7 minute read
Program Notes
SAMUEL BARBER
born: March 9, 1910 in West Chester, Pennsylvania died: January 23, 1981, in New York City
Overture to The School for Scandal Opus 5 (1931)
premiere: August 30, 1933 in Philadelphia
Samuel Barber was a 21-year-old student at the Curtis Institute of Music in Philadelphia when he composed his Overture to The School for Scandal. The title refers to Irish author Richard Brinsley Sheridan’s 1777 comic play. Barber noted that the Overture was not intended as a curtain raiser for performances of Sheridan’s work. Rather, Barber composed the piece “as a musical reflection of the play’s spirit.”
In April of 1933, Barber’s The School for Scandal Overture won Columbia University’s Joseph H. Bearns Prize. That August 30, the work received its premiere as part of the Philadelphia Orchestra’s final 1933 summer concert at the Robin Hood Dell, conducted by Alexander Smallens. The Overture was well received by an audience of almost eight thousand.
In the spring of 1938, both the New York Philharmonic and Cleveland Orchestra included Barber’s The School for Scandal Overture as part of New York concerts. On November 5 in New York, Arturo Toscanini conducted the NBC Symphony Orchestra in the world premieres of Barber’s Adagio for Strings and First Essay for Orchestra. That concert, broadcast nationwide, solidified Barber’s reputation as one of America’s most gifted young composers.
Although composed at the very outset of Samuel Barber’s career, The School for Scandal Overture features the melodic inspiration, colorful orchestration, and unerring sense of momentum that remained hallmarks of the American composer’s work. These qualities have assured The School for Scandal Overture’s continued presence in the concert repertoire.
FELIX MENDELSSOHN
born: February 3, 1809 in Hamburg, Germany died: November 4, 1847 in Leipzig, Germany
Piano Concerto No. 1 in G minor
Opus 25 (1831)
premiere: October 17, 1831 in Munich
approx. duration: 20 minutes
On May 8, 1830, 21-year-old Felix Mendelssohn departed Berlin for Italy. During his Italian sojourn, Mendelssohn received the inspiration for one of his most famous works, his Fourth Symphony. But in addition to that “Italian” Symphony, Mendelssohn’s travels during this period led to the creation of yet another work — one that would prove to be remarkably popular during the German composer’s lifetime.
While in Munich, Mendelssohn encountered a beautiful 16-year-old pianist by the name of Delphine von Schauroth, whom Mendelssohn described as “adored here — and deservedly.” Mendelssohn confided to his sister, Fanny: “We flirted dreadfully, but there isn’t any danger because I’m already in love with a young Scotch girl whose name I don’t know.”
Later, in Rome, Mendelssohn composed a Piano Concerto in G minor, which he dedicated to Delphine. In September of 1831, Mendelssohn returned to Munich. On October 17, Mendelssohn took part in a charity concert at the Munich Odeon Theater. Mendelssohn conducted his Symphony No. 1 in C minor, as well as the Overture to A Midsummer Night’s Dream. Mendelssohn was also the soloist in the premiere of his G-minor Piano Concerto.
Both Mendelssohn and Delphine von Schauroth later wed others. Still, Delphine neither forgot Mendelssohn, nor the work he dedicated to her. The composer died in 1847, at the age of 38. Twenty-three years later, at a February 3, 1870 concert held to commemorate Mendelssohn’s birthday, Delphine von Schauroth appeared as soloist, performing the G-minor Piano Concerto.
The Concerto No. 1 is in three movements, all played without pause. After a brief orchestral crescendo, the soloist enters with a dramatic presentation of the agitated first thematic group (Molto Allegro con fuoco). The slow-tempo second movement (Andante) is based upon a lovely melody, first sung by the violas and cellos. A brilliant virtuoso finale (Presto; Molto Allegro e vivace) brings the Concerto to a rousing close.
SERGEI RACHMANINOFF
born: April 1, 1873 in Semyonovo, Russia
died: March 28, 1943 in Beverly Hills, California
Symphony No. 2 in E minor
Opus 27 (1907)
premiere: February 8, 1908 in St. Petersburg approx. duration: 60 minutes
Sergei Rachmaninoff completed his First Symphony in August of 1895. Thanks in large part to the efforts of composers Sergei Taneyev and Alexander Glazunov, the Symphony received its premiere at the Hall of the Nobility in St. Petersburg (now St. Petersburg Philharmonic Hall) on March 27, 1897. Glazunov conducted, but it seems he didn’t do much to advance the cause of Rachmaninoff’s new composition. A few months later, Rachmaninoff lamented to a friend: “I am amazed how such a highly talented man as Glazunov can conduct so badly.”
Rachmaninoff remained backstage during the entire March 27 premiere. After the wretched performance, Rachmaninoff escaped to the street rather than face the audience’s negative reaction. Still, he could not avoid the ire of such critics as composer César Cui, who wrote:
Rachmaninoff’s First Symphony was neither performed again nor published during the composer’s lifetime.
The disastrous premiere of the First Symphony precipitated a three-year crisis for the young Rachmaninoff, who lost all confidence in his abilities as a composer. In 1900, Princess Alexandra Lieven attempted to lift Rachmaninoff’s spirits by arranging for him to visit Leo Tolstoy. Rachmaninoff met Tolstoy on two occasions, the second time accompanied by the Russian basso, Feodor Chaliapin. But the encounters with Tolstoy did little to buoy Rachmaninoff’s confidence. In fact, they only served to heighten his feelings of inadequacy. After Rachmaninoff gathered the nerve to play one of his compositions for Tolstoy, the author responded by inquiring: “Tell me, does anybody need music like this?”
However, a breakthrough for Rachmaninoff occurred that same year. On the advice of relatives, Rachmaninoff consulted Dr. Nikolai Dahl, a psychiatrist who used hypnosis in the treatment of his patients. The consultations with Dr. Dahl were an extraordinary success. Rachmaninoff experienced a tremendous resurgence of confidence and immediately began to compose his Second Piano Concerto (1901), a work he dedicated to Dr. Dahl.
Rachmaninoff even summoned the courage to attempt another Symphony. In the fall of 1906, Rachmaninoff and his family moved to Dresden. The relocation offered Rachmaninoff the solitude he needed to devote himself entirely to composition. In October, Rachmaninoff began his Second Symphony, and finished the first draft of the score on New Year’s Day, 1907. Rachmaninoff tried to keep the project a secret, but a Russian newspaper announced the Symphony’s completion. In February of 1907, Rachmaninoff admitted to his friend, Mikhail Slonov:
Rachmaninoff later refined the score of his Second Symphony and conducted its premiere in St. Petersburg on February 8, 1908. The work’s favorable reception by the audience and critics did much to vindicate Rachmaninoff after the humiliating premiere of his First Symphony. The Second Symphony proved to be immensely popular throughout Rachmaninoff’s life, and remains one of his most beloved orchestral works. The rich orchestration and passionate melodies make it one of the finest Russian symphonies of the late Romantic era.
The Second Symphony is in four movements. The first begins with an extended slow-tempo introduction (Largo), opening with a motif that will appear in various guises throughout the work. The principal quick-tempo section (Allegro moderato) follows. The second movement is a vibrant scherzo (Allegro molto), culminating with the brass’s chorale transformation of the Symphony’s opening measures. The beautiful third movement (Adagio) is based upon two melodies, presented at the outset. The finale (Allegro vivace), recalling music from previous movements, propels to an exuberant close.
