Essential Orchestral Works

HUGO ALFVEN

(1872-1960)

SWEDISH RHAPSODY No. 1

(MIDSOMMARVAKA)

Hugo Alfven, who was born in Stockholm in 1872 and died in Falun, Sweden, in 1960, is a composer in the late Romantic tradition whose music is often based on folk melodies. He is one of those composers who is very well known in his own country, in this case Sweden, but very little outside its borders. He was very much a practical musician being a violinist and a conductor who performed in many parts of Europe. He was Director of Music at the University of Uppsala from 1910-1932. As well as his musical talents he was quite an accomplished painter, indeed he did at one point think about taking up a career in painting. He was also a gifted writer and his autobiography gives us a unique insight into the musical life of late nineteenth century Sweden.

As was composer he was quite prolific having composed five symphonies, symphonic poems, piano works, violin works, songs and a considerable number for male voice choir. Nowadays, however, he is only remembered by this piece  - ’Midsommarvaka’ (Midsummer Vigil)—which was composed in 1904 and published around 1906 is the first of three Swedish Rhapsodies.

The published score describes it thus:

A fantasy on popular Swedish folk melodies depicting the moods evoked by an old-time Swedish Midsummer-wake—the dancing and games around the May-pole through the magic night of Midsummer Eve. [One theme] is the composer's own invention, while other themes are borrowed from the folk-music of Sweden and elaborated by the composer.

MALCOLM ARNOLD

(1921-2006)

PETERLOO OVERTURE

Malcolm Arnold was very much a composer of the twentieth century. Whilst not accepting many of the ideas of the more avant-garde movements in music he developed his own style which fit easily and convincingly into the music of many genres. He saw success with symphonies, concertos, suites and film music - his most famous score being to ‘Bridge Over the River Kwai. As a trumpet player himself - he won a scholarship to the Royal College of Music and later played with the London Philharmonic Orchestra, he writes particularly well for brass in virtually all his music and the Peterloo Overture is no exception.

Commissioned by the Trades Union Congress in 1968 to celebrate the centenary of the first meeting of that organization in Manchester in June 1868, the overture attempts to portray the happenings at an incident on the 16th August 1819 in St. Peters Fields, Manchester, when an orderly crowd of some 8,000 people met to hear a speech on political reform. On the orders of the magistrate they were interrupted by the Yeomanry, attempting to seize the banners they carried and to arrest their speaker, Henry Hunt. Cavalry were sent in and eleven people were killed and four hundred injured in the ensuing panic. This unpleasant incident has since gained the derisive title of the Peterloo Massacre.

Arnold himself writes of the work: ‘... after a lament for the killed and injured, it ends in triumph, in the firm belief that all those who have suffered and died in the cause of unity amongst mankind will have not done so in vain."

FRANCOIS AUBER

(1782-1871)

OVERTURE FRA DIAVOLO

De Ia grace, de l’esprit, des motifs charmants, une harmonie elegante (grace, spirit, charming motifs, and an elegant harmony), such a French dictionary’s definition of opera comique, that most French of all musical forms. It came into its own during the latter part of the eighteenth century and reached its peak in the first half of the nineteenth. The composers who were chiefly responsible for this rise were Boildieu (1775-1834), Herold (1791-1833) and Auber. The latter led opera comique into a new phase marked by sophistication in the librettos instead of the naive romantic fantasy and by increasing the presence of Italian characteristics in the melodies (his music certainly owes much to the style of Rossini). The works possess a certain smartness, an air of the Parisian boulevards and an alert and often lightly mocking.

These traits are quite obvious in the sparkling overture to his opera ‘Fra Diavolo’ which was composed in 1830. The opera itself is a highly coloured romantic work about a highwayman and the music fulfils his slogan of ‘my audience is the common man.’

The overture, really a medley of tunes from the ensuing opera, opens with a side drum call which sets the rather trite martial tune with which the overture very gradually springs to life. A trumpet fanfare over excited strings presents itself but it is the strings who take up the limelight as the overture suddenly gains a bright sparkle. Woodwinds interrupt with a pert little tune which is eventually taken over by the whole orchestra before the trumpet fanfare returns. Another orchestral outburst and the cheeky little tune make an appearance before the sparkle of the whole orchestra carries the overture to its exciting finish.

J.S. BACH

(1685—1750)

BRANDENBURG CONCERTO No.2

J.S. Bach stands directly on a line traceable back to Vivaldi and the Brandenburg concerti represent Bach’s peak achievement in orchestral concerto form Cothen, Bach’s resting place from 1717 - 23 was conducive to the writing of orchestral music in that he was required to write little or no Church music and he had a small orchestra to play the music which he wrote. From this period originate two large orchestral suites, two solo violin concertos, one double violin concerto and the six Brandenburgs.

Although not actually commissioned by the Margrave of Brandenburg, the six concerti bearing the title wore dedicated to him. The second concerto, perhaps the most joyful and liveliest of the set, is scored for the unusual combination of trumpet, recorder, violin and oboe set against ripieno strings. The first movement, Allegro, is in the traditional ritornello form with much virtuosic writing for the soloists. A more subdued atmosphere is prevalent in the central Andante movement which is scored for the soloists, minus the trumpet, but plus continuo, The trumpet returns for the final movement, Allegro assai, which has a strong fugal character.

BRANDENBURG CONCERTO No.4 in G major

J. S. Bach, in his instrumental music, stands directly on a line traceable back to Vivaldi, and his Brandenburg Concerti represent the peak of his achievement in orchestral concerto form. Cothen, Bach’s home from 1717 to 1723, was conducive to the writing of orchestral music in that he was required to write little or no church music and he had a small orchestra to play the music which he wrote. From this period originate two large orchestral suites, two violin concertos, one double violin concerto and the six Brandenburgs.

Although not actually commissioned by him, the six concerti bearing this title were dedicated to the Margrave of Brandenburg.

The fourth concerto, which was written in the winter of 1719, has two contrasting groups. One is the concertino, or solo group which comprises a violin and two treble recorders and the other, the ripieno, is the string section plus the harpsichord.

The concerto has three movements, a gay and lively Allegro with much recorder dialogue is the first movement, whilst a mood of spacious tenderness pervades the Andante. The finale is a spirited fugal presto.

CONCERTO IN D MINOR FOR TWO VIOLINS

The solo concerto, as a form, really reached maturity in the hands of Antonio Vivaldi who profited from the first tentative attempts of Torellii, Albinoni and Jacchini. As Bach was an ardent admirer of Vivald, it is perhaps to be expected that Bach would further develop very much an integral part of Vivaldi’s musical character.

Bach’s opportunity to pursue this line of musical thought came when he was Music Director at the court of a prince at Cothen between the years 1?I7—23~ Three concertos for the violin survive all dating from around 1720 and they all show that Bach went far beyond Vivaldi in his subtle handling of technical questions, solving formal problems in ever new ways and arriving at the diversity which raised his works high above those of his contemporaries.

The Concerto in D minor for two violins, a unique gem in the literature of the violin, demonstrates well these characteristics. The two violins play not so much against each other, but spin an intricate web with their constant contrapuntal intertwining, a fact particularly evident in the beautiful slow movement.

The three movements are: Vivace; Largo ma non tanto; Allegro.

ST JOHN PASSION

As with so many genres of the Baroque era (broadly 1600-1750) it is Johann Sebastian Bach who brings the ‘passion’ to a magnificent artistic climax.

Liturgically it had been developing since the first centuries of Christianity and had changed with the prevailing religious thoughts of the time. The history of the Lutheran, evangelical passion though, and in the form so wonderfully perfected by Bach, finds the roots of its own journey in the late 17th century and specifically in the three passions composed by Heinrich Schutz between 1653 and 1666. These works might more accurately be described as ‘oratorio passions;’ unlike previous, more liturgical works, we find the introduction of arias and choruses, greater use of instruments and a more lyrical style of recitative rather than the earlier chanting style.

By 1700 the form had broadly been established, but what Bach magnificently brought were the addition of large-scale solos and duets constructed on the model of the large-scale da-capo arias of contemporary opera, greatly expanded opening and closing choruses, more Italianate recitative story-telling and the inclusion of the many chorales which the congregations of the time would know and therefore be able to join in with.

The St John Passion is one of two completed passions composed by Bach – the other being St Matthew. There is also a partially composed one based on St Mark’s gospel which has seen several ‘reconstructions.’

Initially composed for Holy Week 1724 when Bach was in Leipzig, the St John would have been composed for a church service with the sermon splitting its two constituent parts. He revised it several times over the ensuing years although on later occasions Bach reverted to the original 1724 version.

On Bach’s death the genre almost completely disappeared with only a few revivals during the 20th century. Bach’s two great works also very nearly disappeared too. If Mendelssohn had not revived the St Matthew in 1829, after decades of neglect, we may never have heard these quite marvellous works.

The two completed Bach passions are in stark contrast to each other, reflecting the nature of the narrative in the gospels. Whist the St Matthew is contemplative and reflective the St John is dramatic and somewhat shorter in length.

The St John, though, is more akin to a dramatic opera, telling the story of the Passion of Christ using all the skills of a master opera composer – although Bach never actually wrote an opera!

Nowhere is this more in evidence than in the use of the chorus which plays a number of roles. At times it is the raucous crowd taking part in the action (the ‘Crucify’ and Barabbas’ brief dramatic choruses being cases in point); at times it is a reflective ‘Greek Chorus’ commenting on the action (the opening and, in particular, the moving and nobly reflective closing chorus portray this wonderfully well); it is also part of the congregation, leading the chorales.

The arias, interestingly, combine some of this dual role in that they seem to take part in the action (for example in the bass aria ‘Haste, all ye whose souls are weary’) whilst at the same time reflecting on what has happened – as in the alto aria ‘It is fulfilled.’

It is in the recitatives, however, that Bach shows his true genius. This solo line is in evidence throughout the entire work, telling the story as it unfolds. It could be incredibly ‘dry’ but Bach brings it to life with different characters and inventive word painting. The evangelist (historically always a tenor) holds the narrative together with significant appearances from Jesus (bass soloist) and Pilate (also a bass). The ‘cast’ also features Peter, a maid, an officer and a servant. These are all supported by the ‘continuo,’ which primarily comprises harpsichord (organ when Jesus is singing) and cello, although the bassoon and double bass also have roles to play.

Moments of word painting are evident throughout the work but do notice, in particular, the moment when the curtain was rent in twain, e’en from the top to the bottom and the cock crowing when Peter has denied him thrice followed by and wept bitterly.

The St John Passion is work of drama, which vividly illuminates the dramatic story of the death of Christ with all its conflicting emotions. Quite wonderful!

LUDWIG VAN BEETHOVEN

(1770-1827)

PIANO CONCERTO No.3 IN C MINOR Op.37

In many ways Beethoven’s Third Piano Concerto is a watershed in his career. It is one of the works in which the changeover of style from his first to second periods can be most clearly seen. Indeed, Beethoven himself realised this, for, on completion of the work in 1880, he wrote to his publishers to the effect that the first two concertos were no longer to be regarded as the best efforts in the form. He felt not that his earlier works were poor, but that he had now transcended them. He therefore delayed releasing this C minor concerto so that the first two concertos received a fair hearing. It was not until April 1803 that the work was given its first performance. The composer was the soloist in a marathon subscriptions concert planned by Beethoven which, amongst other works, included first performances of the Second Symphony and his oratorio ‘The Mount of Olives’.

Certainly there is a considerable step forward from the first two concertos and Beethoven’s delay in publication seems well justified. It is, as Abraham Veines puts it, a major effort in reconstituting the vocabulary and syntax of music on a more sonorous and overtly dramatic basis.

Allegro con brio

The terse yet regal opening of the concerto perfectly sums up this reconstituting. The opening arpeggio-like theme contains many fragments which will be used throughout the movement. A premature development of these motifs precedes the lyrical second theme which appears on the clarinet and violins.

A return to the opening theme heralds the dramatic entry of the soloist with upward thrusting scale passages. The main theme reappears, decorated by the piano in dialogue with the woodwind. A forceful orchestral passage leads us into the development which concerns itself primarily with the terse opening theme.

A rapid descending scale passage on the piano brings us back to the recapitulation in the full orchestra. The piano is entrusted with the song-like second theme before the music pushes onwards into the cadenza, after which a strong final passage leaves the soloist in complete command.

Largo

The luxuriant solemnity of this movement is couched in the remote key of E major. A generous helping of melodies are dressed in rich harmonies, sonorous orchestration and elaborate embellishments from the soloist.

The movement is in three sections. A solemn melody on the piano ushers in the movement. This is taken over by the orchestra before a rather Italianate melody in thirds is introduced by the piano. The central section is then reached, comprising a flute and bassoon dialogue amidst elaborate piano arpeggios. The first section is then recapitulated with new ornamentation. A brief cadenza and then a short coda close the movement.

Rondo

Traditional Rondo form (A B A C A B A) is the skeleton of this finale which returns with a shock to C minor. The rondo theme itself is a robust affair and is announced right at the outset by the piano before being taken over by the orchestra. Vigour abounds in the first episode before the rondo reappears. The second episode, initially on the clarinet, is more easy going.

A little fugue based on the rondo theme breaks in after the second episode, but is soon dispelled by reiterated piano octaves. In the coda the main theme is transformed as it rushes to the finish in a transport of high spirits.

PIANO CONCERTO No.5 in E flat Op. 73

‘EMPEROR’

The piano concerto as a major musical form came to fruition through the efforts of Mozart who took it from a relatively insignificant combination of piano and orchestra through to a situation at the beginning of the nineteenth century where its only rival was the symphony. From this basis Beethoven composed a series of five piano concertos which further developed its potential to exploit both piano and orchestra to a much greater degree. Nowhere is this better seen than in the ‘Emperor’ concerto. Gone is the situation whereby the orchestra has a purely supporting role, it is much more involved in the whole development of the music and in general has a much more prominent role. This is not to say that the life for the soloist became very much easier - far from it. The development of technique and possibilities on the piano meant that the composer now had many more strings to his bow and was able to use the piano in ways undreamt of twenty years earlier.

The work was completed in 1809 and was first performed in Leipzig at a Gewandhaus concert in November 1811. The reason for the long delay in performance was that

Beethoven, being now deaf, was no longer able to perform his own works himself and therefore took very great pains over the publication of any new work. As regards the ‘Emperor’ concerto, he sent the score to his publishers early in 1810 but was still involved with the proofs in mid-1811. When, at last, the first performance of the work took place it was with Friedrich Schneider as soloist.

1.Allegro

The ‘Emperor’ is the culmination of all Beethoven’s work on the piano concerto - it possesses the ‘power’ which is in evidence in the Third Concerto, and the lyricism and expressiveness of the Fourth Concerto. On top of this is added a further spiritual element which gives the concerto the depth which is epitomized in the majestic opening. Piano cadenzas are interspersed by three broad orchestral chords before the movement proper gets under way with an energetic turn figure in the strings. Clarinets take this over but are soon joined by the full orchestra. A staccato theme bridges the gap between this and a dotted rhythm theme in clarinet and bassoon. This latter theme finds its basis from the end of the earlier turn figure.

Horns develop this into a much more extended theme before the orchestra pushes the music into the entrance of the soloist; who does so with a delicately rising chromatic scale. The soloist then makes prominent use of the turn until the orchestra bursts in once more - but only briefly as the piano reasserts itself in dialogues with the woodwind. The staccato theme appears once more, first by the piano, and then - after a wonderfully delicate moment - by the orchestra.

With forceful left hand descending scale passages the piano dominates the next section. But the orchestra is not kept waiting too long for it soon embarks on a long passage, the close of which marks the end of the exposition.

The development starts with the piano accompanying wind statements of the turn figure. But the dotted figure connected with the turn gradually becomes more insistent — as does the piano in its Furious octave dialogue with the strings. The music now becomes more subdued until the turn figure grows from a germ in the violas into the recapitulation whose commencement is marke4 by a return to the majesty of the opening of the concerto.

In many ways the recap does not really go according to plan — the themes recur alright but the music strays through more and more remote keys until Beethoven reaches the point for the expected piano cadenza. Here he breaks new ground, however, as the cadenza is abandoned in favour of a passage which, whilst starting like the traditional cadenza, gradually involves the whole orchestra and pushes unswervingly to the movement’s close.

2 Adagio un poco mosso

After the depth and majesty of the opening movement Beethoven now conjures up a movement of wonderfully hushed lyricism. Muted violins plus strings set the scene beautifully with a serene, devout melody in the remote key of B major. The piano enters magically with another ethereally rapturous melody in D major. This melody closes on a trill which then rises and rises before leading into the piano’s ornamental version of the B major devout melody. Flute, bassoon and clarinet intone the whole theme once again before the music gradually falls to rest on a bare octave.

3 Rondo (Allegro)

Without a break in the music the bare octave falls a semitone and with this fall seems to come great promise. Beethoven tantalizingly plays on this with whispers of the E-flat rondo theme. He teases us almost unbearably before unleashing a movement of unbridled energy and joie de vivre which Beethoven rarely, if ever, surpasses.

Little analysis is needed to enjoy this masterful movement. Suffice it to say that the merrily plunging rondo theme is unmistakable as it separates the several episodes of which the middle one is the broadest.

Just before the end a timpani roll precedes the final flourish and in so doing, as

Tovey so admirably put it reveals the sublime depths from which all these outbursts of hilarity spring.

SYMPHONY No. 6 in F MAJOR ‘PASTORAL’ Op. 68

More the expression of feeling then tone-painting — a subtitle which Beethoven himself affixed to this symphony - can be seen as a direction to the listener not to be drawn into a superficial attitude of looking, as it were, for every blade of grass in their music. This is not a work that tells neither a story, nor one which describes in minute detail a series of pastoral scenes. The use of birdsong in the second movement and of