Programme
Introduction and Allegro for Strings - Edward Elgar
(1857-1934)
Elgar composed and arranged a number of works for string orchestra including
the much-loved Serenade for Strings of 1892 (composed shortly after he
married one of his piano pupils, Caroline Roberts,) and the later Introduction
and Allegro of 1905. The Serenade was the first of his works to be published,
but he became a household name only following the publication and performance
of his famous Enigma Variations in 1899.
The beautiful Introduction and Allegro was to become significantly influential
on other composers, inspiring further important works for strings by composers
such as Vaughan Williams and Michael Tippett (who produced a masterpiece
of his own with his Concerto for Double String Orchestra).
The source-medium that inspired Elgar's work was the baroque concerto
grosso, a popular form of composition of the late seventeenth century,
in which a small group of soloists (known as the concertino) emerges from
the orchestral ranks (the ripieno) and alternately blends and contrasts
with the larger group. In this piece, Elgar employ's a string quartet
as the solo ensemble, and together with the orchestra; they weave and
develop the thematic material (sometimes thought to be based on a Welsh
folk tune) in a manner that is unique in music but entirely satisfying.
Although Elgar lived in London during much of his early life, he was
born in a rural village outside Worcester, and this music, as in so many
of his compositions, draws inspiration from the atmosphere of the Malvern
Hills and the countryside that he loved so much.
To the listener, the Introduction and Allegro runs without a significant
break, the whole score being constantly marked with changes of tempo and
expression. The Introduction presents us with some grand and richly scored
themes which (perhaps due to the feel of opening key of G minor) contain
just a hint of resignation. Eventually, an energetic semiquaver passage
for all players takes us powerfully to conclusion of this half of the
work.
The Allegro is based on a fugue-figure introduced on the 2nd violins
of the orchestra and quickly taken up by all parts - including, eventually,
the solo quartet. An enormous emotional pull eventually occurs as the
main themes from the introduction are beautifully and dramatically recapped
in the final pages. Elgar ends the piece with a glorious flourish and
a final joyous chord of G major.
This is English music by a great Edwardian romantic on his very best
form.
Concerto for Clarinet and String Orchestra - Gerald Finzi
(1901-1956)
Allegro vigoroso
Adagio ma senza rigore
Rondo; Allegro giocoso
While generations of clarinet students have struggled with, and been
thrilled by, the intricacies of Finzi's masterpiece miniatures - the Five
Bagatelles for clarinet and piano of 1943, the Clarinet Concerto was given
its first performance on 9th September 1949 at the Three Choirs Festival
at Hereford. The clarinettist was the renowned Frederick Thurston, and
the orchestra was the London Symphony conducted by the composer.
In common with a number of English composers of his generation, Gerald
Finzi's music has, until recently, been far too neglected. Having been
born in London, he moved, in his twenties, to the West Country - drawn
perhaps to the countryside that inspired Elgar and Vaughan Williams. He
settled in Gloucestershire, and at this time composed mainly songs. He
became well acquainted with the composer, Herbert Howells, and in 1925
he moved back to London where he was able to receive more formal training
in composition. In London he was able to meet and became befriended by
prominent musicians including Howard Ferguson, Gustav Holst and Vaughan
Williams who conducted some of his later orchestral works.
Finzi was not a prolific composer. His music is tonal and attractive,
and being firmly based in the 'English tradition', is sometimes described
as 'pastoral'. But nothing must disguise his uniquely distinctive voice
- a fine example of which can be heard in this Concerto for clarinet.
Each of the three movements has its own characteristic utterance.
The first is a beautifully crafted movement in an English rhapsodic style.
The second is a slow lyrical movement opening with muted strings which
anticipates the clarinet's entry and affords the soloist every opportunity
to display all his expressive power and tonal control. The final movement
is a dance-style movement in 'Rondo' form - full of wit and energy.
Though the 'pastoral' mood is never far away, the Concerto ends with
an exciting flourish of clarinet semiquavers reaching to the highest 'A',
and concludes triumphantly on a high trill.
INTERVAL
Adagio for Strings, op.11 - Samuel Barber (1910-1981)
Samuel Barber was one of the first students to enrol at the Curtis Institute
of Music in Philadelphia. This was on the 1st October 1924. He remained
at the Institute for eight years during which time his reputation as a
composer was becoming well established. He returned to the Institute in
1939 to teach composition there.
At Curtis he met fellow student - Gian Carlo Menotti (the composer of
the television opera 'Amahl and the Night Visitors'), and they remained
constant companions throughout Barber's life.
Unfortunately, Barber's popular reputation has tended to rest largely
on one published work - the Adagio for Strings of 1936. The music first
appeared as the slow movement of a string quartet that Barber composed
earlier that year for a European concert tour by the Curtis Quartet. He
arranged it for string orchestra, and two years afterwards it was conducted
by Arturo Toscanini with his newly founded NBC Symphony Orchestra to massive
popular acclaim.
Although apparently built upon a simple sequence of repeated note patterns,
the Adagio undoubtedly remains a miniature masterpiece. It has been said
that the composer acquired inspiration for this music from a literary
or poetic source, charting the course of a river as it flows from a gentle
spring and becoming a mighty torrent. However we may choose to interpret
this music for ourselves, we cannot but be amazed by both its simplicity
and its staggering emotional impact.
If you enjoy this piece, I heartily recommend that you seek out other
pieces by Samuel Barber - many of which are now fortunately becoming better
known. For example, the Violin Concerto, first performed in 1941, has
an unusual but beautifully lyrical first movement. With his disciplined
use of traditional forms, Barber is often considered a classicist in style
and a romantic by temperament. It is therefore interesting to hear, in
a movement of his Piano Sonata of 1949, the only example in Barber's music
of 12-note serial technique.
Those preferring more accessible music, and on larger scale, may enjoy
the First Symphony composed in Rome in 1936, or the more recent Prokofiev-sounding
Piano Concerto which won Barber the Pulitzer Prize in 1962.
For many of us, Samuel Barber's lesser-known compositions remain a source
of musical enjoyment still to be explored - whether on disc or in the
concert hall. But the discovery is worth it. Delights abound!
Serenade for Strings in E major, op.22 - Anton
Dvorak (1841-1904)
Moderato
Tempo di Valse
Scherzo: Vivace
Larghetto
Finale: Allegro vivace - Moderato - Presto
Both Dvorak and Elgar were players of the violin, and it is therefore
interesting to see how, in this programme, their two works for string
ensemble both display an expert understanding of string writing, both
pieces being landmarks in each man's maturity as a composer.
Dvorak wrote his five-movement Serenade in 1875 - a very happy period
in his life. It is one of the composer's sunniest works - perhaps reflecting
the joy in his recent marriage to his beloved Anna (to whom he gave the
piece as a wedding gift). But it may also reflect his growing acceptance
within the musical world. For example, Brahms had just recommended him
for a grant awarded by the government for artistic work.
The beautiful writing for all the instruments and abundance of melodies
in each movement makes this one of the finest and best-loved works for
string orchestra to this day.
Anton Dvorak grew up in a typically Bohemian village some fifteen miles
north of Prague. Many of the family on his father's side were proficient
amateur performers, and he grew up steeped in the song and dance tunes
of Bohemian folk music.
From the very beginning, folk influence is evident in the Serenade. The
first movement sets the scene with gentle melodies characteristic Slav
wistfulness. The second movement is a lilting waltz, while the third is
busy Scherzo - full of tight semi-quaver rhythms and with a beautiful
contrasting central lyrical section. The slow fourth movement is warm
and nostalgic in character; and the Finale (back in the sunny opening
key of G major) is an exciting movement in fast, lively dance character.
In the quiet Moderato section, just before the end, note how Dvorak briefly,
but clearly, recaps the lovely theme from the opening bars of the Serenade.
This minute or so of tranquil flashback comes just before the final Presto
flourish! What a beautiful moment at the end of a delightful and unforgettable
work!
© Articles and programme notes by Peter Case for South Holland Concerts
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