PROGRAM NOTES
Overture to the Opera, The Barber of Seville
Gioachino Rossini
Born February 29, 1792, in Pesaro, Italy; died November 13, 1868, in Paris Gioachino Rossini wrote 36 operas between 1810 and 1829, after which he abandoned writing for the theater. The greatest of his operas is his comic masterpiece, The Barber of Seville, which was first performed on February 20, 1816, in Rome. The libretto for it, by Cesare Sterbini, is based on the Beaumarchais play of 1775, whose other play, The Marriage of Figaro, had been transformed into an opera by Mozart in 1786. There is another earlier operatic Barber of Seville written by Giovanni Paisiello (1740-1816), a composer whom Mozart greatly admired. Paisiello’s Barber was first performed in 1782, and its lasting popularity was an obstacle to the early success of Rossini’s.
The two Beaumarchais plays (and the operas based on them), concern many of the same characters at two different periods in their lives. In this one, young Figaro, the barber, becomes involved with two suitors for the hand of Rosina, who becomes the Countess in Mozart’s opera.
Rossini is supposed to have composed an overture in the Spanish style for The Barber of Seville, but it was lost after an early performance and was replaced with this one, which had been written earlier. Since the overture was always the last part of an opera Rossini composed, finishing it sometimes as late as the very day of the premiere and sometimes even after it, occasionally it was necessary for an overture that had been composed for an earlier opera to be performed at the premiere of a new opera. This overture had already been used for two of Rossini’s serious operas about royalty, Aureliano in Palmyra (1813) and Elizabeth, Queen of England (1815). Perhaps Figaro, the witty, democratic barber, never had an overture of his own, but he gave this brilliant piece immorality with his name on it.
The overture is scored for piccolo and two flutes, pairs of oboes, clarinets, bassoons, horns and trumpets, three trombones, timpani, bass drum, and strings.
Concerto for Violin and Orchestra, No. 2, in E minor, Op. 64
Felix Mendelssohn
Born February 3, 1809, in Hamburg; died November 4, 1847, in Leipzig
Touted by some as the “perfect” concerto, Mendelssohn’s Violin Concerto No. 2 has a romantic feeling, melodic polish, and refinement that contribute to making it one of the most performed and beloved of all violin concertos. Mendelssohn wrote this iconic work in 1844 for his friend Ferdinand David (1810-1873). The two musicians were born in the same house in Hamburg, less than a year apart, but they did not meet until Mendelssohn was 16. In 1835, when Mendelssohn became the conductor of the Leipzig Gewandhaus Orchestra, he appointed David concertmaster, a post he held for 37 years.
As far back as 1838, Mendelssohn had written to David, “I should like to write a violin concerto for you next winter. One in E minor is running through my
head, and its opening gives me no peace.” Mendelssohn did not compose the concerto that winter. Although David kept pressing him for it, Mendelssohn took five more years to complete the work. During that time, the composer and violinist held many consultations over the details of the work. Mendelssohn sent the score to his publisher in December 1844, but then revised it further. In the end, David was responsible for much of the character of the violin writing, and he probably wrote most of the cadenza.
David was, of course, was the soloist in the first performance at a Gewandhaus concert on March 13, 1845. Unfortunately, Mendelssohn was ill, and the Danish composer Niels Gade conducted. Two weeks later, David wrote to Mendelssohn, “I should have written you earlier of the success that I had with your Violin Concerto . . .. It was unanimously declared to be one of the most beautiful compositions of its kind.”
The concerto has three movements that are played without pause in a continuous flow of music. Mendelssohn’s precedent for this was his own Scottish Symphony where he also went from one movement to another without a break. In this piece, over which he worked for seven years, Mendelssohn deviated from the traditional lineaments of the classical concerto form with such success that this work influenced the development and evolution of the concerto for the next century.
The first movement, a melodious Allegro molto appassionato, begins in a highly original way. Deviating from the traditional convention that the orchestra is the first to introduce the principal themes before the soloist enters, here the violin soloist immediately announces the theme on which the movement is based. Encompassing the highest, most brilliant range of the instrument in the first theme, the violin sings the lowest note in its range in the second theme. Again, Mendelssohn changes the established structure of the concerto when he places the solo cadenza not at the very end of the movement as was traditional, but instead before the return of the first theme.
A single, sustained note on the bassoon connects the first movement to the next, a simple and beautiful Andante, like one of the Songs without Words that Mendelssohn wrote for piano. In the development section, Mendelssohn introduces a contrasting theme that can only be characterized as darker, as well as restless and agitated with the entrance of the trumpet and timpani.
The second and third movements have no pause between them either: the bridge is a small, wistful intermezzo; a brief introduction, Allegretto non troppo, ushers in the brilliant finale, Allegro molto vivace. This final rondo begins with trumpet, horn, bassoon, and drums, with the violin joining in to answer them in arpeggios before declaring the first joyous theme. After the development section, the movement closes with melodic and rhythmic intensity in high spirits. The violinist reaches a high E in the last bar.
The orchestral accompaniment of the concerto calls for flutes, oboes, clarinets, bassoons, horns and trumpets in pairs, timpani, and strings.
Symphony No. 2, in D Major, Op. 73
Johannes Brahms
Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna
It took Johannes Brahms 14 years to complete Symphony No. 1. Although initially not a great success, it gave him the courage to begin a second symphonic work almost immediately. Finished within a year, the idyllic Symphony No. 2 was identified with Beethoven’s “Pastoral” Symphony No. 6. Even though it has a more monumental tone, its listeners initially felt that this symphony exudes cheerfulness, repose, and pastoral simplicity. Yet a darker undercurrent flows through it; Brahms described the symphony to Clara Schumann as “elegiac in character,” which probably explains why Brahms unabashedly mixed the brightness of major tonalities with poignant intimations of the minor. Brahms felt alternately evasive, flippant, or disparaging about the symphony; he wrote to Dr. Theodor Billroth, “I don’t know if I have a pretty symphony. I must inquire of skilled persons.” He sent an oversimplified description to his great admirer, Elisabet von Herzogenberg, a skilled amateur musician with a good sense of humor: “You just sit down at the piano, put your little feet on the two pedals in turn, and strike the chord of F minor [which Brahms thought very gloomy] several times in succession, first in the treble, then in the bass, fortissimo and pianissimo, and you will gradually gain a vivid impression of my ‘latest’!” Brahms joked about his new symphony until the eve of the premiere when he wrote, “The orchestra here plays my Symphony with mourning bands on their sleeves because of its dirge like effect. It is to be printed with a black border, too.” Brahms even referred to the “signature of this music” as in a “state of melancholy.”
At the December 30, 1877, premiere, the Vienna Philharmonic Orchestra, conducted by Hans Richter, did not immediately captivate the audience, but as the music progressed, enthusiasm mounted; Richter was obliged to repeat the third movement.
Symphony No. 2 does have serious moments, but few somber ones. This, Brahms’ longest symphony, has bright, sunny themes and many contrasts that dominate in this overall lyrical work. The first two movements, much longer than the third and fourth, blend “with their grand tone” what musicologist Reinhold Brinkmann calls “idyll and elegy.” The expansive first movement, Allegro non troppo with an opening subject for winds and horn, projects melodiousness. Brinkmann feels the principal subject “clearly recalls the main subject of Beethoven’s Eroica Symphony” rather than his Pastoral. The second theme is wistful, nostalgic, and graceful, but the development has a more passionate nature. The idyllic character is interrupted by a succession of almost stormy passages, distinguished by a strong brass presence. The first theme calmly returns in the oboes, and the movement ends with a coda in which the horn creates a fascinating effect followed by a quaint pizzicato string accompaniment.
The gravest of the movements is the romantic yet elegiac Adagio non troppo, an expressive cantilena in sonata form. The longest slow movement to be found in his symphonies and one of the most beautiful, it opens with a passionate cello
theme with a melancholy bassoon counterpoint. The movement has neither a completely major nor minor character; ambiguously, much of it seems off balance metrically and tonally.
Brahms never wrote a true scherzo for a symphony. The light, short third movement, a serene and cheerful Allegretto grazioso (quasi Andantino), sports, as Brinkmann proclaims, “a sequence of contrasting Bohemian dances.” Only hinting at a minuet, this charming intermezzo has a Haydn-like spirit. It begins with an exquisite pastoral woodwind melody with pizzicato cello arpeggios in the character of a traditional Austrian dance, the ländler, constructed here on an inversion of the three-note motive with which the symphony begins. The movement is based on rhythmical variation; the ländler transforms into a “Galop,” based on duple rhythm. Eventually, it becomes a “pungent quick waltz” as the movement incorporates some meditative moments and two faster trios or contrasting middle sections, Presto, ma non assai, each a variation on the principal theme.
The finale, Allegro con spirito, in sonata form, overflows with thematic ideas, some derived directly from the first movement. Brahms quickly changes tone color as the gay movement proceeds with increasing vigor. Probably the most athletic and joyful movement Brahms composed for a symphony, it celebrates orchestral power and concludes with trombones playing a joyful ode.
The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.
— Program notes © Susan Halpern, 2024
ACADEMY OF ST MARTIN IN THE FIELDS
The Academy of St Martin in the Fields (ASMF) is one of the world’s finest chamber orchestras, renowned for fresh, brilliant interpretations of the world’s greatest orchestral music.
Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the ASMF gave its first performance in its namesake church in November 1959. Through unrivalled live performances and a vast recording output—highlights of which include the 1969 bestseller Vivaldi’s Four Seasons and the soundtrack to the Oscar-winning film Amadeus—the orchestra gained an enviable international reputation for its distinctive, polished, and refined sound. With more than 500 releases in a much vaunted discography and a comprehensive international touring program, the name and sound of the ASMF is known and loved by classical audiences throughout the world. Today the orchestra is led by Music Director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductorless ensemble which is an ASMF hallmark. Under Bell’s direction, and with the support of Leader/Director Tomo Keller, ASMF continues to push the boundaries of player-directed performance to new heights, presenting symphonic repertoire and chamber music on a grand scale at prestigious venues around the globe.
ASMF has enjoyed a full 2023, including a European tour with Joshua Bell, a visit to the U.S. with cellist Gary Hoffman and mandolinist Avi Avital, concerts across Germany and Italy with pianist Seong-Jin Cho, festival performances at Bravo! Vail, and features at multiple German summer festivals. A busy 2023-24 season has already included a tour of Australia with Joshua Bell and a live screening of Amadeus at the Royal Albert Hall, with a tour of Germany with Beatrice Rana and Adam Fischer, appearances in Spain with Julia Fischer, multiple visits to the U.S. with our Chamber Ensemble, and an extensive tour of the U.S. with Joshua Bell to come.
Marriner 100, in April 2024, forms the centerpiece of our season in a series of special concerts and events to celebrate the life and legacy of our founder, Sir Neville Marriner, in his centenary year. At the heart of the festivities will be four UK concert performances, each at a significant venue in Marriner’s musical life, and showcasing the versatility and musical excellence of ASMF. The season is inspired by Sir Neville’s entrepreneurial spirit, and the many ways in which his musical achievements continue to influence the orchestra today and into its future.
The ASMF continues its dedication to learning and participation, taking the player-directed essence of the ensemble and working with communities across London and beyond to increase well-being, connectedness, and autonomy. This includes work with schools, people experiencing homelessness, and supporting the next generation of orchestral musicians through collaborations with Southbank Sinfonia.
ACADEMY OF ST MARTIN IN THE FIELDS
Joshua Bell, Music Director and Violinist
VIOLIN
Joshua Bell
Music Director
Harvey de Souza
Principal First Violin
Martin Burgess
Principal Second Violin
Jennifer Godson
Associate Principal Second Violin
Fiona Brett
Sijie Chen
Janice Graham
Martin Gwilym-Jones
Clare Hayes
Antonia Kesel
Richard Milone
Miranda Playfair
Rebecca Scott
Kathy Shave
Amanda Smith
VIOLA
Ian Rathbone
Alexandros Koustas
Matt Maguire
Catherine Bradshaw
Richard Cookson
CELLO
Richard Harwood
Will Schofield
Juliet Welchman
Judith Herbert
Reinoud Ford
BASS
Lynda Houghton
Ben Russell
Alice Kent
FLUTE
Michael Cox
Sarah Newbold
OBOE
Tom Blomfield
Rachel Ingleton
CLARINET
James Burke
Thomas Lessels
BASSOON
Julie Price
Lorna West
HORN
Stephen Stirling
Joanna Hensel
Peter Francomb
Jamie Shield
TRUMPET
Mark David
William O’Sullivan
TROMBONE
Becky Smith
Andrew Cole
Joe Arnold
TUBA
Ben Thomson
TIMPANI
Louise Goodwin
ACADEMY OF ST MARTIN IN THE FIELDS
Chief Executive: Annie Lydford
Executive Director, Concerts and Planning: Tim Davy
Head of Concerts and Tours: Hannah Bache
Concerts and Tours Manager: Aimee Walton
Orchestra Personnel Manager: Lesley Wynne
Librarian: Hal Hutchinson
Director of Development and External Affairs: Chris Martin
Head of UK Development: Amy Scott
Head of U.S. Development: Jacob Cohen
Marketing Manager: Alex Robinson / Rose Hall
Head of Social Purpose: Callum Given
Anna Galloway: Performance and Projects Assistant
Georgina Hamilton: Development and Marketing Assistant
PR Consultant: Rebecca Driver Media Relations
Finance Manager: Silvia Ferrini
ACADEMY OF ST MARTIN IN THE FIELDS
For Opus 3 Artists
Robert Berretta, Managing Director
Benjamin Maimin, Chief Operating Officer
Jemma Lehner, Associate Manager
FOR THE ACADEMY OF ST MARTIN IN THE FIELDS TOUR
Leonard Stein, Consulting Producer
Miki Takebe, Manager, Touring and Logistics
Peter Katz, Touring Coordinator
Sarah Vardigans, Company Manager
