The first installation in our multi-year
initiative "IN
MAHLER's SHADOW", which has already garnered
considerable media and critical attention, and
which
is a standout example of the kind of venture
that
recently won the NSO the "Programming of
the Year"
award from the Illinois Council of Orchestras.
This blog entry will be a bit different from
previous
ones; you will see that we are providing a LINK below,
which will take you to the Tuesday, April 30th
article
in the Northbrook TOWER, in which I
answered a number
of questions about the May 5th concert.
I would like to add a few details about the
magnificent
Symphony No. 1 of Franz Schmidt, which we just rehearsed
in full on Monday (April 29th). What a
thrill to hear
these joyous sounds come to life on our stage...and
for the
first time anywhere in the Chicago area.
Anyone listening to the work will undoubtedly
hear the
influence of other familiar composers---Schmidt
was a
mere 25 years old when he finished the
Symphony---
but let's
face it--- even Mozart and Beethoven began their
composing activities by imitating the work of
their
contemporaries.
But Schmidt's Symphony, his first major work, is
MUCH
more than a mere pastiche; it is an
exceptionally strong,
beautifully constructed piece that almost seems
to delight
in its own beauty, energy, and spirit.
A few things to listen for:
1st Movement --
a.)
stately, Baroque-like introduction, complete with antiphonal
brass fanfares
b.) a
rousing, vigorous main Allegro,
closely resembling
Strauss' Don
Juan in its melodic outline and martial rhythm
c.)
Schmidt's trademark "fantasy" music--- light, mysterious
and shimmery, leading to
d.) an
absolutely gorgeous lyrical tune, which Schmidt will
bring back often in the course of this movement
e.)
a thrilling conclusion, which brings back the best of
the romantic material from the beginning of the
work.
2nd Movement
The slow Movement which combines two
main elements:
a.)
a long clarinet melody in Schmidt's best Hungarian/gypsy-like
mode, dark, alluring and intense (Schmidt's
parents were both
Hungarian) and
b.) a
lovely "woodland" choral of four horn and bassoons, answered
by forest murmurs and bird-song; it's like
Humperdinck's famous
opera channeled into a grand symphonic fantasy.
These two elements alternate to produce music
that is stunningly
beautiful.
3rd Movement
The Scherzo
a.) in
the style of an Austrian laendler,
a quick, waltz-like
folk dance, that is alternately charming,
vigorous, and somewhat
sardonic in character.
b.)
the music grows calm, and Schmidt's unique, "mystical" harmonies
takes us into the central section of the
Scherzo...
c.)
the TRIO---- which is to me the highlight of the entire symphony..
an exquisite, tender lullaby in the Hungarian
style, which must be heard
to be appreciated. And it flows directly
into....
d.)
Schmidt's loving tribute to Vienna, Mozart, and Schubert, a radiant
pastoral section that is as lovely as any music
that I know.
e.)
The Scherzo returns, and concludes in a fleeting, magical coda
in Schmidt's best "fantasy" mode.
4th Movement
Here's a Finale that really "Stands up
to" the previous three movements!
a.) A
rare example of Germanic-Neo Baroque music--robust and joyous,
followed by
b.)
several beautifully-crafted contrapuntal episodes, which introduce us
to:
c.)
Schmidt's grand, life-affirming chorale tune, with the woodwinds and
horns imitating the sound of a grand cathedral
organ (and pointing the
way to Schmidt's substantial output for that
instrument)
d.)
The neo-Baroque delights continue in a Gigue,
a sprightly dance whose
melody is a transformation of the opening tune
of this finale..
e.)
all of which is whipped up into a flurry of excitement as the BIG
MOMENT approaches.....the one we've all been
waiting for:
f.)
the return of the Grand Chorale Melody, now resplendent in the
full orchestra.
g.)
The music briefly dissipates into more of Schmidt's striking
"fantasy" sound, before its final
burst of energy, propelling
us to the triumphant conclusion.
And all of this in 45-minute Symphony by a
25-year old composer...
who existed literally and figuratively "In
Mahler's Shadow" and, as far
as I am concerned, is worthy
of standing proudly in the full light of day
alongside his more famous counterpart.
Please check out the TOWER article/link.
I hope to see you on Sunday, May 5th, at 4 pm.
AND YES...THE CONCERT OPENS WITH MUSIC OF
BEETHOVEN,
BRAHMS, and SCHUBERT----all living and working
in Vienna,
and all writing in a distinctly HUNGARIAN
mode...as you will
hear!
Thanks,
Larry
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