Classical Concert III February 2, 2008, 7:30 PM & February 3, 3:00 PM | Peakes Auditorium, Bangor High School Program Notes by Laura Artesani, D.M.A. Serenade mauresque, op. 10, no. 2 by Edward Elgar Edward Elgar spent his childhood in Worcester, England, where his father was an organist and piano tuner. His musical training consisted of violin lessons in Worcester and London, and observing his father at work. At age sixteen, Elgar commenced his lifelong occupation as a freelance musician. This included a position as violinist in W.C. Stockley’s orchestra, which was located nearby in Birmingham. The Serenade mauresque was composed in 1879, when Elgar was twenty-two. It was first performed on December 13, 1883 by W.C. Stockey’s orchestra, with Elgar playing in the first violin section. Mr. Stockey described this event as follows: “On my asking him if he would like to conduct, he declined, and further, insisted upon playing in his place in the orchestra. The consequence was that he had to appear, fiddle in hand, to acknowledge the genuine and hearty applause of the audience.” A critic described the work as “melodious, graceful and pleasing”. Five years later, Stockey’s orchestra played Elgar’s four movement Suite in D, op. 10, which included the Serenade mauresque as the second movement. On this occasion, Elgar served as conductor. Afterward, he wrote, “The critics, save two, are nettled. I am the only local man who has been asked to conduct his own work—and what’s a greater offence, I did it- and well too; for this I must needs suffer.” In 1899, the Suite was revised for publication; the fourth movement, a march, was dropped and the work became known as Three Characteristic Pieces. The mauresque of the title refers to the “Moorish” elements of this work, beginning with the exotic first theme. This is followed by a melancholy, descending second theme. The two themes are skillfully interwoven in the development section, followed by a recapitulation with increasing contrapuntal interest, leading to a quiet moment of retrospection and mysterious horn calls. It has been said that this early work by Elgar is reminiscent of Dvorák. It is interesting to note that at the time of its creation, Elgar had not yet encountered the music of this composer. However, Dvorák conducted his Stabat Mater in Elgar’s hometown five years after Serenade mauresque was composed. Clarinet Concerto in A major, K. 622 by Wolfgang Amadeus Mozart The first sketches for the Clarinet Concerto date from 1789, and the work was completed in October of 1791. The concerto was composed for Anton Stadler, a clarinetist whom Mozart had met shortly after moving to Vienna. Anton and his younger brother, Johann, were clarinetists in the orchestra of Prince Galitzin, the Russian ambassador in Vienna. Like Mozart, Anton Stadler was a freemason; the two also shared a fondness for gambling, and sometimes indulged in this pastime together. More importantly, Stadler increased Mozart’s awareness of the technical and expressive capabilities of the clarinet, which was still a relatively new addition to the orchestra in the late eighteenth century. It has been suggested that Stadler was responsible for making Mozart aware of the clarinet’s ability to make wide leaps from one register to another, and to sound like two instruments in dialogue through alternation of high and low registers. Stadler had devised an extension for his clarinet, expanding its range, and was known for his beautiful tone quality in the low register. During the years of their friendship, Mozart composed several works for him. The Clarinet Concerto was the culmination of their collaboration, and the last major work completed by Mozart before his death in December of 1791. The opening movement of the concerto is in sonata form, with the orchestra introducing the various themes before they are taken over by the solo clarinet. Although the tempo is lively, and there are spirited exchanges between the soloist and orchestra, there is also a delicateness that permeates the movement. An unusual feature occurs when the soloist accompanies the orchestra with Alberti bass patterns during the development section and once again near the conclusion of the movement. The second movement is an Adagio, a tempo marking rarely used by Mozart; it is, as Michael Steinberg reminds us, “. . .always a sign of special seriousness.” The second theme, a seemingly simple descending motive of five notes, is harmonized in a variety of innovative ways. Although the atmosphere of this movement is one of serenity, it is also a tribute to Stadler’s skills as a clarinetist. This movement was featured in the 1985 film, Out of Africa, and the 1991 film, Green Card. The concerto concludes with a playful Rondo in 6/8 time. In the opening episode, definitive statements are made by the orchestra; the clarinetist replies with virtuosic declarations, including spectacular leaps. In the third episode, the opening theme is modulated four times, giving the clarinetist ample opportunity to present dazzling chromatic figurations. After a final refrain, the coda brings the concerto to a rousing conclusion. Was Mozart aware of his imminent death as he composed this concerto? Musicologists differ in their opinions on this matter, and we will never have a definitive answer. However, it cannot be denied that this work is a profound example of Mozart at the zenith of his creative powers. Far from being a work of empty virtuosity, it is an intimate, exquisitely orchestrated masterpiece that firmly established the clarinet as a full-fledged member of the woodwind family. Symphony no. 7, op. 70 in D minor by Antonín Dvorák When Dvorák’s Stabat Mater was introduced in London in 1883, he became an instant celebrity in the musical circles of England, and was enthusiastically elected as an honorary member of the Royal Philharmonic Society. He returned in 1884, conducting his Sixth Symphony, which was received with great excitement. Dvorák was consequently asked by the Royal Philharmonic Society to compose a Seventh Symphony, a commission that he was pleased to accept. This commission came at a time when Dvorák was at a personal and professional crossroads. As he gained international fame, he felt pressured to abandon his Bohemian roots and compose in a more “Austro-German” style. He was advised to leave his home in Bohemia and move to Vienna, and was offered a commission to compose a German opera. Ultimately, Dvorák decided to refuse the commission for the opera, to keep his residency in Bohemia, and to remain true to the music of his native land. The Seventh Symphony can be viewed as a musical testament to these decisions. He wrote to his friend, Judge Antonín Rus on Dec. 22, 1884: “Just now, a new symphony (for London) occupies me, and wherever I go I think of nothing but my work, which must be capable of stirring the world, and God grant me that it will!” Dvorák conducted the premiere of the Seventh Symphony with the London Philharmonic Orchestra on April 22, 1885, revising it the following June. It is now generally considered to be his best symphony. The symphony opens with an atmosphere of dark, brooding determination. A low D pedal tone in the drums, basses and horns defines the foreboding mood. A second, contrasting theme brings gentle relief. The second movement, a dense Adagio, showcases Dvorák’s mastery of counterpoint, with its elaborate interweaving of various voices. As the movement progresses, its chromaticism and intensity increase. The third movement, referred to as a scherzo, is in actuality the Czech dance known as the furiant. Six beat measures are divided in two contrasting ways: 3 + 3 or 2 + 2 + 2. These conflicting patterns are the impetus for the rhythmic excitement that characterizes this movement. Although the Finale does not overtly quote musical material from previous movements, it sums up all of the intense moods that have been experienced, from tragic to carefree. The work ends triumphantly, on the tonic major chord. As Jonathan D. Kramer writes, “With this symphony the composer seems to be saying: ‘I am bringing into the world a musical statement of myself as a Czech composer; this work is also a statement of the Czech spirit; it compromises nothing to the tastes of German or English musicians or audiences; I was asked to forsake my homeland and its music, and this composition is my response.’”

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Sunday, May 11, 2008: Famous Fifths Schubert: Symphony in B flat major, no. 5 Beethoven: Symphony no. 5 in C minor, Op. 67 Mozart: Symphony No. 5 in B-flat Major, K. 22 Tchaikovsky: Symphony no. 5 in E minor, Op. 64 Mahler: Adagietto from Symphony No. 5 Shostakovich: Symphony no. 5 in D minor, op. 47

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