{ program notes
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“ The first movement employs the Charleston rhythm [ introduced by winds after the brash opening fanfare ]. It is quick and pulsating, representing the young enthusiastic spirit of American life … The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano.” That second theme, a gorgeously romantic Gershwin tune, is the concerto’ s signature theme and will return, played grandioso by the full orchestra, to conclude both the first movement and the finale. Throughout, we hear Gershwin the great keyboard improviser in the piano part.
He continues:“ The second movement has a poetic nocturnal atmosphere, which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated.” With its first mournful theme introduced by muted trumpet, this movement is a masterpiece of atmosphere and perhaps the highlight of the entire work.
“ The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout.” The piano’ s relentless hammering gives way periodically to reminiscences of the second movement’ s themes and in a spectacular conclusion to the first movement’ s big romantic theme as well. With its joyous bravura, the Concerto’ s last moments express the confidence of a young, vital America and of the fearless young genius who gave it a voice all its own.
Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings.
Symphony No. 5 in C minor
Ludwig van Beethoven
Born in Bonn, Germany, December 16, 1770; died in Vienna, Austria, March 26, 1827
For two centuries, Beethoven’ s Fifth has defined the symphonic experience in the popular imagination, just as Hamlet stands for classical drama and Swan Lake for the ballet. It established the dramatic scenario of the symphony as a heroic progression from tragedy to triumph— and musically here from the minor mode to the major— that was imitated by countless later composers from Brahms to Shostakovich. Moreover, it wages its epic battle with a breathtaking swiftness and a concentrated power that its imitators could not match.
Europe was a troubled place when Beethoven wrote this work between 1806 and 1808. The Napoleonic Wars surged across Europe, and the martial tone of many of the Fifth’ s themes as well as the prominent role for trumpets and timpani reflected a society constantly on military alert. And, until Napoleon’ s defeat in 1815, Beethoven lived on the losing side. In July 1807, when he was in his most intense phase of work on the Fifth, the signing of the Treaty of Tilsit brought a temporary truce with the capitulation of Prussia and the cession of all lands between the Rhine and Elbe to France. This humiliation stimulated an uprising of patriotic feeling among the Germanspeaking countries, and Beethoven shared in this fervor. Thus, it is not surprising that the triumphant song of the Fifth’ s finale seems as much a military victory as a spiritual one.
Beethoven himself gave the description of the four-note motive that pervades the Allegro con brio first movement:“ Thus Fate knocks at the door!” he told his amanuensis Anton Schindler. This is the most famous of the pithy rhythmic ideas that animated many of Beethoven’ s middle-period masterpieces; its dynamism as entrance is piled upon entrance drives this movement on its relentless course. The terseness and compression of this music are astonishing, conveying the maximum of expressive power with the minimum of notes. Beethoven pauses only briefly for breath as the violins introduce a gentler, more feminine second theme, and more tellingly later as the solo oboe interrupts the recapitulation of the Fate theme— brought back with pulverizing power by the entire orchestra— with a plaintive protest.
18 Overture | www. bsomusic. org