Program Notes

WOLFGANG AMADEUS MOZART

born: January 27, 1756 in Salzburg, Austria

died: December 5, 1791 in Vienna, Austria

Symphony No. 38 in D Major

K. 504, "Prague" (1786)

premiere: January 19, 1787 in Prague

approx. duration: 23 minutes

On May 1, 1786, Mozart’s brilliant comic opera The Marriage of Figaro received its premiere in Vienna. In early December of that year, the Prague National Theater staged an extraordinarily successful production of Figaro. As one Prague critic wrote: “No piece (so everyone here asserts) has ever caused such a sensation as the Italian opera The Marriage of Figaro, which has already been given several times here with unlimited applause.”

During the height of the commotion over Figaro, Mozart accepted the invitation of “the orchestra and a company of distinguished connoisseurs and music-lovers,” and traveled to Prague. Mozart recalled: “here they talk about nothing but Figaro. Nothing is played, sung or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing, but Figaro. Certainly a great honor for me!” Mozart attended a Prague staging of The Marriage of Figaro. The audience learned of Mozart’s presence in the theater, and before the curtain rose for the first act, they greeted him with a rousing ovation. Some days later, Mozart himself conducted another triumphant performance of his opera.

In between the two performances of The Marriage of Figaro, Mozart conducted a January 19 concert at the Prague National Theater. The program included the premiere of a Symphony he had completed in Vienna on December 6, 1786. That Symphony, the D-Major, K. 504, has, of course, become known as the “Prague.”

On February 8, Mozart left Prague to return to his home in Vienna. However, prior to his departure, Mozart secured a commission from the Prague impresario, Pasquale Bondini, for a new opera. That opera, Don Giovanni, opened in Prague in October of 1787 — yet another triumph for Mozart.

The “Prague” Symphony is in three movements, instead of the usual four. Mozart omits the traditional thirdmovement minuet. The first movement opens with an extended, dramatic introduction (Adagio) that foreshadows the gripping music of the avenging Stone Guest in Don Giovanni. This leads to the principal Allegro that teems with irrepressible energy and optimism. The “Prague” Symphony’s slow-tempo movement (Andante) is cast in a flowing 6/8 rhythm. Like the opening movement, it is based upon a succession of concise themes. The final movement (Presto) opens with a rapid-fire motif that forms the nucleus for virtually all that follows. And as with the opening movement, the finale has an arresting momentum that continues unabated to the resounding final measures.

Prague's historic Estates Theatre, which hosted the premieres of Mozart's Don Giovanni and La clemenza di Tito.

IGOR STRAVINSKY

born: June 17, 1882 in Lomonosov, Russia

died: April 6, 1971 in New York City

Concerto in D major

for Violin and Orchestra (1931)

premiere: October 23, 1931 in Berlin

approx. duration: 22 minutes

In Stravinsky: An Autobiography (Simon and Schuster, NY, 1936), the Russian composer provides a detailed and engaging history of his Violin Concerto. Willy Strecker, coowner and director of the Schott publishing firm, approached Stravinsky with the idea of composing a piece for the Polishborn American violinist Samuel Dushkin (1891-1976), a pupil of Fritz Kreisler and Leopold Auer. Stravinsky recalled: “I hesitated at first, because I am not a violinist, and I was afraid that my slight knowledge of that instrument would not be sufficient to enable me to solve the many problems which would necessarily arise in the course of a major work specially composed for it.” Stravinsky was also concerned that Dushkin might be subject to the “temptations and dangers” that befall many virtuosos who “seek immediate triumphs and to lend themselves to the wishes of the public, the great majority of whom demand sensational effects from the player.”

Stravinsky’s reservations concerning the first issue were allayed by his friend, composer Paul Hindemith, whom Stravinsky described as “a perfect violinist.” Hindemith viewed Stravinsky’s lack of experience in playing the violin in a positive light, observing; “it would be a very good thing, as it would give rise to ideas which would not be suggested by the familiar movement of the fingers.” Further, as Stravinsky acknowledged: “I was not a complete novice in handling the violin. Apart from my pieces for the string quartet and numerous passages in Pulcinella, I had had occasion, particularly in the Histoire d’un Soldat, to tackle the technique of the violin as a solo instrument.”

Stravinsky’s misgivings regarding a collaboration with virtuoso Samuel Dushkin vanished as soon as the composer and violinist met. Stravinsky “was glad to find in [Dushkin], besides his remarkable gifts as a born violinist, a musical culture, a delicate understanding, and — in the exercise of his profession — an abnegation that is very rare.” The two worked closely throughout the creation of the Violin Concerto. Dushkin placed himself completely at the service of Stravinsky and his new creation.

The premiere of the Stravinsky Violin Concerto took place in Berlin on October 23, 1931. Dushkin (to whom Stravinsky dedicated the Concerto) was the soloist, and the composer conducting the Berlin Radio Orchestra. Stravinsky and Dushkin then performed the work throughout Europe. In all cases, Stravinsky noted with great satisfaction: “my new work was very well received.” The cordial relationship between Stravinsky and Dushkin continued with the composition of the 1932 Duo Concertant for Violin and Piano, again dedicated to the violinist.

The Violin Concerto is in four movements. The first (Toccata) opens with a brusque four-note motif. Stravinsky described this theme as “a passport to the music.” It opens each of the movements, and returns in various forms throughout the work. Two slow-tempo movements follow (Aria I, Aria II), each in A—B—A form. The playful finale (Capriccio), a series of mercurial episodes, provides the Concerto’s most overtly virtuoso writing. The four-note motif now appears in its most varied form. In the thrilling presto that concludes the work, the emphatic syncopations and earthy violin sonorities recall the composer’s 1918 L’Histoire du Soldat (The Soldier’s Tale).

ANTONÍN DVOŘÁK

born: September 8, 1841 in Nelahozeves, Bohemia

died: May 1, 1904, in Prague, Bohemia

Symphony No. 8 in G Major

Opus 88 (1889)

premiere: February 2, 1890 in Prague

approx. duration: 36 minutes

While working on his Piano Quartet, Opus 87, Czech composer Antonín Dvořák told his friend, Alois Göbl: “It’s going unexpectedly easily and the melodies simply pour out of me.” On August 26, 1889, one week after finishing the Piano Quartet, Dvořák began work on his Symphony in G Major. It appears a similar level of inspiration attended the new symphony. Dvořák began to collect ideas for the symphony, and started the composition sketch on September 6. Dvořák completed the sketches for all four movements by September 23, and finished the orchestration on November 8.

On February 2, 1890, Dvořák conducted the Prague National Theater Orchestra in the premiere of his Eighth Symphony. A few months later, the composer again presented the Symphony in honor of his election as Member of the Franz Josef Academy for Science, Literature and Art in Prague. On June 16, 1891, the University of Cambridge bestowed an honorary Doctorate of Music upon Dvořák, who again offered his G-Major Symphony in commemoration of the event.

As with most of Dvořák’s musical creations, the G-Major Symphony reflects the influence of Czech folk melodies and rhythms. It is also in many ways highly innovative, suggesting new possibilities for traditional symphonic forms. According to Dvořák biographer Otakar Sourek, the composer (by his own admission) consciously strove to create “a work different from his other symphonies, with individual thoughts worked out in a new way.” This, Dvořák achieved in the context of energetic and optimistic music, bursting with unforgettable melodies.

The Symphony’s first movement (Allegro con brio) begins with a somber introduction, played by the winds and cellos. This music serves as a unifying force throughout the movement, returning as a bridge to the development and recapitulation of the principal themes. Out of the shadows emerges the sprightly main theme, first played by the flute and soon, triumphantly, by the full orchestra. A minor-key second theme and chorale melody follow. The slow-tempo movement (Adagio), in rather free form, presents a series of episodes based in great part upon the opening fournote motif. The third movement (Allegretto grazioso) is in the character of a melancholy waltz. The joyful closing measures (Coda. Molto vivace) serve as a bridge to the finale (Allegro, ma non troppo), opening with a trumpet call. The cellos introduce the theme that serves as the basis for a series of diverse and often thrilling variations. In the midst of the variations, the trumpet-call motif returns. A group of lyrical variations finally yields to a jubilant coda (Tempo I), as the G-Major Symphony dashes to a rousing close.

Dvořák's summer home in Vysoká u Příbramě, where he composed the Eighth Symphony.