{ program notes
RESOUNDING
DISCOVERIES
JOIN US
Sundays at 5:30 PM
for our 2014–2015
Concert Season
HÉLÈNE GRIMAUD,
PIANO
September 21, 2014
BELCEA QUARTET
October 26, 2014
DANIELLE DE NIESE,
SOPRANO
CAMERON STOWE, PIANO
November 16, 2014
STEVEN ISSERLIS, CELLO
CONNIE SHIH, PIANO
December 7, 2014
GIDON KREMER, VIOLIN
GIEDRE DIRVANAUSKAITE,
CELLO
DANIIL TRIFONOV, PIANO
January 18, 2015
JERUSALEM QUARTET
February 15, 2015
LES VIOLONS DU ROY,
BERNARD LABADIE,
MUSIC DIRECTOR
MARC-ANDRÉ HAMELIN,
PIANO
March 15, 2015
RICHARD GOODE, PIANO
April 19, 2015
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28 O v ertur e |
www. bsomusic .org
Gewandhaus Orchestra. Though Swedish law forbade women to be professional
organists, she and her father fought for
years to change the law and she eventually
became the organist and music director at
the Cathedral in Gothenburg, Sweden’s
second city.
A prolific composer, Andrée introduced
her Concert Overture in D (1873) at a
concert she probably conducted herself in
Berlin in 1888. Then for more than 100
years, it languished in an archive until
Washington State musicologist Susan
Pickett prepared a new edition, performed
by the Walla Walla Symphony in 1998 and
by the Swedish Radio Symphony in 1999.
Its performances here in Baltimore will be
only its third modern presentation.
The Overture is a classically shaped
sonata form in D Major with an exposition section containing two major themes,
a development, and a recapitulation of the
exposition music that stays close to what
we originally heard. It opens with a lengthy
slow introduction, led by rich-toned horns
and other brass and living up to its expressive marking “maestoso” — “majestic.”
The musical style is very German, as was
the case with much Scandinavian music of
this period, with strong echoes of the German early Romantic composer Carl Maria
von Weber as well as Robert Schumann.
The spirit of Weber, famed for h