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{ program notes
Symphonie espagnole
Édouard Lalo
Born in Lille, France, January 27, 1823; died in Paris, April 22, 1892
A wind from the Pyrénées has aerated French music on many occasions and never did it blow more strongly than in Paris in the mid-1870s. Consider this: on February 7, 1875, violin virtuoso Pablo de Sarasate introduced a new concerto, redolent with Spanish flavor, written for him by Édouard Lalo, the Symphonie espagnole. Just four weeks later, on March 3 rd, Georges Bizet unveiled his opera Carmen at the Opéra Comique.
The exoticism of Spanish rhythms and gypsy melodies would later ensnare Ravel, Debussy and others. But Lalo had special reasons for writing a“ Spanish” concerto. His own ancestry was Spanish, and he was creating a work for the Pamplonaborn Sarasate, one of the greatest violinists of all time. Sarasate was renowned for his elegance and beautiful sound; violinist Leopold Auer described it as“ a tone of supreme singing quality.” Lalo tailored his colorful, melody-drenched concerto to the special characteristics of Sarasate’ s artistry. Symphonie espagnole exploits the violinist’ s ability to sing eloquently in both the lowest and highest registers, to execute huge skips with unerring accuracy, to spin intricate fast passage work, and to do all this with flair and aplomb.
Spanish this work may be, but calling it a“ symphony” is misleading. Neither is it a conventional concerto, possessing five movements rather than the usual three. Perhaps it falls best into the category of the multi-movement dance suite. But the soloist is always center stage.
The first movement begins unforgettably with strings and low woodwinds in unison thumping out two measures of the Iberian slow-triplet rhythm that will spawn the principal theme. The violinist responds with a provocative Spanish phrase, then falls silent while the orchestra presents the entire theme, earthy and foot-stomping. When the violinist takes it up in the instrument’ s lowest range, she then adds a lyrical, higher countermelody. Later comes the true second theme, a sweet, sinuous melody straight out of Spanish folk song.
Movement 2 is a vivacious seguidilla; the light pizzicato accompaniment suggests an orchestra of guitars. A middle section in a slightly slower tempo features the soloist in a languorously coiling Moorish tune.
The third-movement Intermezzo is a sultry habañera Carmen herself might sing. The orchestra hammers out the three-plus-two rhythm, then subsides to a deep pizzicato bump-and-grind as the violin sings in its most seductive alto register. Despite a sprightly, almost waltzlike middle section, this seems a scene from the sort of dark, smoky gypsy cellar no tourist should enter.
By contrast, the Andante slow movement is the least Spanish of the work, but Lalo makes up for that with a gorgeous solo melody throbbing with gypsy soul and passion. The orchestral opening creates a hauntingly dark, bronze-colored atmosphere.
High woodwinds and bell-like harp imitating Spanish shepherds’ pipes open the finale. The beginning of the effervescent rondo theme gradually spreads through the orchestra until the soloist finally gives us the full tune. A contrasting middle episode features a tango-like malagueña melody. In a final non-stop whirl of fast passage work, the soloist solicits our applause.
Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion, harp, and strings.
Abstractions
Anna Clyne
Born March 9, 1980 in London, England.
London-born Anna Clyne is a composer of acoustic and electro-acoustic music that combines resonant soundscapes with propelling textures. She often collaborates with cutting edge choreographers, visual artists, filmmakers and musicians worldwide.
In August 2013, Ms. Clyne’ s Masquerade, a BBC Radio 3 commission, had its world premiere on the famed Last Night of the Proms by the BBC Symphony
14 Overture | www. bsomusic. org