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ungainly contrabassoon. Eventually, their
jarringly different voices unite in a love
duet. A sweep of the harp and eerie high
notes in the violin mark the undoing of the
spell, and the Beast is transformed into a
handsome prince, nobly sung by solo cello.
The Mother Goose Suite ends with a
glorious apotheosis: a child’s vision of
paradise, “The Fairy Garden.”
Instrumentation: Two flutes including
piccolo, two oboes including English horn,
two clarinets, two bassoons including
contrabassoon, two horns, timpani,
percussion, harp, celeste and strings.
PIANO CONCERTO IN F-SHARP MINOR
Alexander Scriabin
Born in Moscow, Russia, January 6, 1872;
died in Moscow, Russia, April 27, 1915
From the outset of his career, Alexander
Scriabin was an original in every way.
Physically diminutive, effete in manner
and a dandy in his dress, he usually
wore gloves to ward off germs and avoid
the contamination of directly handling
money. For him, music was always
much more than notes and their artistic
manipulation: “The purpose of music is
revelation,” he said. Mysticism, whether
religious or occult in nature, was sweeping
Russia in the years before the Revolution,
but Scriabin was exceptional in the degree
to which his mystical beliefs dominated
his life and creative work. He saw musical
tones as colors — a phenomenon known
as synesthesia— and he dreamed of
uniting all the senses in his works.
Scriabin was a superb pianist, and
much of his most important music was
written for that instrument. In 1896,
when he was 24, he was urged to compose
a piano concerto to show off his abilities
on prospective tours around Russia.
Completed in 1897, this was his first
work for orchestra. He passed it on to the
renowned composer and teacher Nikolai
Rimsky-Korsakov for his review, but
the older man’s response was shattering.
Writing to his colleague Liadov, Rimsky
exclaimed: “Look at this filth I have!
There is so much I do not understand.…
™
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TTY/Voice - Maryland Relay Service 1.800.201.7165
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S E P– O C T 201 9 / OV E R T U R E
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