PROGRAM NOTES

Symphony No. 9 (1823)

Ludwig van Beethoven (1770-1827) ii. molto vivace

Fewer names are better known in the Western Classical music world than that of Beethoven. His musical works and innovations helped to propel the music of the day into the Romantic period. As a young man, Beethoven left his hometown of Bonn to live in Vienna, eventually studying composition with Joseph Haydn. Among his contributions to art music was the iconic Ninth Symphony, which was the first known work to incorporate choral parts into the standard symphonic format. He composed a staggering 722 works during his lifetime.

Die schöne Müllerin (1823)

Franz Schubert (1797-1828)

Nos. 1-5

From an early age, Schubert demonstrated a rare aptitude for music. First learning violin and piano from his father and brother respectively, Franz’s abilities skyrocketed him into the Stadkonvikt school at the age of eleven, where he spent five years studying. Following this, Schubert continued studies in composition with Antonio Salieri. Today, Schubert is known for his prolific output of songs and the pivotal song cycles Die schöne Müllerin and Winterreise. His oeuvre showcases colourful and imaginative harmonic ideas, contributing to the positive reputation his music enjoys at present.

Piano Trio Op. 36 (1823)

August Alexander Klengel (1783-1852)

Mvt. III

Klengel served as the court composer to the King of Saxony (Frederick Augustus I), living most of his life in Dresden. Prior to this, he learned the craft of composition under Muzio Clementi, who took Klengel under his wing during his travels. Among his works is a complete set of canons and fugues in all twenty-four keys, three piano sonatas, and two piano concerti.

Home! Sweet Home! (1823)

Sir Henry Rowley Bishop (1787-1855)

Bishop’s musical aptitude was for opera, light opera and ballet. Today’s work is taken from an earlier opera of his, and was republished as a parlour tune with great success. Working as a composer for hire, Bishop was engaged by every major theatre of London during his life. His later years saw him growing resentful of the public, claiming that their tastes changed too frequently. An examination of work from this time demonstrates his attempts at writing pastiches from more famous composers; these were singularly unsuccessful, to his chagrin.

Euryanthe Overture (1823)

Carl Maria von Weber (1786-1826)

A contemporary to musical giants such as Haydn and Beethoven, Weber had big shoes to fill. His output of German opera with its stylistic drama and flair was substantial, completing ten and having an eleventh (Die drei Pintos) completed by Mahler in 1888. In particular, his development of the leitmotif technique—so often associated with Wagner—in Euryanthe was remarkable. His other operatic work was similarly influential: Oberon revealed an interest in the music of nonWestern cultures, additionally making an impression on Mendelssohn as he wrote A Midsummer Night’s Dream

La création du monde (1923)

Darius Milhaud (1892-1974)

Milhaud’s compositions, fusing jazz, art music, and Brazilian popular music, are distinct and unforgettable. A prolific and diverse composer, his works range from the exquisite and complex ballet music heard today to lighter offerings that show his interest in working outside of any particular genre. As one of Les Six, he contributed to neoclassicism and its rise in popularity during the 20th century. Milhaud was also a renowned teacher, with notable students such as Brubeck, Bacharach, Glass, Reich, Stockhausen, and Xenakis.

I Cried for You (1923)

Gus Arnheim (1897-1955) & Abe Lyman (1897-1957)

Hailing from Philadelphia, Gus Arnheim was a pianist, songwriter, and bandleader. He appeared in several movies in the late 1920’s and early 1930’s as an orchestra leader and directed the music to Scarface (1932).

Originally born Abraham Simon, Abe Lyman was a bandleader and drummer whose work appeared in films of the 1930s and notably, in the Warner Bros. Merrie Melodies cartoons. It was here Lyman briefly rubbed shoulders with Charlie Chaplin, who conducted the band twice as a guest.

Dance Suite (1923)

Béla Bartók (1881-1945)

Bartók was indisputably one of the most significant composers of the 20th century. Together with Dvorak and Glinka, he played a pivotal role in the resurgence of nationalism and the increased use of non-standard harmonies, intricate rhythms, and dissonance. His music heavily borrows from folk songs, often quoting them verbatim. This interest in Magyar (native Hungarian) folk music and tradition also led him to research their music alongside Zoltán Kodály, contributing to the foundations of what is now ethnomusicology—the study of music through the lens of cultural and social practices.

Program notes by Dr

Samuel Dickenson

The Fear of Losing Touch (2023)

Oliver Muller

“When will the advancement stop?”

‘The Fear of Losing Touch’ is an exploration of the fear of a new Dark Ages, and the idea ofwhat it means to be connected. When we look into classical history, a great enlightenment rises and falls throughout all periods. The technological advancement of the Roman Empire,only to be closely followed by a plunge into the darkness of the Middle Ages. The Age of Enlightenment which inevitably destroyed itself in the beginnings of the 20th Century.

The world is now more connected than ever with new technological advancements every moment, but with this arises a fear that a collapse may happen again in the Modern Technological Age.

While exploring the ideas of a dark age and the physical nature of a toppled society, wanted to focus on a more innately human fear, to be disconnected. With the ability to message or call anyone and observe the world at large in the palm of your hand, the inevitable collapse will create a more terrifying reality of isolation.

The sound world created references a wide range of western art music against a Gregorian chant-esque melody, as I have aimed to show how, regardless of technological advancement and isolation, humans will always have a desire to connect and create community.

Program note by Composer