Ogden Symphony Ballet Association

BEETHOVEN’S VIOLIN CONCERTO

February 19, 2015 7:30 p.m.

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WELCOME

BRINGING THE ARTS HOME

Dear Friends: We are proud to welcome you to OSBA’s 2014–2015 season! Because of great support from our patrons and donors, we have eighteen performances this year. There’s nothing better than seeing one of these concerts or ballets live on the Browning Center stage. Look what’s on the schedule: ♫ Four memorable Utah Symphony Masterworks Series concerts. ♫ Five in the Utah Symphony Entertainment Series that are sure to amaze and entertain. ♫ T hree in the Utah Symphony Family Series. Santa will be here for a matinee performance, Peter and the Wolf Live, and Peter Pan will take the Browning stage in the spring. ♫ B allet West will bring “The Nutcracker,” the perennial favorite, to usher in the holidays. In the spring, the entire family will enjoy “Aladdin” featuring Ballet West II dancers. ♫ F rom BYU Performing Arts, Vocal Point will make a return appearance, and you will want to see the talented and colorful Living Legends in January.

Just a reminder about OSBA: • We are a non-profit organization with a 501(c)(3) tax designation.

• We contract with Utah Symphony | Utah Opera, Ballet West, and other groups and pay for their Ogden performances held at Weber State’s Browning Center. We do not receive proceeds of fund raising efforts held by any of those organizations.

• Ticket revenue pays about 45% of the cost of the concerts. The balance comes from donations made by individuals, businesses, foundations, and city, state, and local governments, including the RAMP tax initiative.

Besides the concerts, other programs OSBA provides: • • • •

Educational and community outreach programs Youth Guild for the Performing Arts “The Ride” for seniors living in Weber County Informal “Conversations” prior to the Classical Series concerts

Thank you for helping promote our longevity. Help us fill the house at every concert by inviting your neighbors and friends to join you! We look forward to welcoming you to each and every concert.

Sincerely,

Ogden Symphony Ballet Association

Board of Directors and Staff

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BRINGING THE ARTS HOME

BOARD OF DIRECTORS

BOARD OF DIRECTORS

ADVISORS

EXECUTIVE

Genette Biddulph

Carol Brockman

DIRECTOR

President

Karen Fairbanks

Sharon Macfarlane

Paul C. Kunz

Alan Hall Robert Harris

MARKETING

Carol Hurst

MANAGER

John Starley

Sharon Lewis

Melissa Seamons

Vice President

Thomas Moore

President Elect

Jennifer Webb Secretary

Meg Naisbitt

EDUCATION

Suzy Patterson

DEVELOPMENT COORDINATOR

Tina Olsen

OSBA FOUNDATION

Treasurer

Russ King

Paul Sonntag

Chair

EDUCATION AND TICKET

Past President/

Marti M. Clayson

Nominating

Secretary

Melissa Bennett Michael Call Geraldine Christensen

Susan Campbell

OFFICE ASSISTANT Marianne Rohbock

Richard White

EMERGENCY

Treasurer

PROCEDURE

Beth Baldwin

Brianna Davis Robert Fudge

Holly Nye Bauman

Greg Gochnour

Doug Holmes

Russ King

Paul T. Kunz

McClain Lindquist

Andrea Lane

Scott Major

Robert E. Lindquist

Judith Mitchell

Tina Olsen

Stephanie Moore

Ellen Opprecht

Elizabeth Nielsen

Carolyn N. Rasmussen

Susan Shreeve

Sherm Smith

Please identify the exits closest to your location.

In the event it becomes necessary to evacuate the building because of an emergency, proceed to the closest exit in an orderly manner and then to a safe area away from the building.

Jan Slabaugh

APPROXIMATE PERFORMANCE TIME IS 1 HOUR AND 20 MINUTES. Unless previously authorized, cameras and recording equipment of any kind are not allowed at Ogden Symphony Ballet Association performances. Please turn off cell phones, beepers and beeping watches before the performance begins. The Ogden Symphony Ballet Association is funded in part by grants from the Utah Division of Arts and Museums, the National Endowment for the Arts, Ogden City Arts and the Weber County Recreation, Arts, Museums, and Parks (RAMP) program.

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UTAH SYMPHONY

BRINGING THE ARTS HOME

Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Jerry Steichen Principal Pops Conductor

Roberta Zalkind Associate Principal

James Hall Acting Principal

Vladimir Kulenovic Associate Conductor

Joel Gibbs Julie Edwards Silu Fei Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

Titus Underwood†† Acting Associate Principal

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell

Barlow Bradford Utah Symphony Chorus Director VIOLIN* Ralph Matson Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster

Matthew Johnson Associate Principal John Eckstein Walter Haman Noriko Kishi†† Anne Lee Kevin Shumway Pegsoon Whang

Lissa Stolz ENGLISH HORN Lissa Stolz

Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood

TROMBONE Larry Zalkind† Principal Mark Davidson Acting Principal Zachary Guiles†† Acting Associate Principal BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal

Claude Halter Principal Second

BASS* David Yavornitzky Principal

E-FLAT CLARINET Erin Svoboda

Wen Yuan Gu Associate Principal Second

Corbin Johnston Associate Principal

Hanah Stuart Assistant Principal Second

James Allyn Frank W. Asper, Jr. Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

Leon Chodos Associate Principal

LIBRARIAN Clovis Lark Principal

Karen Wyatt •• Tom Baron • Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Julie Wunderle •• VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes# Associate Principal Caitlyn Valovick Moore Acting Associate Principal Melanie LanÇon†† PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson# Principal

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Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Bruce M. Gifford Principal Edmund Rollet Associate Principal Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair Jeff Luke Associate Principal Peter Margulies Nick Norton

Eric Hopkins Michael Pape††

Maureen Conroy Associate Librarian ORCHESTRA PERSONNEL Eric V. Johnson Director of Orchestra Personnel Myroslava Hagen Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

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BRINGING THE ARTS HOME

SPONSOR

The

OGDEN SYMPHONY BALLET ASSOCIATION would like to thank

MATTHEW B. ELLIS FOUNDATION

For sponsoring tonight’s performance.

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OUR AMERICA

FebruAry 6–MAy 17, 2015

THE LATINO PRESENCE IN AMERICAN ART From the collections of the Smithsonian American Art Museum

PRESENTING SPONSOR: SPONSORS: S. J. and Jessie E. Quinney Foundation Ray, Quinney & Nebeker Foundation MARCIA AND JOHN PRICE MUSEUM BUILDING umfa.utah.edu Olga Albizu, Radiante, 1967, oil, Smithsonian American Art Museum.

Gift of JPMorgan Chase.

Our America: The Latino Presence in American Art is organized by the Smithsonian American Art Museum. Generous support for the exhibition has been provided by Altria Group, the Honorable Aida M. Alvarez; Judah Best, The James F. Dicke Family Endowment, Sheila Duignan and Mike Wilkins, Tania and Tom Evans, Friends of the National Museum of the American Latino, The Michael A. and the Honorable Marilyn Logsdon Mennello Endowment, Henry R. Muñoz III, Wells Fargo and Zions Bank.

Additional significant support was provided by The Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Support for “Treasures to Go,” the museum’s traveling exhibition program, comes from The C.F. Foundation, Atlanta.

BRINGING THE ARTS HOME

MASTERWORKS SERIES

Beethoven’s Violin Concerto Feb 19 | 7:30 pm Val A. Browning Center Thierry Fischer, Conductor Baiba Skride, Violin

SERGEI PROKOFIEV

Symphony No.1, op. 25, “Classical”

I.

Allegro con brio

II. Larghetto

AUGUSTA READ THOMAS

III. Gavotte: Non troppo allegro

IV. Finale: Molto vivace

EOS: Goddess of the Dawn (A Ballet for Orchestra) In honor of Pierre Boulez (World Premiere, Utah Symphony Commission)

­/ INTERMISSION /

LUDWIG VAN BEETHOVEN

Concerto in D major for Violin and Orchestra, op. 61

I.

Allegro ma non troppo

II. Larghetto

III. Rondo: Allegro

Baiba Skride, Violin (artist in residence)

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BRINGING THE ARTS HOME

ARTISTS’ PROFILES

Swiss conductor Thierry Fischer recently renewed his contract as Music Director of the Utah Symphony Orchestra, where he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole. Fischer was Principal Conductor of the BBC National Orchestra of Wales from 2006–12 and returned as a guest at the 2014 BBC Proms. Guest engagements have included the Czech Philharmonic, Orchestre de la Suisse Romande, Frankfurt Radio Symphony, Oslo Philharmonic, Atlanta Symphony, Cincinnati Symphony, BBC Symphony, Scottish Chamber and London Sinfonietta. In October 2014 he made his debut with the Boston Symphony Orchestra.

Thierry Fischer music director

Fischer has made numerous recordings, many of them for Hyperion Records, whose CD with Fischer of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category) in 2012.

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30’s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and then became Principal Conductor and Artistic “The Swiss conductor is the Advisor of the Ulster Orchestra 2001–06.

He was Chief Conductor of the Nagoya real thing—a musician of clear Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now intelligence, technical skill, and Honorary Guest Conductor.

podium personality, drawing performances that blended impeccable balancing, textural clarity and fizzing exhilaration” - Chicago Classical Review, July 2013

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ARTISTS’ PROFILES

BRINGING THE ARTS HOME

Baiba Skride’s list of prestigious orchestras with whom she has worked includes the Berlin Philharmonic, Boston Symphony Orchestra, Sinfonieorchester des Bayerischen Rundfunks, Orchestre de Paris, London Philharmonic, Royal Stockholm Philharmonic, Sydney Symphony, and NHK Symphony. Notable conductors she collaborates with include Christoph Eschenbach, Paavo and Neeme Järvi, Andris Nelsons, Yannick Nézet-Séguin, John Storgårds, and Mario Venzago.

Baiba Skride violin (artist in residence) Joanne Shiebler Guest Artist Fund

Highlights in the 2014–15 Season include appearances with Gewandhausorchester Leipzig with Andris Nelsons, Orchestre Philharmonique de Radio France with Vasily Petrenko, Orchestre de la Suisse Romande with Kazuki Yamada, and Orchestre National de Lyon with Leonard Slatkin, including a concert at the Vienna Konzerthaus. In the USA Baiba makes her much anticipated return with the Boston Symphony Orchestra to perform Gubaidulina’s Offertorium, on the violin that the concerto was originally written. Skride was born into a musical Latvian family in Riga where she began her studies, transferring in 1995 to the Conservatory of Music and Theatre in Rostock. In 2001 she won the First Prize of the Queen Elisabeth Competition.

From November 2010 onwards Skride plays the Stradivarius “Ex Baron Feilitzsch” violin (1734), which is generously on loan to her from Gidon Kremer.

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BRINGING THE ARTS HOME Sergei Prokofiev (1891–1953)

Symphony No. 1 “Classical“ Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings.

Performance Time: approximately 13 minutes.

BACKGROUND Though he was one of the 20th century’s great symphonists, Sergei Prokofiev is better known in the West for his ballet scores and his popular children’s suite Peter and the Wolf. The symphonies of his compatriot Shostakovich are better known here, and have attracted new interest among scholars and listeners as new information has come to light about his troubled relationship with Stalin and the Kremlin’s arbiters of cultural policy.

But Prokofiev, too, had his problems with Soviet cultural policies. His position in the forefront of modern music conferred prestige on the Soviet Union, but the government’s feelings about his reputation—and his own feelings—were not unmixed. After completing his first symphony, he traveled extensively in the West and lived as an expatriate, mainly in Paris, from 1918 through the mid 1930s. This kind of cosmopolitanism was always suspicious to Soviet authorities.

Some densely difficult compositions that missed the mark critically, most notably his Second Symphony and Violin Concerto, extended his reputation as a bad boy of the avant garde, and his own self-doubts as a composer.

It was not always that way. As with Shostakovich, who was born 15 years later, Prokofiev’s first symphony was a work that seemed to announce its own brilliance. But by the time he composed it, Prokofiev was 26 and had already established his reputation as a major composer and a rebellious musical

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PROGRAM NOTES intellect unafraid of public or critical resistance in the face of modernism. His music was heard as highly percussive, occasionally abrasive and often noisy. The year was 1917, with the horrors of World War I drawing to a close and the Bolshevik Revolution about to shake Russian and world history. About the last thing the musical community expected from him was a symphony so drenched in traditional symphonic techniques and so full of delectable humor that it could make listeners laugh out loud.

When Prokofiev was at conservatory in St. Petersburg, his instructors were the most distinguished pedagogues of the Russian old guard: Nikolai Rimsky-Korsakov, of course, along with Anatole Liadov, Alexander Glazunov, and Alexander Tcherepnin. Accounts of their attitudes toward the young Prokofiev make it clear that he was viewed as a disaffected youth out to make trouble. Though the Symphony No. 1 was not written as a gesture toward his critics, it showed that the disaffection was actually on the side of his elders, and not his own. For all its good cheer and energy, the symphony is the product of great discipline and of reverence for the past—and, in particular, for Classical form.

As Stravinsky would decades later, Prokofiev turned for inspiration to a great master of Classical form, Franz Joseph Haydn. Prokofiev’s comments on his conception and development of the symphony are hardly the words of a precocious “bad boy,” but rather of a disciplined young composer who esteemed his teachers as well as the great musicians who preceded them: “I spent the summer of 1917 in complete solitude in the environs of [St. Petersburg]; I read Kant, and I worked hard. I had purposely not had my piano moved to the country because I wanted to establish the fact that thematic material worked out without a piano is better. I had been playing with the idea of writing a whole

801.399.9214 | symphonyballet.org

PROGRAM NOTES symphony without the piano. Composed in such a fashion, the orchestral colors would, of necessity, be clearer and cleaner. Thus did the plan of a symphony in the style of Haydn originate, since, as a result of my studies in Tcherepnin’s classes, Haydn’s technique had become especially clear to me, and with such thorough understanding it was much easier to plunge into the dangerous flood without a piano. It seemed to me that, if he were alive today, Haydn, while retaining his own style, would have appropriated something from the modern.

Such a symphony I now wanted to compose: a symphony in the Classic manner.”

WHAT TO LISTEN FOR Freshness and energy are characteristic of all Prokofiev scores. But where some of his major works—for example, his five great piano concertos—thrill with their power and percussiveness, others are written in a more lyrical style. The latter group includes his popular ballet scores, which shine with narrative expressiveness and singing melodies. His Symphony No. 1 displays all these qualities, and does so with an elegance and compactness that are rare in the symphonic realm. But it is best noted for the rarest and most enigmatic of musical traits: humor. How, after all, does an abstract, non-verbal art deliver a punchline?

In this regard Prokofiev chose an apt model in Haydn, the occasional prankster who composed the “Surprise” Symphony, with its sudden, explosive fortissimos designed to awaken snoozing concertgoers, and the “Farewell” Symphony, during which the players exit the stage in random bunches, leaving us to wonder who’ll be left to turn out the lights.

If Haydn punks his elite audience in these symphonies, Prokofiev writes for a broader group of listeners and embeds a more interesting

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BRINGING THE ARTS HOME point within the laughs: Perhaps we don’t all know the intricacies of symphonic structure and sonata-allegro form, but we have enjoyed enough music to intuit these rules without quite being conscious of them. Throughout the symphony, Prokofiev sets up our expectations and then shocks us by delivering something slightly different. The effect is most marked in the third movement, a gavotte—a French dance that usually comes off as elegant and stately. Prokofiev’s version is suitably paced and built on an appropriately gilded theme, but everything is upside-down: the modulations are slightly off, taking us in unexpected directions.

The dynamics get loud when we expect them to soften, and vice-versa. The finale peters out where it would usually come to a flourish.

Where else in the repertory do we hear a movement that is simultaneously courtly and goofy? During the 1960s, this beautiful yet boffo gavotte became a mainstay in college courses on symphonic form. If we analyze how Prokofiev thwarts our expectations, then we can understand more deeply how all Classical symphonies operate. But isn’t it more fun just to sit back and enjoy them?

And so it is throughout the Symphony No. 1, with its paradigmatic structure: sonata-allegro form in the outer movements, with a slow movement (a larghetto) and a ternary-form dance (the gavotte) in the inner movements.

The symphony even begins with one of the vintage musical gestures of the Classical era: the “Mannheim rocket,” an ascending arpeggio through the tonic triad that lights up the opening bars like fireworks. Within a minute the movement has somehow slid from D major to C major, the second theme has already made its appearance, and the delicately prancing bassoons seem to be on their way to another symphony. Crossing into the larghetto, with its serenity of mood and sweetly singing string choir, we are reminded of the twilit slow

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BRINGING THE ARTS HOME movements of Haydn and Mozart. But is the bliss of this movement slightly off-balance, as if it came from a really good high?

The gavotte is followed by a breathless, rollicking vivace that has the inexhaustible energy of a moto perpetuo, or perhaps a chasse—we can easily envision cats scampering in pursuit of the mice as we listen. And here our expectations are rewarded: the movement’s final chords strike with gleeful finality, leaving us grinning.

Augusta Read Thomas (b. 1964)

EOS: Goddess of the Dawn Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, bassoon; 2 horns, 3 trumpets, 2 trombones; bongo drums, claves, small triangle, vibraphone, woodblock, congas, crotales, 3-finger cymbals, tubular bells, glockenspiel, large triangle, xylophone, marimba, medium suspended cymbals, medium triangle; celeste, piano; strings.

Performance Time: approximately 19 minutes.

BACKGROUND Born in Glen Cove, New York, Augusta Read Thomas attended the Green Vale School and then St. Paul’s School in Concord, New Hampshire. She took piano lessons for ten years and trumpet lessons for fourteen years.

She sang in choirs and played recorder as well as guitar. She studied composition with Jacob Druckman at Yale University, with Oliver Knussen at Tanglewood Music Center, and with Paul Patterson at the Royal Academy of Music; and with Alan Stout and M. William Karlins at Northwestern University.

A passionate and devoted teacher, Ms. Thomas taught at the Eastman School of Music from 1993 to 2001. Despite receiving tenure there at the unusually young age of 33, she left to accept the

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PROGRAM NOTES endowed Wyatt Professorship of Music at the Northwestern University of School of Music in 2001 and continues to teach at the Tanglewood Music Center and Aspen Music Festival often during summers. In 2009 she was Director of the Festival of Contemporary Music at Tanglewood, and was the Mead Composer-in-Residence for Daniel Barenboim and Pierre Boulez from 1997 through 2006. Ms. Thomas was elected Chair of the Board of the American Music Center, a volunteer position that ran from 2005 to 2008.

She is Luminary University Professor (one of six) at The University of Chicago. Augusta was MUSICALIVE Composer-in-Residence with the New Haven Symphony, a national residency program of The League of American Orchestras and Meet the Composer.

In 2009 Ms. Thomas was inducted as a member of the American Academy of Arts and Letters, an honor society of 250 architects, composers, artists, and writers. The honor of election is considered the highest formal recognition of artistic merit in the United States.

The citation, given at her induction into the American Academy of Arts and Letters in May 2009, reads as follows: Augusta Read Thomas’ impressive body of works embodies unbridled passion and fierce poetry. Championed by such luminaries as Barenboim, Rostropovich, Boulez, and Knussen, she rose early to the top of her profession. Later, as an influential teacher at Eastman, Northwestern and Tanglewood, chairperson of the American Music Center, and the Chicago Symphony’s longest-serving resident composer, she has become one of the most recognizable and widely loved figures in American Music.

EOS: Goddess of the Dawn (A Ballet for Orchestra) receives its world premiere with Utah

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PROGRAM NOTES Symphony. Commissioned by Utah Symphony, it was composed in honor of Pierre Boulez.

WHAT TO LISTEN FOR Analysts have noted Thomas’ imagination for creative, organic, natural forms, some have discerned influences including jazz and composers such as Ravel, Debussy, Mahler, Stravinsky, and Luciano Berio in the energy, complex rhythms and harmonies of her work.

For listeners, Ms. Thomas has provided an interesting clue in the titles of her compositions, which frequently turn us skyward and mention luminous, celestial effects. EOS, with its reference to the dawn, is one example. Others include her concerto for alto saxophone, subtitled “Prisms of Light”; “Midsummer Blaze Alleluia,” for choir; a piano trio, “…A Circle Around the Sun…”; “Radiant Circles” for orchestra; “Twilight Butterfly” and “Among Dawn Flowers” for soprano and piano; and even “Magneticfireflies” for band. Her recent recordings for Nimbus Alliance and Wyastone feature album covers showing the aurora borealis, a glowing full moon over calm waters, and luminous beads of light like floating jewels.

The sound of Ms. Thomas’ music is a perfect analogue to these sensual auras.

BRINGING THE ARTS HOME Beethoven that have come down to us over the generations. With his burning eyes and rock-star hair, he seems to be ignoring us as he listens to the ideas in his head, struggling through insuperable difficulties to achieve a beautiful result. Composing was a Promethean struggle for Beethoven. Yet the concerto was a form that seemed to fit him like a glove: grand in scale but formally congenial to him, offering a forum for discourse between a single soloist and the massed forces of the orchestra that reflected his concern with the individual’s place in society.

We hear this aptness in all the piano concertos (Beethoven was, after all, a pianist), and perhaps most surprisingly in the ease and grace of his glorious Violin Concerto in D major.

This concerto, probably the most beloved and certainly the most frequently programmed in the repertory, possesses all the grandeur of the piano concertos. It exceeds the scale of any violin concerto that preceded it, and also begins with the longest introduction of any violin concerto preceding the soloist’s entrance. These are familiar hallmarks of Beethoven the form-breaker and innovator— signs of the new level of serious utterance that Beethoven brought to the concerto form. But we love this concerto more for its sheer beauty than for its innovations.

Ludwig van Beethoven (1770–1827)

Concerto in D major for Violin and Orchestra Instrumentation: flute, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings; solo violin.

Performance Time: approximately 42 minutes.

BACKGROUND We can see all the clichés about classical composers of the Romantic era in the portraits of

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Beethoven was said to be so confident of this work’s lasting merit that when he wrote it at age 36, he made a rash boast, predicting that violinists would still be playing it 50 years after his death. It was composed more than 2 centuries ago, in 1806, 21 years before Beethoven’s death in 1827; the story of his confidence in it is still told to illustrate both the scale of his talent and his outsized ego, fueled by determination and unconfined by seemly modesty. But the facts surrounding the composition of the concerto belie such picturesque lore, or at least some of it.

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BRINGING THE ARTS HOME

PROGRAM NOTES

Beethoven was persuaded to write the concerto for one of the best-known violin virtuosi of his day, Franz Clement, and everything about the circumstances of its creation seems to have contributed to a circus-like atmosphere at the premiere. Clement was by all accounts a remarkable soloist who had been a spectacular child prodigy, but he never outgrew a penchant for daredevil showmanship. There are no definitive firsthand reports of his first performance of this piece, but according to some hearsay accounts, he insisted on sight-reading it and inserting a sonata of his own composition in the middle or at the end of Beethoven’s work. In performing his own sonata, he is said to have held the violin upside-down and played on one string.

“against the instrument” is a phrase we often read in analyses of Beethoven’s compositions; some of his compositions for piano, voice, and strings (in the quartets) seem written to challenge or contradict the usual modes of expression for these instruments. In the Violin Concerto, by contrast, a cantabile quality prevails that is the very essence of violinistic writing, like a song without words.

Another surprising circumstance was the haste of the concerto’s composition. We know that Beethoven often agonized over his music, but for this benefit concert (with Clement himself as beneficiary) there was no time for indecision or even for preparatory conferences with the soloist. The orchestra, too, was said to be virtually unrehearsed. Small wonder that the initial commentary was unenthusiastic. One contemporary critic, Johannes Moser, described Beethoven’s thematic material as commonplace, confused, wearisome, and repetitious. It’s difficult to reconcile that description with the concerto that we know and love today, but not with its performance history—which included only three public hearings between 1806 and 1844.

WHAT TO LISTEN FOR In addition to the characteristic grandeur and dignity we hear in Beethoven’s piano concertos, the Violin Concerto is also written with a sympathy for the instrument that is not always evident in Beethoven. It’s no accident that

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This sense of instrumental sympathy and singing line is achieved without cliché. The first movement declares its gravitas by opening with four startling beats on the timpani, and though it is marked allegro, there is an air of stateliness and a poetic introduction to the much-loved main theme—a six-note ascending scale that begins on the third note of the scale, F#, and ascends to the tonic of D before dropping back down to the dominant A. This simple melody, one of the most familiar in the violin repertory, could have been built around a central triplet, but Beethoven achieves a more poetic effect by using only half-, quarter- and eighth-notes without triplet figures.

While the concerto’s second movement, a larghetto, is in G major, the third (and final) returns to D major, framing the concerto in moods of similarity and contrast. The opening movement Allegro is dignified and almost solemn (the allegro pace is marked ma non troppo—“but not too much”), built grandly upon a four-beat motif that sings. But the closing rondo, with a full-out allegro, dances—with a six-beat motif that is charged with energy and a sense of celebration. Its finale, a soaring arpeggiated phrase that ascends an octave and a fourth to end on a single blast of the tonic D major, is a short summation for Beethoven, but powerfully emphatic.

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$50,000 + Mrs. Telitha Lindquist Ogden Symphony Ballet Association Foundation RAMP Stewart Education Foundation $10,000 to $49,999 Val A. Browning Foundation Matthew B. Ellis Foundation Alan & Jeanne Hall Foundation Bob & Marcia Harris Richard K. & Shirley S. Hemingway Foundation $5,000 to $9,999 Joe & Billie Day Lawrence T. & Janet T. Dee Foundation Edith Dee Green Foundation John B. Goddard Rondel & Joyce Hanson William & Barbara Hughes Mr. & Mrs. Paul T. Kunz Shirley Mack Marriner S. Eccles Foundation Sorenson Legacy Foundation $1,000 to $4,999 Dwight & Cindy Baldwin Mr. & Mrs. Rex Bean Beaver Creek Foundation Evan & Geraldine Christensen Rosemary Conover & Luckey Heath Rick & Karen Fairbanks Doug & Shelley Felt Mr. & Mrs. Kelly Goddard Kenneth & Norine Holmgren Ed Kenley Ford Michael & Zona Keyes Cindy & Paul Kunz Marvin & Sharon Lewis Seth & Tonya Lewis

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