Ludwig van Beethoven (1770-1827)
Egmont Overture, Op. 84
Upon receiving a commission to write incidental music for the first Viennese performance of Goethe's drama Egmont, Beethoven took up the task with great enthusiasm. His admiration for the creative work of Goethe, giant of German literature, was great. Also, the theme--victory over tyranny--was one with which Beethoven resonated. While Goethe, who understood the power of music, specified requirements for music at crucial moments in the action, it was up to Beethoven to wed music to the drama. In fact, while the overture to Egmont is today frequently performed in the concert hall, the rest of the score failed to gain an independent concert life because of its dependence on the text of the play. Based on a real historical figure, the drama is set in 16th century Brussels at the time of Flemish revolt against despotic Spanish rule. Count Egmont is portrayed as a young, heroic nobleman who tries to negotiate a more moderate Spanish rule, but is cruelly martyred. Instead of putting down the revolt, the death of Egmont incites the Netherlanders to pursue their quest for freedom until they triumph.
Beethoven's overture introduces the main characters and prepares the audience for the themes of the play: Egmont's strength of character, Klärchen's love for him, and the proclamation of victory of the Netherlanders. The orchestral scoring is for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.
Gabriel Fauré (1845-1924)
Pelléas et Mélisande Suite, Op. 80
French composer, organist, administrator, and sometime music critic, Gabriel Fauré, is today known primarily for his contribution to song repertory and his Requiem. While his orchestral efforts consist mainly of music for the theater, his symphonic masterpiece is a suite based on incidental music for the London production of Maurice Maeterlink’s symbolist drama Pelléas et Mélisande. Although Debussy’s operatic version of this drama later eclipsed Fauré’s musical rendering, this suite is an orchestral gem and remains popular with concert audiences. Famed actress Mrs. Patrick Campbell (who played the London Mélisande) commissioned Fauré to write the incidental music, and it was she who decided where the music would be placed in the production. Fauré, perpetually over committed with professional duties, was unable to write and orchestrate the music in the space of the six weeks allotted, so he enlisted the help of a student, Charles Koechlin, to help with the orchestration. For the premiere, June 21, 1893, Fauré conducted the theater orchestra at the Prince of Wales’ Theatre, Piccadilly. While the anonymous Times critic didn’t care for the music (or a lot of other things about the production), other critics were pleased with it, as well as other attendees, including Maeterlink. Fauré later pared down and arranged the collection of 19 numbers to four, forming the suite that is heard today.
I. Prélude sets the stage creating a moody atmosphere as Mélisande wanders in the shadowy forest. The music is dominated by soaring string melodies. II. Fileuse or Spinning Song (introducing Act III) depicts Mélisande at her spinning wheel in her tower, happy in the presence of Pelléas. The solo oboe sings over delicate flowing triplets. III. Sicilienne (preceding Act II) was originally a piece for cello and piano. Here it is used to depict happiness set as a sunny duet for flute and harp. IV. The Death of Mélisande, somber music to precede the final act, takes its melody from a song sung by Mélisande in Act III. The use of low winds and trumpet sets a funereal tone. The piece ends poignantly with sweet sounds given to the strings.
Johnnes Brahms (1883-1897)
Piano Concerto No. 1 in D minor, Op. 15
In 1853 the young 20-year-old Brahms visited Robert and Clara Schumann with samples of his compositions in hand. The Schumanns readily accepted Brahms as a friend and recognized his genius. Robert enthusiastically wrote about this talent and prophesied that the young composer would follow in the steps of Beethoven and become a great symphonist. Tragedy struck when, a few months later, Schumann, beset by mental illness, threw himself into the Rhine. Surviving the suicide attempt, Robert had to be cared for in an asylum for the remaining two years of his life. Brahms came to the aid of Clara and her children, supporting and suffering with them through this anguished time of loss. Throughout this period, music was formulating within Brahms, which he notated first as a two piano sonata, then a symphony, but finally was convinced to cast it as a concerto for piano and orchestra. After several years of working and reworking the piece, violinist and conductor Joachim arranged for an initial premiere in Hanover on January 22, 1859, with Brahms as soloist and Joachim conducting the court orchestra. Five days later the composer played the work at the Leipzig Gewandhaus to a larger, but largely unappreciative audience. Brahms wrote: “It was a brilliant and decisive–failure... No reaction at all to the first and second movements. At the end, three pairs of hands tried slowly to clap, whereupon a clear hissing from all sides quickly put an end to any such demonstration. . . . I think it’s the best thing that could happen to one, it forces you to collect your thoughts and it raises your courage... In spite of everything, the Concerto will meet with approval when I’ve improved its physical structure. This concerto will please, and a second one will sound very different.” He was right, and although his second piano concerto is probably the more popular of the two, the first shows Brahms at his most impassioned, and certainly launched him as a symphonist.
No doubt one of the things that bothered the Leipzig audience was the seriousness of the work and lack of an overtly virtuoso solo part as expected of a concerto at the time. Indeed the solo piano serves as a most honored and distinguished member of the orchestra rather than a star to be accompanied by the orchestra. Throughout the work themes, while introduced by either orchestra or piano, flow seemingly seamlessly from one to the other. The orchestral exposition of the first movement begins with dramatic events, first tumultuous, then lyrical in response. A new idea is presented, whereupon, the piano makes its entrance. Later a beautiful hymn-like second theme is presented initially for piano alone. Bringing the largely serious movement to a close is a coda filled with sparkle and strength. The slow gentle Adagio originally bore the inscription: Benedictus qui venit in nomine Domini. This inscription undoubtably reflects not only dedication to Robert as the composer’s “master” but also a dedication to Clara as the gentle, mourning widow. At times, during the conversation between orchestra and piano, the piano speaks in graceful arabesques, even through an understated cadenza, but the orchestra pronounces the final benediction. The piano leads off the Rondo finale, a movement weighty but brilliant that concludes this most symphonic of concertos.
Program notes by Linda Mack. Copyright 2005.
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