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TO VOLUNTEER: 410-662-4380 Volunteer @ ChooseKeswick. org wrote to his family that he had been very seasick, and Klingemann recalled that“ my companion Felix …[ got ] along better with the sea as an artist than as a human being with a stomach.” But fortunately it was the artistic impression that remained; that night, Felix sent a letter to his sister Fanny that included the first measures of this overture as a musical souvenir. The overture was finally premiered in London on May 14, 1832.
The opening theme, a swirling melody of wind and waves introduced by cellos and bassoons, captures the thrill of a sea voyage. Rolling arpeggios in the low strings conjure the surge of the waves. A melancholy second theme, sung by cellos and bassoons and later by solo clarinet, evokes the lonely, gray-skies atmosphere of the Hebrides. At the end, the composer adds a graceful“ bon voyage”: the solo clarinet sings the opening theme one last time, and as it soars upward, a flute adds the highest notes.
Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.
SCOTTISH FANTASY
Max Bruch
Born in Cologne, Germany, January 6, 1838; died in Friedenau, Germany, October 2, 1920
“ There is nothing to compare with the feeling, power, originality and beauty of the folksong.” Max Bruch wrote this to his publisher in 1884, just a few years after composing his charming Scottish Fantasy— or, to give its full, formal title, the“ Fantasia for the Violin and Orchestra with Harp, freely using Scottish Folk Melodies.” For a composer who prized expressive, lyrical melody above everything else, folksong provided the richest source.
In early 1863, Bruch published arrangements of 12 Scottish folksongs, including two of the songs that would figure prominently in the Scottish Fantasy of 1879 – 1880:“ Auld Rob Morris” and“ Scots wha hae.” However, faithfulness to the original tunes was not foremost in Bruch’ s mind; he was far more concerned with creating a stunning showcase for his friend, the great Spanish violinist Pablo de Sarasate. Because the Scottish Fantasy had a rather unorthodox format— four movements plus a separate introduction— as well as its folksong content, Bruch chose to call it a“ fantasy” rather than a concerto.
Bruch told a colleague that the novels of Sir Walter Scott were an important inspiration for the atmosphere of this piece. Certainly, its dark and brooding Introduction, set in the unusual key of E-flat minor, is filled with Scottish storm clouds and romance. Bruch said this music depicts“ an old bard contemplating a ruined castle and lamenting the glorious times of old.” The violin’ s recitative almost speaks the bard’ s words.
The orchestra maintains the bardic mood, but the key now brightens to E-flat major for the Adagio cantabile first movement. Here the violin sings the lovely, slightly sentimental Scots folksong“ Auld Rob Morris,” accompanied by the harp.
Against a bagpipe drone in horns and strings, the traditional song“ The Dusty Miller” provides a frisky dance tune for the second movement, which makes tremendous demands on the violinist’ s technique. In a haunting bridge passage to the next movement, violas and soloist recall“ Auld Rob Morris.”
Movement three revolves around the plaintive folksong“ I’ m down for lack of Johnnie.” The violinist introduces it very simply, then passes it to the orchestra while spinning elaborate countermelodies high above.
Legend tells us that“ Scots wha hae” was the song Robert the Bruce sang to rally his troops at the Battle of Bannockburn in 1314; Bruch uses it as the theme for his rousing finale. The harp returns to accompany the soloist, who adds heft to this rugged, infectiously rhythmic tune with double and triple stops. A last reminiscence of“ Auld Rob Morris” adds a touch of sweetness to the fiery conclusion.
Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings.
22 OVERTURE / BSOmusic. org