Overture Magazine - 2018-19 Season BSO_Overture_JanFeb_19 | Page 21

on May 4, 1795, Salomon had left the concert business, and Haydn moved over to another series, led by the noted violinist Viotti. These concerts boasted an orchestra of 60 musicians, a remarkably lavish ensemble for the day. Haydn’s last symphony capitalized on the instrumental resources at his disposal. And it capitalized also on his long creative experience: his gift for building compelling movements from the most economical material, his formal and harmonic daring and his lively penchant for constantly upsetting the audience’s expectations. Its first movement begins with a slow introduction in D minor. This provides the symphony’s core motives while creating tremendous dramatic tension. This is then delightfully released when the Allegro section begins with its cheerful theme in brighter D major. Its pattern of four repeated notes and the introduction’s sighing motive build a powerful development section. Movement two begins with a melody full of innocent charm. The melody’s creeping tread is full of startling little accents that suggest trouble ahead. And when the music moves to G minor, all hell breaks loose — dynamically and harmonically. From now to the end, the two moods battle, producing some daring harmonies. The close recovers the innocent mood, but with deeper feeling, enhanced by a solo flute. The crisply rhythmic minuet is forceful to the point of aggression. The contrasting trio section has gently flowing music for woodwinds and violins in the style of the Austrian country dance the ländler. The rollicking sonata-form finale features a Croatian folk tune over a drone bass as its principal theme. The middle development section expands the descending second theme and carries it into futuristic harmonic territory. Out of his merry Croatian song, Haydn contrives an ending as majestic as the symphony’s beginning. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Notes by Janet E. Bedell, © 2019 SUPERPOPS RODGERS AND HAMMERSTEIN THU, JAN 24 8 PM STRATHMORE FRI, JAN 25 8 PM MEYERHOFF SAT, JAN 26 8 PM MEYERHOFF SUN, JAN 27 3 PM MEYERHOFF RESPIGHI PINES OF ROME THU, JAN 31 8 PM STRATHMORE FRI, FEB 1 8 PM MEYERHOFF SAT, FEB 2 8 PM MEYERHOFF MOZART SYMPHONY NO. 40 FRI, FEB 8 8 PM MEYERHOFF SAT, FEB 9 8 PM STRATHMORE SUN, FEB 10 3 PM MEYERHOFF RAVEL BOLERO SAT, FEB 16 8 PM STRATHMORE SUN, FEB 17 3 PM MEYERHOFF ELGAR CELLO CONCERTO THU, FEB 21 8 PM MEYERHOFF SUN, FEB 24 3 PM STRATHMORE OFF THE CUFF ELGAR CELLO CONCERTO FRI, FEB 22 8:15 PM STRATHMORE SAT, FEB 23 7 PM MEYERHOFF SUPERPOPS CHRISTINA BIANCO: WOMAN OF A THOUSAND VOICES THU, FEB 28 8 PM STRATHMORE FRI, MAR 1 8 PM MEYERHOFF SAT, MAR 2 8 PM MEYERHOFF SUN, MAR 3 3 PM MEYERHOFF SCHEHERAZADE FRI, MAR 8 8 PM MEYERHOFF SAT, MAR 9 8 PM STRATHMORE SUN, MAR 10 3 PM MEYERHOFF EXPLORE THE FULL SEASON AT BSOMUSIC.ORG TICKETS FROM $30 • BSOMUSIC.ORG • 410.783.8000 JA N – F E B 201 9 / OV E R T U R E 19