Beethoven’ s Emperor Joseph Meyerhoff Symphony Hall
{ program notes
The“ tiny wisp of a scherzo” in D minor forms the pianist-killer second movement. Brahms’ friends asked him why he had added this extra component to the customary three-movement concerto formula. He replied— in another fit of ironic understatement— that he felt it was necessary because the first and third movements were so“ harmless.” The pianist hurls out a boldly rhythmic first theme, and the strings contribute a contrasting sighing melody, which the piano elaborates soulfully. This music is repeated, then rolls into a development section. But in this formal hybrid— part scherzo dance, part sonata form— the music suddenly shifts into a radiant tolling-bells episode in D Major, which is the Trio section. Listen for the piano’ s ardently rhapsodic passage here.
After two movements of almost unremitting intensity, Brahms at last provides repose with perhaps the most beautiful slow movement he ever composed. The pianist takes a needed rest while the solo cello sings a melody of heartbreaking loveliness; a solo oboe soon joins in, intensifying the poignancy. As in the slow movement of Brahms’ Violin Concerto, the soloist never sings this eloquent theme, but instead weaves marvelous variants on it. The movement’ s most haunting moment occurs midway through when the piano— now stranded in the distant key of F-sharp Major and accompanied by two clarinets— seems to float in some timeless, otherworldly realm. The cello’ s reappearance with its glorious melody seems no intrusion.
Brahms showed sure instincts when he chose to crown his three imposing movements with a relaxing finale of lighthearted melodiousness. Beginning with the piano’ s buoyantly theme, he concocts a succession of melodies in the spirit of his Hungarian Dances. Throughout, the pianist’ s virtuoso figurations sparkle like diamonds, especially in Brahms’ vivacious sped-up conclusion.
Instrumentation: Two flutes including piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, strings.
Notes by Janet E. Bedell, Copyright © 2017
Jan & Magda Bellen
Beethoven’ s Emperor Joseph Meyerhoff Symphony Hall
Friday, March 10, 2017— 8pm Sunday, March 12, 2017— 3pm
igor Stravinsky
Music Center At Strathmore Saturday, March 11, 2017— 8pm
Paul Goodwin, conductor Jan Lisiecki, piano
Concerto in E-flat, Dumbarton Oaks Tempo giusto Allegretto Con moto
Ludwig van Beethoven Piano Concerto No. 5 in E-flat Major, opus 73,“ Emperor” Allegro Adagio un poco mosso Rondo: Allegro
JAN LISIECKI
Henryk Górecki
INTERMISSION Three Pieces in Old Style
Ludwig van Beethoven Symphony No. 4 in B-flat Major, opus 60 Adagio – Allegro vivace Adagio Allegro vivace Allegro ma non troppo
The concert will end at approximately 9:55 pm Friday, 10pm on Saturday and 4:55 pm on Sunday.
This concert is dedicated in memory of our dear friend, Hilda Perl Goodwin
Steinway & Sons is the Official Piano of the Baltimore Symphony Orchestra.
Paul Goodwin
Paul Goodwin is known for incorporating period style within the traditional orchestral world. His extensive repertoire spans from the 14 th century to the present day. Artistic director and conductor of the Carmel Bach Festival and principal guest conductor of Cappella Aquileia, Mr. Goodwin was formerly associate conductor of the Academy of Ancient Music and principal guest conductor of the English Chamber Orchestra.
He has conducted orchestras throughout the world including the San Francisco Symphony Orchestra, Royal Scottish National Orchestra, National Symphony Orchestra
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