a notable success at its first performance in Copenhagen in April 1869.
This is a work that glories in its multitude of appealing themes— very personally Grieg’ s own— and its highly successful blending of tender lyricism with virtuoso display. Its first movement dispenses with any orchestral exposition: just a dramatic timpani roll galvanizes the soloist into action. His vertiginous three-octave plunge begins with a three-note melodic pattern— a descending half-step, following by a descending third— that is common in Norwegian folk music and became known as the“ Grieg motive.” Woodwinds then introduce the folk-like principal theme, animated by crisp rhythms. In a slightly slower tempo, cellos sing a romantically melancholic second theme. After a brief development, the opening music is reprised, coming to a sudden halt for a big solo cadenza composed by Grieg.
The slow movement travels far from the home key of A minor into the very distant D-flat major. Muted strings open with a weary theme, saturated in sorrow. The piano’ s wistful response is woven of exquisite fast figurations. In a new phase, the piano passionately declares the pain implied in this melody before the movement dies out in elegiac beauty.
A short bridge passage intervenes to return the key of D-flat to A minor before the piano launches the finale’ s stomping main theme in the style of the Norwegian halling folk dance. Providing an interlude of repose, the solo flute sings a hauntingly lovely melody in a slower tempo; the piano sensitively complements it with downward slip-sliding chords. Grieg builds excitement to a brief solo cadenza of double-handed octaves. Then the soloist transforms the 2 / 4 halling into a sparkling 3 / 4 waltz. But Grieg has an even better idea for his finish: he brings back the haunting second theme, now in a splendid apotheosis in A major. As annotator Michael Steinberg pointed out, Tchaikovsky and Rachmaninoff would later imitate this crowd-pleasing device, but Grieg did it first.
Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.
FAMILY CONCERT: A SWINGIN’ NUTCRACKER!
SAT, DEC 8 11 AM MEYERHOFF
Show-stopping hip-hop dancers join the BSO for this fun-filled holiday concert. Riffing off of Duke Ellington ' s reimagining of Tchaikovsky ' s masterpiece, jazz composer Paul Murtha has created a Swingin ' Nutcracker that the whole family will love!
HANDEL MESSIAH
SAT, DEC 8 8 PM MEYERHOFF SUN, DEC 9 3 PM MEYERHOFF
No holiday season is complete without a performance of this great masterwork, including the iconic " Hallelujah " Chorus, conducted by Edward Polochick with the Concert Artists of Baltimore Symphonic Choral.
CIRQUE NUTCRACKER
THU, DEC 13 8 PM STRATHMORE FRI, DEC 14 8 PM MEYERHOFF SAT, DEC 15 3 PM MEYERHOFF SUN, DEC 16 3 PM MEYERHOFF
The awe-inspiring talents of Troupe Vertigo come to the concert hall as acrobats, contortionists, jugglers, strongmen and high-flying aerialists join the BSO for this spectacular holiday-themed show.
GOSPEL CHRISTMAS WITH CECE WINANS
FRI, DEC 21 8 PM MEYERHOFF
Renowned gospel singer and twelve-time Grammy Award-winner CeCe Winans joins the BSO and the Morgan State University Choir in a rousing Gospel Christmas program of holiday favorites.
HOLIDAY POPS
SAT, DEC 22 3 PM MEYERHOFF SAT, DEC 22 8 PM MEYERHOFF
Broadway musical director Andy Einhorn leads the BSO and the Baltimore Choral Arts Society in an exciting new holiday pops program, highlighted by festive favorites from Broadway to American classics, the ever-popular tap-dancing Santas, an audience sing-along and a few musical surprises. Join us for this celebration of the holiday season!
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