PROGRAM NOTES
WAGNER OPERA SPECTACULAR
FROM THE PODIUM by James Conlon
This program brings together two composers , Beethoven and Wagner , and two genres , opera and symphony . I think it is stimulating for a symphony orchestra to play opera , as there are challenges that are different from those found in the standard symphonic repertoire . I have benefitted from conducting both symphony and opera for my entire professional life , and I wouldn ’ t exchange that experience for anything .
Like most professional musicians , when I was young , I started studying Beethoven , Mozart , and Brahms — the German classics . I ’ ve conducted Beethoven so many times that his music is like second nature . I never feel as if I need to explain it .
The contrast between Beethoven and Wagner is interesting and poses the question : how did this become that ? There is a clear link in their lineage . Wagner wasn ’ t very generous in his praise , but he idolized Beethoven . One of the many aspects that I love about Wagner ’ s works is the orchestra ’ s prominence . I am fascinated with his characters , who reflect humanity in all its foibles : the good , the bad , the sensual , and the spiritual . It ’ s all manifest in an overwhelming context . It is not music you have to see and find . It comes to you ; you need only be open and receptive .
Encountering Wagner ’ s music , or really any classical work , is similar to meeting a person and thinking , “ I like this person , I want to see this person again .” And if the chemistry is right , that relationship will grow and grow and grow . I often say , “ If you like it , come again , you will like it even more the second time . If you did not like it the first time , come again and maybe you ’ ll hear something new the second time !”
PROGRAM NOTES
BY A . KORI HILL
Ludwig van Beethoven
Born December 16 , 1770 in Bonn , Germany Died March 26 , 1827 in Vienna , Austria
SYMPHONY NO . 8 [ 1812 ]
Ludwig van Beethoven is often positioned as the composer who ushered in classical music ’ s Romantic period . Such a distinction may make the appearance of Classical-era aesthetics ( e . g . symmetrical phrasing ; clear textures ) a bit puzzling . But Beethoven came of age and worked within the Classical era ; and the Romantic aesthetic developed from other composers adapting and emulating Beethoven ’ s ideas that he applied to strengthen and stretch his creative skills .
Beethoven ’ s Symphony No . 8 in F Major , op . 96 , was completed in 1812 . It held a special place in his heart , calling it his “ little symphony in F .” It features characteristics that are distinctly Beethovenian as well as those not often associated with him : clear phrasing and textures , relaxed confidence , layering of strings and timpani , and drastic changes in dynamics .
The first movement , Allegro vivace con brio , is stately and assured . The main theme is heard immediately , then passed around in fragments through the orchestra . Instead of a languid second movement , Beethoven gives us a short , cheeky Allegretto scherzando : steady pulses in the woodwinds under the jaunty main theme in the strings with a lyrical back and forth between sections . The Tempo di menuetto feels like a melodic outgrowth of the previous movement with the characteristic timpani , brass , and low string registers filling out the texture .
There is no doubt : the Allegro vivace finale is joyous . The main theme is stated in a reserved , modest character before exploding in confident bombast in the orchestra . Drastic dynamic changes ; shifts in expectation when the main theme returns ; restatement of the main theme passing in fragments from strings to woodwinds and back , turning into something new and yet familiar . These features remind us that for Beethoven , expressing joy , steadfastness , and cheekiness were as necessary as expressing intensity , anguish , and grandeur .
Instrumentation Two flutes , two oboes , two clarinets , two bassoons , two horns , two trumpets , timpani , and strings .
Richard Wagner
Born May 22 , 1813 in Leipzig , Germany Died February 13 , 1883 in Venice , Italy
“ RIDE OF THE VALKYRIES ” FROM DIE WALKÜRE [ 1854-56 ]
Richard Wagner did not write operas . Or more accurately , he did not refer to his operas as operas . He envisioned them as musical dramas , bringing together the most effective aspects of art , music , and drama as practiced by the Ancient Greeks , coalescing into a massive , new creative form — a gesamtkunstwerk . These compositions were events . A non-Wagnerian opera in the 19th century would typically last 2 to 3 hours . Wagner ’ s dramas lasted 3 to 5 hours on average . When all four dramas are performed together , Wagner ’ s Der Ring des Nibelungen — The Ring Cycle — lasts around 17 hours , taking the listeners through a massive story featuring Norse gods , Valkyries , and a ring of power .
The “ Ride of the Valkyries ,” serves as the prelude to the third act of the second Ring Cycle opera , Die Walküre . Wagner ’ s use of leitmotif helps listeners connect and recall scenes and characters , in this case , the Valkyries . The intense tremolo in the strings grows as woodwinds and brass enter the texture . The rhythmic distance shortens , and the triumphant brass chorus introduces and repeats the Valkyries ’ leitmotif . Timpani rolls imitate horses ’ hooves , and cascading passages in the woodwinds and strings evoke warriors falling on the battlefield only to be raised and taken into the glory of Valhalla , the home of Wotan and his children .
Instrumentation Two flutes , piccolo , two oboes , English horn , three clarinets , bass clarinet , three bassoons , six horns , three trumpets , three trombones , tuba , timpani , percussion , and strings .
FINAL SCENE FROM DIE WALKÜRE [ 1854-56 ]
Wotan , the lord of the Norse gods , is heartbroken .
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