MAHLER’ S TITAN
The BSO
artist-in-residence for S & R Foundation and now holds the post of artistic director of the Ryuji Ueno Foundation in Washington, D. C.
Ryo Yanagitani makes his BSO debut.
About the Concert
CONCERTO FOR VIOLIN, CELLO AND PIANO IN C MAJOR
Ludwig van Beethoven
Born in Bonn, Germany, December 16, 1770; died in Vienna, Austria, March 26, 1827
Throughout the first half of his career, Beethoven was fascinated by the chamber ensemble known as the piano trio— piano, violin and cello. In fact, his very first opus number consisted of three piano trios. The most famous of his works in this genre is the beloved“ Archduke” Trio of 1810 – 1811, and it was this very Archduke, Rudolf of Austria, youngest son of Emperor Leopold II and brother to Emperor Franz, who probably instigated the creation of the unusual work we hear tonight.
Rudolf was a gifted pianist and musician who became Beethoven’ s most devoted patron, only composition student and— within the limits of their different stations— close friend. He performed Beethoven’ s piano trios,
including his namesake, and purportedly dreamed of playing in a trio set within the grander context of the orchestra. In 1803 – 1804, when work on his opera Fidelio was being delayed by problems at the Theater an der Wien, Beethoven took up Rudolf’ s challenge.
The challenge was formidable: how to showcase not one but three soloists equally within the confines of the concerto format that Beethoven had already delineated in his first three piano concertos. Obviously, something was going to have to give; therefore, in order to give equal time to all of his soloists, Beethoven had to prune the orchestral part. Another problem was how to balance the solo parts so the deep-toned cello would not be covered by the brilliant violin and powerful piano. Beethoven solved this by writing the cello part mostly in its highest register and by making it the leader of the trio, introducing all the principal themes. Because Archduke Rudolf’ s piano technique was not on the virtuoso level of Beethoven’ s, the piano part is not as difficult as the violin and cello parts, but so clever is Beethoven’ s writing the listener will seldom be aware of this.
The Allegro first movement, in the home key of C major, sets the tone for the work: it is big in scale and length, giving an impression of imperial grandeur. Yet it begins very quietly with cellos and basses mysteriously previewing the principal theme from the depths of the orchestra. Then Beethoven dramatically builds this theme through a lengthy crescendo to a heroic fortissimo.
A regal orchestral summons soon brings the soloists on stage, with the cello singing the principal theme. The soloists dominate the development section, which takes on the tone of a strenuous quarrel among the three.
The very slow second movement is brief but unforgettable. It is essentially an extraordinarily beautiful and moving aria for the cello, eventually blossoming into a duet with the violin over a florid piano accompaniment.
The finale is a Rondo alla polacca. Made famous by Chopin, the polonaise is an aristocratic Polish dance dating back to the Renaissance with a strongly accented characteristic rhythm. Beethoven’ s polonaise refrain is a sweeping, unforgettable tune of subtle beauty. Later in the movement, listen for the dramatic return of this refrain over a spectacular long trill in the piano. Near the end, Beethoven surprises us by switching from the polonaise rhythm of 3 / 4 to 2 / 4 for a virtuoso high-speed version of the refrain led by the violin.
Instrumentation: Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.
SYMPHONY NO. 1 IN D MAJOR
Gustav Mahler
Born in Kalischt,( now Czech Republic), July 7, 1860; died in Vienna, Austria, May 18, 1911
When Gustav Mahler, age 29, premiered his First Symphony in Budapest on November 20, 1889, the audience responded with tepid applause and scattered boos. At subsequent performances in Berlin and in Vienna, the reaction was even more negative. Only audiences in Prague and in Amsterdam( where conductor Willem Mengelberg and the Concertgebouw Orchestra were creating something of
MAR – APR 2018 / OVERTURE 33