Back to top

Francis Poulenc's Concerto in g minor for Organ, Strings, and Timpani was written during the composer's 1938 holiday in the tiny village of Anost in rural France. This inventive piece is surprisingly conceived in the spirit of the north German style of organ fantasias -- free alternating sections of various tempi, textures, and colors, played without pause. The seven sections of the concerto explore the wide dynamic range and tonal possibilities of the organ, as well as many structural possibilities of organ-orchestra collaboration. Commissioned by Princess Edmond de Polignac, the work received its first performance with organist Maurice Duruflé as the soloist. Although its premiere was icily received, it now has a well-established place in the repertoire.

Back to top

Ludwig van Beethoven's passion for the countryside, along with the peace he gained from time spent in nature, are well known. Even today one can walk in his footsteps along the Beethovengang in the outskirts of Vienna. The musical language of the Symphony No. 6 in F Major clearly expresses the composer's feelings for nature. Although he sactioned the use of the term "Pastorale" in connection with the work, Beethoven made it clear that this was a symphony, not just scene painting, stating that this music was "more an expression of feeling than a painting." The first movement of the composition gives the impression of a joyous holiday; the second, the gentle flowing of a stream (strings) with birdsongs (woodwinds). The symphonic scherzo movement is given to a peasant dance accompanied by the village band, with a summer storm interrupting the merrymaking for a few minutes. This movement, the most representational of the five, pictures lightning and raindrops with strings and thunder rolls from the timpani. The storm passes quickly, and the shepherds' song of thanksgiving is expressed in a soaring melody, incorporating themes from the first two movements.

Back to top

Program notes by Linda Mack. Copyright 1991.
Send me e-mail.