Overture Magazine - 2015-2016 Season January-February 2016

{ program notes third followed by an ascending sixth is the cornerstone of Brahms’ symphonic cathedral; by movement’s end, this gentle idea will reach heights of dramatic pathos. The complete melody then unfolds in the violins, followed by a variation on it. Already Brahms is announcing that the variations process will be an important force throughout this entire symphony. A mysterious passage of string arpeggios and cloudy harmonies, and a fanfare motive are also important elements in this sonata form in E minor. The overall mood is subtle and autumnal, rising to heroic tragedy over a heavy drum roll at the end. The slow movement, in E major, is full of nostalgia and melancholy. A dark, cloudy color is established by the four horns, followed by clarinets, singing the principal melody in mournful middle register over a steady rhythmic pattern in plucked strings. The second major theme is a lovely yearning tune, sung by the cellos below arcing high violins. Of this movement Brahms’ close friend Elisabeth von Herzogenberg wrote: “It is a walk through exquisite scenery at sunset, when the colors deepen and the crimson glows to purple.” Evening’s purple brightens to golden daylight in the exuberant scherzo movement, in C major and marked Allegro giocoso. All melancholy is temporarily swept away in the most extroverted, joyful symphonic movement the introspective Brahms ever wrote. And now comes the celebrated finale with its eight-measure passacaglia theme stated clearly at the beginning by the wind instruments. You may subliminally feel this pattern throughout the 30 variations, but you will be more conscious of the overall emotional trajectory. Brahms groups his variations in large blocks so there is no feeling of start and stop. A slower middle section opens with one of the most beautiful, sorrowful melodies ever written for the flute. After a prominent recapitulation of the passacaglia theme, a dramatic set of variations builds to a tragic coda, intensified by pounding timpani. Here Brahms achieves a Pyrrhic victory in a mighty conclusion to his symphonic career. Notes by Janet E. Bedell, Copyright ©2016 26 O v ertur e | www. bsomusic .org André Watts plays Mozart Music Center At Strathmore Thursday, February 4, 2016 — 8p.m. Joseph Meyerhoff Symphony Hall Friday, February 5, 2016 — 8 p.m. Saturday, February 6, 2016 — 8 p.m. Mario Venzago, Conductor André Watts, Piano Christoph Willibald Gluck Selections from Armide Ouverture Musette Choir Andante Trio Elysium Siciliana Chaconne Finale Wolfgang Amadeus Mozart Piano Concerto No. 9 in E-flat Major, K. 271, “Jeunehomme” Allegro Andantino Rondo: Presto ANDRÉ WATTS INTERMISSION Robert Schumann Symphony No. 4 in D Minor, opus 120 Ziemlich langsam — Lebhaft Romanze: Ziemlich langsam Scherzo: Lebhaft Langsam — Lebhaft Music Center At Strathmore The concert will end at approximately 9:55p.m. Joseph Meyerhoff Symphony Hall The concert will end at approximately 9:50p.m. The appearance of pianist André Watts is made possible through the major support of the Ruth Blaustein-Rosenberg Guest Artist Fund. André Watts’ Hamburg Steinway Piano provided by Mary Schwendeman Concert Service.

Overture Magazine - 2015-2016 Season January-February 2016 | Page 28