THE MARYLAND THEATRE
Saturday, March 9, 2024 | 7:30pm
Sunday, March 10, 2024 | 3:00pm
Elizabeth Schulze conductor
Robert Martin violin
JUAN CRISÓSTOMO DE ARRIAGA Overture in D major, Op.20 (1806-1826)
11’
JOSEPH BOLOGNE, Violin Concerto in A, Op. 7 No. 1 CHEVALIER DE SAINT-GEORGES Featuring Robert Martin, Violin (1745-1799)
16’
I. Allegro moderato
II. Adagio
III. Allegro moderato
-- INTERMISSION --
CHRISTOPH WILLIBALD GLUCK Orpheus and Eurydice (Overture) (1714-1787)
5’
FRANZ JOSEPH HAYDN Symphony No. 103, “Drum Roll” (1732-1809)
30’
I. Adagio – Allegro con spirito
II. Andante più tosto allegretto
III. Menuetto
IV. Finale: Allegro con spirito
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MARYLAND SYMPHONY ORCHESTRA 2023-2024 SEASON ROSTER
ELIZABETH SCHULZE, MUSIC DIRECTOR & CONDUCTOR
FIRST VIOLIN
Robert Martin
Concertmaster
MSO Guild Chair
Joanna Natalia Owen Associate
Concertmaster
Lysiane GravelLacombe + Assistant Concertmaster
Brent Price +
Thomas Marks Chair
Kristin Bakkegard
H. Lee Brewster
Yen-Jung Chen
Mauricio Couto
Sarah D’Angelo +
Megan Gray
Catherine Nelson
Petr Skopek
SECOND VIOLIN
Marissa Murphy
Principal J. Emmet Burke Chair
Ariadna Buonviri
Associate Principal
Julianna Chitwood Assistant Principal
Karin Kelleher
Ruth Erbe
Teresa L. Gordon
Melanie Kuperstein
Swiatek Kuznik
Kat Whitesides
Patricia WnekSchram
VIOLA
Phyllis Freeman *
Principal
Alan J. Noia Chair
Magaly Rojas Seay + Acting Principal
Daphne Benichou *
Associate Principal
Stephanie Knutsen + Acting Associate Principal
Catherine Amoury+
Assistant Principal
VIOLA (CON’T)
Sungah Min
Rachel Holaday
Alice Tung
Heidi Remick +
Sean Lyons *
CELLO
Todd Thiel Principal J. Ramsay Farah Chair
Katlyn DeGraw
Associate Principal
Jessica Albrecht
Assistant Principal
Aneta Otreba
Mauricio Betanzo
Youbin Jun
Alyssa Moquin
Jessica Siegel
Weaver
BASS
Adriane Benvenuti
Irving Principal
Shawn Alger Associate Principal
Alec Hiller
Kimberly Parillo
Brandon Smith
FLUTE
Laura Kaufman
Mowry+
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Nicolette Driehuys
Oppelt
Elena Yakovleva
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Elena Yakovleva
OBOE
Fatma Daglar Principal
Joel L. Rosenthal Chair
Amanda Dusold
Rick Basehore
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Rick Basehore
CLARINET
Beverly Butts Principal
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Jay Niepoetter
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BASSOON
Erich Heckscher Principal
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Wilson
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Wilson
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PERCUSSION
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PROGRAM NOTES
Overture in D Major, Op. 20
Juan Crisóstomo Arriaga
Born January 27, 1806, in Bilboa, Spain
Died January 17, 1826, in Paris, France
This work was composed in 1821. It is scored for one flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola was born in the Basque region in present-day Spain fifty years to the day after Mozart. Although he is often referred to as the “Spanish Mozart,” there is a uniqueness to Arriaga’s music that does not require comparison to that of any other composer. His father, a wealthy merchant, and brother gave Arriaga his first musical instruction. By age 9 he had started composing and the next year began performing with a professional string quartet. At 15 he went to Paris to study with Luigi Cherubini and FrancoisJoseph Fétis at the Conservatoire. Within a few years, he became assistant to Fétis and took a position as organist at a Parisian church.
Praise for Arriaga was universal. The faculty at the Paris Conservatoire loved his early compositions. Monetary support from his father was more than ample, as was artistic support from the Parisian musical establishment. Arriaga worked hard, but he was missing one important thing—an endless supply of energy. It seems that his hard work and overfilled slate of projects was too much for Arriaga to bear. He became ill, probably from tuberculosis, and died just ten days before his twentieth birthday.
Arriaga’s musical output was small
but impressive. He composed one opera entitled Los esclavos felices. His instrumental music includes one symphony, three string quartets (the only of his works to be published in his lifetime), and much chamber music. He also composed a handful of moving choral works for use in the church.
Arriaga’s Overture in D Major, Opus 20, dates from 1821. Like much of his music, it is elegant and has an affinity for Spanish rhythms and ambiguous harmonies. The work opens with a slow and bold introduction that obscures the key by fluctuating between major and minor modes. The ensuing allegro is fast and contrapuntal within a string texture that allows a few peeps from the flute to sound through. However, the B theme is a flute solo over strings played col legno—tapped with the wood part of the bow. After a short development, the oboe introduces a new theme and ushers in a Rossinian section that builds to a large climax. Col legno strings return with a solo played by the clarinet and then the flute. Bowed strings enter in counterpoint to introduce a faster exciting coda for the full orchestra to end the overture.
Violin Concerto in A major, Op. 7, No. 1
Joseph
Bologne, Chevalier de Saint-Georges
Born December 25, 1745, in Baillif, BasseTerre, Guadeloupe
Died June 10, 1799, in Paris, France
This work was published in 1777 and was premiered about that time by the Concert des Amateurs in Paris with the composer as soloist.
The life of Joseph Bologne reads like a fairy tale. He was born on the Caribbean Island of Guadeloupe to Georges de Bologne Saint-Georges, a wealthy planter father. His mother was Nanon, Georges’ wife’s 16-year-old Senegalese slave. When Joseph was only 7, his father took him to France for an education from which he emerged a master swordsman. Within 10 years he was the most successful fencer in France. At 21 he became a bodyguard to King Louis XVI and received the title of Chevalier. He became known as the Chevalier de Saint-Georges. The first record of his musical activity is from the same year.
This illustrious title endeared him to royals and aristocrats. He attended balls at court and showed himself to be a fine dancer and became popular with the young women at court. All the while his reputation grew as a violinist and composer. Gossec and Stamitz composed works for him to play. He became a member of Gossec’s orchestra, Le Concert des Amateurs, in 1769 and became the leader in 1773. In the early 1780s, SaintGeorges commissioned Joseph Haydn to compose six symphonies. Known today as the “Paris” Symphonies, they were performed in 1786 with Saint-Georges conducting.
In about 1770 he had become friends with the fencing masters of London who were visiting Paris. Saint-Georges was also friends with Philippe, Duke of Orléans, who knew George, Prince of Wales. Philippe sent Saint-Georges to London to bolster the abolitionist cause in the late 1780s where he met William Wilberforce who would later be a driving force in the abolition of slave trading in the British Empire. He returned to Paris in
1789.
At the height of the French Revolution in 1792, Saint-Georges was called upon to create a light cavalry consisting of African and Caribbean soldiers. Saint-Georges’ status as both a master swordsman and mixed-race gentleman made him a likely choice as the battalion leader. However, he met political resentment and was imprisoned for 18 months on fabricated charges. After he was released, he returned to the Caribbean, but was soon enlisted to help quell a civil war in Saint Domingue. Despite everything he had experienced, he remained loyal to the revolutionary ideals in France. He returned and tried to re-enlist but was turned away. Joseph Boulogne, Chevalier de Saint-Georges died in Paris on June 10, 1799, from a neglected bladder disease that became gangrenous.
Although he was known as “Le Mozart noir,” it is best to remember Saint-Georges for his achievements. He wrote 6 operas, 16 violin concertos, 8 symphonies concertantes (featuring more than one soloist), 12 sonatas, 18 string quartets, and 15 works for voice. He also composed 2 symphonies, published as a set as Opus 11.
Saint-Georges wrote 12 violin concertos during the same period when Mozart composed his five such works. His A-major concerto was published in 1777 and is cast in three movements. The opening allegro moderato is in an extended sonata form. It is ebullient in texture and rich in its melodic materials. The central adagio is placid and tuneful and provides respite before the measured finale. While most finales of the period are structured as rondos with contrasting
PROGRAM NOTES
episodes interspersed between statements of the main theme, SaintGeorges wrote a sonata-form movement that uses a ritornello to punctuate the proceedings. This is a precursor to sonatarondo form found in the later works of Haydn. The composer provides the soloist with much high-register work in a way that anticipates the virtuoso concertos of Mendelssohn and Paganini.
Orpheus and Euridice (Overture)
Christoph Willibald Gluck
Born July 2, 1714, in Erasbach, Upper Palatinate, Bavaria
Died November 15, 1787, in Vienna, Austria
This work was first performed on October 5, 1762, in Vienna at a festival to honor Emperor Francis I. It is scored for pairs of flutes, oboes, horns, and trumpets, with added bassoon, and the usual complement of strings.
The time in which Christoph Willibald Gluck lived was a hotbed of conflicting musical styles. Born less than a year after the deaths of Dietrich Buxtehude and Arcangelo Corelli, both of whom were important in the development of instrument music in the early Baroque, Gluck lived until after the births of Ludwig van Beethoven and Nicolò Paganini, who were critical figures in the development of Romanticism.
Gluck’s importance cannot be overestimated, as it was through his efforts that Baroque opera grew from the hollow spectacle of Venetian tradition to a richer and more dramatic entertainment that included many
French elements. This may not seem like a serious matter, but opera-goers in the mid-eighteenth century equated the region of an opera’s influence with provincial or national patriotism. Gluck’s efforts are usually referred to as “opera reform,” because he published several writings in which he outlined his view that many abuses had tainted the art form. In the letter of dedication at the beginning of the published score of his 1767 opera Alceste, he described his work as a new direction to correct the many abuses “introduced into it [opera] either by the mistaken vanity of singers or by the too great complaisance of composers, which have long disfigured Italian opera and made of the most splendid and most beautiful of spectacles the most ridiculous and wearisome.”
In 1774 in one of music’s fiercest battles, Gluck faced off in a war of words with Italian composer Nicola Piccini. Gluck believed that the story of an opera was its most important aspect and should lead the composer to write music that furthered the plot. He felt that the current practice of singers adding heavy ornamentation to arias, sometimes rendering them virtually unrecognizable, detracted from the dramatic flow. Likewise, he felt that the overture should set the general mood of the work itself. Piccini, very conservative in his views, saw no need for such drastic changes. In the end, Gluck’s camp, along with his supporter Marie Antoinette, defeated Piccini and his followers, headed by Louis XV’s mistress, Madame du Barry. Gluck’s French revolution in operatic style has held sway ever since the epithets flew in 1774.
For at least a decade before the Gluck-
(con’t)
Piccini affair, the former had incorporated his ideas in his own works. His 1762, his Orfeo ed Euridice caused a considerable uproar because it took a familiar story and treated it in such an untraditional manner. The three instrumental selections on this program are crucial to the opera’s course of action. As the opera begins, Orfeo’s new bride, Euridice, has died from a snakebite suffered at the wedding feast. Gluck’s overture is a lively and festive portrait of nuptial celebration, making the sight of her tomb even more shocking when the curtain opens. In the classic story, Orfeo must go to Hades to charm the authorities there to allow his bride to return. During his journey he must pass through the gates of Hades, guarded by the Furies. After Orfeo charms the Furies and the three-headed dog, Cerebus, into opening the gates, the scene changes immediately to the Elysian Fields. Eventually, Orfeo rescues Euridice and, in the original Greek tale, he looks back at her and she dies again. Amor, the personification of love, appears and revives her. They return to Greece and celebrate.
Symphony No. 103, “Drum Roll”
Franz Joseph Haydn
Born ca. March 31, 1732, in Rohrau, Austria
Died May 31, 1809, in Vienna, Austria
The first performance was on March 2, 1795, in London, England. This work is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, timpani, and strings.
Franz Joseph Haydn lived in a quickly changing world. In his 77 years, he
experienced the rise of the Age of Enlightenment, the French and American Revolutions, and the beginnings of the Industrial Revolution in England. Musically, he lived from just after the composition of Bach’s Brandenburg Concerti until just after Beethoven’s “Pastoral” Symphony. Of course, as musical fashion changed so did instrumentation. In Haydn’s youth, before the orchestra gained a standardized instrumentation, instrumental ensembles usually consisted of very small forces that could be contained in the reception area of an aristocrat’s home. As a mature composer, Haydn composed for a standard ensemble of winds in pairs, timpani and strings that performed in large public theaters and concert halls.
In 1759 Haydn accepted his first musical appointment as Kapellmeister to the household of Count Ferdinand Maximilian von Moritz. For two years, he managed the daily musical activities at court, in what proved to be perfect training for the Herculean tasks required by his next position. On May 1, 1761, Haydn signed a contract with the Hungarian Esterházy family requiring him to lead all orchestra and chamber music rehearsals and performances at their palace in Eisenstadt, Austria. They would later build the luxurious Esterhaza estate in Hungary. Despite the daunting schedule, he was never allowed to resign, and all of his compositions became property of the court. Although Haydn sacrificed much of his personal and artistic freedom, he found the position to be a priceless opportunity to build widespread fame as a composer. Having served as court composer to Prince Nicolaus Esterhazy for twenty-nine years, Haydn found himself free to travel after
PROGRAM NOTES
his patron died in 1790. The following year, upon the invitation of British impresario Johann Peter Salomon, Haydn made his first journey to London.
The London concerts presented a large variety of the composer’s music, but the core of these offerings was a set of six newly composed symphonies, later known as nos. 93 to 98. A second visit followed in 1794-95, during which Haydn composed symphonies nos. 99 to 104. Haydn relished his newly found artistic freedom, and used it to his advantage. The twelve symphonies composed for the visits, cumulatively called the “London” or “Salomon” symphonies, call for a larger orchestra than had been at his disposal at Esterhaza. London audiences were delighted with Haydn’s presence. He entertained a seemingly endless number of well-wishers. His works were received with adulation, and the London press compared him to Shakespeare in his mastery of his art.
Haydn’s final years were spent in Vienna, experiencing life in the city after nearly thirty years at the rural retreat of Esterhaza. He concentrated on composing the String Quartets Op. 76 and 77, but after the Trumpet Concerto of 1796, he wrote no more instrumental music. All of his efforts went into sacred choral music – Lord Nelson Mass, Mass in Time of War, Theresienmesse, and Harmoniemesse. Also from the period are the oratorios The Creation and The Seasons, after a few years of increasing frailty.
Haydn’s “Drum Roll” Symphony, one of the “London” Symphonies, is one of many works by the composer to have a nickname. Occasionally, origins of
these sobriquets can be difficult to trace, as with Mozart’s “Jupiter” Symphony. However, the “Drum Roll” Symphony boasts its designation because of the timpani roll at the opening.
Composed for his second visit to London, this symphony begins like most of Haydn’s late orchestral works –with a slow and ominous introduction. However, the timpani roll marks it as unique from the start. The main body of the first movement is monothematic—a practice that Haydn used quite often. Near the conclusion, the material from the introduction returns.
The Andante più tosto allegretto is a set of double variations that is based on themes that some say are derived from Croatian folk songs. With its fluctuation between minor and major, this bold movement foreshadows Beethoven’s revolutionary approach to symphonic variations.
Haydn’s minuet is more a heavy-footed peasant dance than a demure courtly event. Clarinets and bassoons join the strings in the legato trio. The finale is an Allegro con brio that opens with a horn call. In typical Haydnesque humor, he punctuates the lively movement with unexpected silences, accents, and an ingenious display of counterpoint.
©2023
Orpheus Music Prose & Craig Doolin www.orpheusnotes.com
(con’t)
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($50 to $99)
Robert Abdinoor
Christopher Amos
Anonymous
Marian Auer
Louise Bucco
Darryl Clopper
Anton Dahbura
Ryan Deal
Jennifer Dopson
Andrea Ernest
Donna Ersek
Stephen Ginaitis
Terri & Al Gwizdala
Sarah Hall
Mark Halsey
Brian Harris
Yuman He
Klaus & Becky Hein
Michael Heyser
Lawrence Hoeck
Donna & Douglas Hoffman
Judy Houck
Judy & Clyde Kernek
Karlen Keto
Patricia Kulas
Bruce & Carol Lapham
Amanda Lewis
Teresa Lum
Beth Maconaughey
Mary Malaspina
William Mandicott
Benjamin Marlin
Paula Master
Vivian Michael
Tereance Moore
Robert & Paige Nitzell
Renee Nutwell
Barry O’Neill
Theresa Norene O’Sullivan
Sarah Polzin
Beverly Plutnick
Jonathan Prince
Mark Reback
Agnes Ritchey
Keith Rodgers
Mary Schultz
Joan & Edward Schupp
Robert Shipley
Anita Shively
Town & Country Garden Club
Clarence White
