredible agility by the soloist. The climax comes in the orchestral tutti toward the end of the movement, when the horns and trumpets overleap each other like ancient golden warriors battling in the sun. This passage led Guido Adler, friend of Mahler and musical scholar who heard this concerto for the first time at age 75, to exclaim, "Here's the real thing--at last!"
The final movement is grand musical architecture. Three main themes that are commingled and developed together then culminate in a fugal edifice for the full orchestra. The closing moments fondly reminisce and caress prior themes from the entire concerto, ending in quiet repose, simultaneously in A major and A minor!
The Oboe Concerto in C Minor is an exquisite vehicle for the soloist. The thematic material is memorable and the figurations graceful and idiomatic. The accompaniment for string orchestra is richly textured with counterpoint, and there is expressive fluency in the harmonic flow. There is also ample opportunity for the soloist to elaborate with elegant ornamentation, a stylistic element in Baroque music that elicits the freedom of improvisation.
The three preludes in Mathis der Maler (Mathis the Painter) evolved into a full-blown symphony. The first movement, Engelkonzert (Angelic Concert) is built upon a hymn tune depicting three angels singing and playing to the Virgin and Child. The music is splendid in its glorious illumination of the scene. In Grablegung (Entombment) Christ is being laid into the sepulchre. The movement begins with tender and hesitant gestures, then proceeds to an anguished climax and finally ends quietly in profound peace. The final movement actually encompasses two scenes, Versuchung des heiligen Antonius (Temptation of St. Anthony) and Begegnung des Antonius mit dem Eremiten Paulus (Comforting of St. Anthony by the hermit St. Paul). The music evokes tormented and frightening visions until a statement of the Gregorian chant Lauda Sion Salvatorem turns the emotional state into a revelation of comfort and exaltation. The symphony concludes with a shining Alleluia played by the brass.
The first performance led by Furtwängler was an enormous success! However, the sudden acclaim produced a negative reaction from the Nazis. Hindemith, who had already been critical of Hitler, now posed a threat to the Party, which quickly acted to ban all performances and broadcasts of Hindemith's music in Germany. Hindemith was forced to emigrate (the only non-Jewish composer in Nazi Germany to do so), first to Switzerland and then to America. He eventually joined the music faculty at Yale University and--with his analytical writing along with his composing--became a formative influence on a generation of American musicians.
Perhaps I should clarify that Pictures of Promise really reflects our two young soloists whose glowing talent shines on a happy future!
--R. P.
One of the most successful opera composers of all time, Verdi has dominated the repertoire with continual performances of nearly twenty masterpieces. Aïda is a late work followed only by the Manzoni Requiem, Otello and Falstaff. First presented in 1871, Aïda was commissioned for the new Cairo Opera House in Egypt, built to mark the opening of the Suez Canal. The libretto is by Antonio Ghislanzoni, based on a scenario by Egyptologist Auguste Mariette.
SYNOPSIS: The drama takes place at Memphis and Thebes during the epoch of the Pharaohs. This description will clarify the flow of action in our abridged concert version.
Act I: The High Priest Ramfis relates to Radamès, then captain
of the guard, that Ethiopian forces are invading the valley of the
Nile. It is declared that the goddess Isis has named a brave young
warrior to lead the Egyptian army against the enemy. Radamès
muses that if he is the chosen warrior, he will return in glory at the
head of a victorious army. He then dreams of the beautiful Aïda,
whom he loves. Amneris, daughter of the King of Egypt, is herself in
love with Radamès, and observing his reverie wonders whether
she is the object of his passion. But when her slave and servant
Aïda enters, she sees the glance that flashes between
Radamès and Aïda and with overwhelming jealousy knows
Aïda to be her rival. No one at the Egyptian court knows
Aïda's secret--that she is the daughter of Amonasro, Ethiopian
King and leader of their aggressive force.
The King of Egypt enters with his attendants and announces that the
Ethiopians under Amonasro approach Thebes. At the King's command the
holy prophets have chosen Radamès to lead the army and defend
the sacred Nile. Amneris presents Radamès with a banner and
implores him to "return victorious!" The entire throng chants "Return
victorious!" Radamès and his warriors depart. Eventually
Aïda is left alone and, still caught up in the moment, sings
emotionally "Return victorious!" Suddenly she realizes just what she
has expressed: that her lover should defeat her father in battle! The
despairing conflict between her allegiances is unresolvable, and
finally Aïda wishes for death.
Act II: The Ethiopians have been defeated. Radamès and his triumphant army return to the city with a host of Ethiopian captives. The gates are thrown open; they are welcomed by a clamorous celebration with heralding Egyptian trumpets and an exotic ballet. Radamès kneels before Amneris, who places the crown of victory on his head. The King then offers him anything he wants. Radamès' request is freedom for the Ethiopian prisoners. Ramfis and the priests object but are overruled by the King. Among the Ethiopians is Amonasro, disguised as an ordinary officer. Aïda, unable to restrain herself, rushes to Amonasro. He urgently cautions her not to betray him. To conclude the fte the King, without further consultation, proclaims that Radamès will have Amneris' hand in marriage!
Act III: On the moonlit banks of the Nile, Aïda awaits
Radamès for a secret meeting. She trembles at the thought that
he may come to bid her farewell...if so, the Nile will be her grave.
Suddenly, her father Amonasro appears. He appeals to her loyalty to
him and to Ethiopia. She must get Radamès to reveal the plans
of the Egyptian army! She is aghast and terrified, but her father
persuades her that she and Radamès can then flee to Ethiopia to
live and love in freedom.
Radamès approaches; Amonasro hides. Aïda and
Radamès embrace. She asks his intentions towards Amneris.
Radamès passionately replies that it is Aïda whom he
loves, and he will marry no other! She presents her plea that they
should flee Egypt together. Radamès at first resists, but when
he realizes that he faces an enforced marriage to Amneris, and here is
his beautiful Aïda in the moonlight, he agrees. When Aïda
asks him what path they should take to avoid the army, Radamès
names a road that will be open till morning. That is just the
information that Amonasro needs! He jumps forward and reveals himself
as King of Ethiopia.
Radamès is shocked and dismayed that he has just betrayed a
military secret. Even as Aïda and Amonasro plead with him to flee
with them, Radamès is consumed with remorse and is indecisive.
A shout of "Traitor!" is heard, and Amneris, followed by Ramfis, rush
to confront the trio. Radamès urges Aïda and Amonasro to
escape, then surrenders himself to the High Priest.
Act IV: In the King's palace, the distraught Amneris bemoans the
escape of her rival and the imminent trial of Radamès as a
traitor. "If only he could love me," she cries, "I would save him!"
She orders Radamès to be brought in, and applying all her
powers, urges him to renounce Aïda and marry her. Radamès
refuses and states death would be a blessing if it were to gain
Aïda's freedom.
Radamès is taken away to the judgement room where the trial
begins, out of sight. Ramfis can be heard stating the charges, calling
for Radamès to reply in his defense. Radamès remains
silent throughout. Simultaneously, Amneris laments the fate of
Radamès and reviles herself for her jealousy. Finally the
judgement is pronounced: Radamès is to be buried alive beneath
the temple of Phtha. Amneris collapses in despair.
In the sealed crypt below the temple, Radamès awaits death. He
thinks of Aïda and prays for her happiness. He is startled by a
form emerging from the shadows...it is Aïda! She had foreseen
Radamès' fate and chose to die with him. As the priests chant
above and a disconsolate Amneris weeps, praying from afar, the
lovers--clasped in a passionate embrace--sing their final farewell to
the earth.
--R. P.
Newark