bbc symphony orchestra · (in d minor) and a double concerto for violin and piano. but his only...

BBCSymphonyOrchestraVeronika Eberle violin

James Gaffigan conductor

Hartmann Adagio (Symphony no. 2)

Mendelssohn Violin Concerto in E minor

INTERVAL

Brahms Symphony no. 4 in E minor

Tue 14 May, 7.30pmBrighton Dome Concert Hall

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The Steinway concert piano chosen and hired byBrighton Festival for this performance is supplied andmaintained by Steinway & Sons, London

BF011_2013BBCSO_AW:BF1 / LSO artwork 17/05/2013 12:55

Adagio (Symphony no. 2)

Karl Amadeus Hartmann, who died 50 years ago this year, was a highlyindividual and much respected figure in the musical life of postwar WestGermany. Born into an artistic family in the Bavarian capital of Munich, hestudied at the Academy there and with the pioneering conductor HermannScherchen; later, during World War II, he had lessons from Anton Webern.His political views, inherited from his family and strengthened during themaelstrom that preceded the establishment of the Weimar Republic, weresocialist. In 1933 and 1934 he composed an orchestral work, Miserae,dedicated to the early victims of the Dachau concentration camp; it wasplayed at an international festival in Prague but banned by the Nazigovernment. After that, though, Hartmann chose not to emigrate — as did somany of his colleagues — but to remain in Germany in ‘internal exile’,withdrawing from public life (with the support of his independently wealthywife) and not allowing his works to be performed in the Reich. Emerging fromthe war untainted by connections with Fascism or communism, Hartmannfounded and directed the Musica Viva concert series in Munich, whichrevitalized the German contemporary-music scene. He had received manyhonours in his native country and abroad by the time of his death, in Munichon 5 December 1963.

Hartmann’s music is difficult to categorize: because he owed allegiance to noschool or movement (despite his lessons with Webern, he never adoptedserial techniques) but reinvented his language and methods for each work.Even in the radical climate of post-war Germany he clung to the traditionalgenre of the symphony, composing eight altogether. The first six date from thedecade after the war, and are all reworkings of earlier compositions, mostlyfrom the wartime era. The Adagio for large orchestra, which he designatedSymphony no. 2, was revised in 1945–6 from a movement of a symphonicsuite written in 1943 with the title Vita nova (‘New life’). It was firstperformed, under the direction of Hans Rosbaud, at the DonaueschingenFestival of contemporary music in September 1950. It is dedicated to PaulCollaer, who championed the music of Hartmann and many other composersas a writer and as director of music for Belgian Flemish radio.

Karl Amadeus Hartmann(1905–63)


Karl Amadeus Hartmann


The Symphony is in a single movement lasting about 15 minutes. The maintitle of Adagio is generic, as it was for Bruckner in his symphonic slowmovements: although the work begins and ends Adagio, it contains a wealthof more detailed tempo indications, many of them asking for rubato (detailedfluctuations of speed). What is constant is its 5/4 metre, which is maintainedthroughout. Bruckner’s symphonies also provide a model for the work’sconstruction, in clearly articulated paragraphs defined by texture. But thissectional construction, and the inner life and vivid colouring of some of thetextures, also look ahead to the later orchestral music of Witold Lutosławski.

The Symphony has an introduction in which recitative-like statements by thelower strings are twice answered by a ‘curtain wall’ of translucent texture,featuring glockenspiel, vibraphone, harp, celesta and piano. A baritonesaxophone then presents a long unaccompanied melody, restricted incompass like a passage of plainchant but with oriental-sounding decorations;this has a postlude in which the melody is echoed by flute and strings, over arepeated rhythmic figure on timpani. What follows is a series of episodes inwhich the saxophone melody is taken up by different instruments in turn, freelyvaried and extended in the same vein, accompanied by textures consisting ofechoes, counter-melodies and overlapping repeated patterns; these variationepisodes are sometimes separated by transitional interludes, from which thebasic melody is absent.

Throughout this sequence, the tempo gradually increases; and at one point,about two-thirds of the way through, it puts on a notable spurt in a crescendorequiring two timpanists. This marks a departure from the domination of themelody, initiating a varied series of interludes that finally arrives at the pointwhich Hartmann marked with the word ‘Höhepunkt’ (‘climax’): a passage ofteeming textures and pounding timpani in which the melody returns,declaimed by trumpets and trombones in a version close to the originalsaxophone statement. The climax subsides towards an eerie coda in whichthe clarinet takes up the melody; and the symphony ends by recalling theintroduction, in a swelling passage resembling the second ‘curtain wall’, anda closing recitative for the cellos and basses.

© Anthony Burton


Felix Mendelssohn (1809–47)

Felix Mendelssohn

Violin Concerto in E minorAllegro molto appassionato —Andante — Allegretto non troppo — Allegro molto vivace

Felix Mendelssohn studied the violin as well as the piano from an early age,well enough to play it — and later the viola — in orchestras and chambermusic. During his prodigious early years, he composed a violin concerto (in D minor) and a double concerto for violin and piano. But his only otherconcerto for the instrument dates from much later in his all-too-short life. It wasintended from the start for his friend Ferdinand David, leader of the LeipzigGewandhaus orchestra of which Mendelssohn was conductor from 1835until his death. In July 1838 he wrote to David: ‘I should like to write a violinconcerto for you next winter. One in E minor runs through my mind, thebeginning of which gives me no peace’. But he did not return to the projectin earnest until the summer of 1840, and he completed the work only inSeptember 1844. Even after that, as a recent edition and recording of the1844 version have shown, he made numerous changes, often in consultationwith David: he adjusted details of the scoring, recast many solo passages(often moving them into a higher register) and completely rewrote the openingsection of the cadenza. The first performance finally took place at aGewandhaus concert in March 1845, with David as soloist andMendelssohn’s Danish colleague and friend Niels Gade conducting.

The Concerto owes its abiding popularity to its combination of Classicalgrace and Romantic warmth. This is mirrored in its formal design: although itbelongs in the tradition of three-movement concertos established by Mozartand Beethoven, it also has elements of the newer type of continuous virtuosoconcerto pioneered by Weber in his piano Konzertstück and Spohr in hisviolin Gesangsszene. The opening movement, for example, lacks thetraditional weighty orchestral prelude; instead, a mere bar and a half ofaccompaniment precedes the soloist’s entry with the singing first melody. Notuntil after an extended solo passage does the full orchestra take up thistheme, fortissimo, with a new tail-piece that prompts a second flight of sololyricism and virtuosity. The tranquillo second subject is introduced by the flutesand clarinets, accompanied by the solo violin on the open G string, but issoon taken over by the soloist. The ‘codetta’, the closing paragraph of thisinitial exposition section, begins with the opening theme, now in the major,


and culminates in declamatory exchanges between orchestra and soloist thatcarry the movement seamlessly into the development section.

The development is relatively short but ends with another significant formalinnovation. The cadenza, which in the Classical period was usually left to thesoloist and always placed near the end of the movement, is fully written outand acts as a bridge from the development to the recapitulation, its regulararpeggios continuing under the orchestra’s quiet restatement of the openingmelody. The soloist is then in almost continuous action throughout therecapitulation and the coda, which accelerates in stages to Presto.

At the end of this coda, the first bassoon sustains its note of the final chord, aB, and then moves up to C, beginning the process of establishing C major asthe key of the slow movement — a transition that must have taken audiencesby surprise at a time when applause between movements was the norm. Thestrings set up a gently rocking rhythm in 6/8 time, over which the soloistunfolds a long, serene singing line, subtly reinforced at intervals by clarinetsand bassoons. There is a restless middle section in A minor, more fully scored,with an accompaniment of continuous murmuring demisemiquavers, sometimesin the orchestral strings and sometimes as the lower element of the double-stopped solo part. These murmurings persist for a while under the return of thefirst melody, but soon die out as calm is restored.

The Andante comes to a full close, but the work’s feeling of continuity issustained by a brief, expressive interlude for the soloist and the strings thatleads into the finale. This is in E major, the key of Mendelssohn’s youthfulMidsummer Night’s Dream Overture, with which it shares a light-footed,mercurial athleticism. The movement is dominated by its sparkling main theme,and in particular by the distinctive rhythm of its first two bars; this even cropsup in the principal subsidiary idea, an ebullient march tune. For goodmeasure, in the middle reaches of the movement the main theme acquires acounter-melody of characteristic smoothness. The finale ends with a coda thatbrings back both the main theme and the march and that reaches a perfectlyplaced and voiced climax, with the solo violin soaring to the very top of itscompass.

© Anthony BurtonAnthony Burton is a writer, broadcaster and pre-concert speaker; he edited the AssociatedBoard Performer’s Guides


Symphony no. 4 in E minorAllegro non troppoAndante moderatoAllegro giocosoAllegro energico e passionato

Brahms’s last symphony confused and dismayed his admirers when they firstheard it, tried out in an arrangement for two pianos. The critic EduardHanslick felt he was ‘being beaten over the head by two terribly clever men’.Brahms’s biographer Max Kalbeck advised the composer to throw the scherzoin the wastepaper basket and publish the finale as a separate work. Even hisclose friends Clara Schumann and Elisabet von Herzogenberg found the workterribly severe, though the latter, after detailed study at the piano, soonrealized it was a masterpiece. Brahms was disappointed by their reactionsbut changed nothing for the first performance, which he conducted on 27October 1885 at Meiningen. Immediately afterwards the MeiningenOrchestra took the new symphony on tour, and it began to be recognized forits true, and extraordinary, worth.

The Fourth Symphony in fact represents Brahms’s supreme achievement inorchestral music: the most impressive result of his lifelong struggle to revivifythe strict musical architecture of the Baroque and infuse it with thesupercharged passion of the Romantic era in which he lived. Though it wascomposed during the summers of 1884 and 1885 in the Austrian village ofMürzzuschlag, Brahms had been pondering the most remarkable movement,the finale, for some years. About 1880, at the Berlin home of the conductorSiegfried Ochs, Brahms discussed the church cantatas of J.S. Bach with amore famous maestro, Hans von Bülow. During the conversation Brahmsplayed the final chorus of Cantata no. 150 (‘Nach dir, Herr, verlanget mich’)on the piano — a chorus Bach had written in the form of a chaconne:continuous variations on a ground-bass theme. (Bach’s cantata was stillunpublished; the manuscript Brahms played from, given him by the Bachscholar Philipp Spitta, still exists.) ‘What would you think’, he asked vonBülow, ‘of a symphonic movement written on this theme some day? But it’s tooheavy, too plain. It would have to be chromatically altered in some way.’

And so it befell: in the finale of Symphony no. 4 Brahms revived the ancientform of passacaglia (a more elaborate form of chaconne, the theme of whichcan appear in any register, not just the bass) with incalculable consequences

Johannes Brahms (1833–97)

Johannes Brahms


photo: Lara Platman


for symphonists who came after him, from Alexander Zemlinsky to AlexanderGoehr. Brahms’s finale theme, derived from Bach’s cantata bass, is modifiedin rhythm and gains a single chromatic degree, an antepenultimate A sharp,which vastly increases its drama and permits Brahms to use the full resourcesof late 19th-century harmony. This inspired marriage of the contemporary andthe archaic is reflected throughout the symphony, in which epic tragedy andmelodic lyricism find their most powerful — and most quintessentiallyBrahmsian — expression in the composer’s entire output.

The clouded and troubled first movement already contains the seeds of thefinale. The almost matter-of-fact beauty of its opening subject, its deliberatemotion, vibrantly ambiguous harmony and most of all its intricate architecture(the long-spanned, eloquent themes develop out of the smallest motifs andintervals) all foreshadow elements to be developed in each of the fourmovements, and to come to full fruition in the last. The second subject beginswith fanfares and passes to a glorious, impassioned cello theme. After aneventful development of these themes, the recapitulation starts in a passage ofprofoundest mystery: the first notes of the opening theme appear enshroudedby nebulous, swirling string writing. From this enigmatic withdrawal the musicgathers force and splendour all the way to an ending of tragic vehemence.

The gorgeous slow movement, which opens with a Romantic horn-call,continually plays off the austere colouring of the ancient, ecclesiasticalPhrygian mode (the opening theme, for woodwind and pizzicato strings)against the ardent warmth of a fully developed E major (the great singingtune of the second subject, first heard on cellos). This creates a deep-huedharmonic colouring and an intensely elegiac atmosphere which, after thetension and eventual assuagement of the development section, culminates andcloses in a wonderful glow of autumnal melancholy.

The C major third movement — the last to be written, and the only truesymphonic scherzo Brahms composed — disperses these sombre shadowswith an intoxicating physical energy and rhythmic urge. Even the appearanceof the triangle (the only time Brahms used this instrument) merely serves toburnish the steely brightness of mood. This is an amazingly concentratedsonata structure with a lengthy coda that accumulates enormous impetus overa long, pulsing dominant pedal in the timpani, finally unleashing its full forcein the choleric and exultant concluding bars.

The passacaglia finale consists of the theme derived from Bach (announcedby the brass), 30 variations and a coda: a tightly woven sequence, almost


entirely confined to E minor. The individual eight-bar variations groupthemselves into large paragraphs to give a semblance of sonata shape. Thereis no need to detail each one, especially as the sense of continuous,irresistible flow of ideas is undoubtedly the most important aspect of themovement. Any listener, however, can recognize the infinite pathos of thecentral turn to the major key, with the eloquent, imploring flute solo ofVariation 12, closely followed by two slow, funereal variations in sarabanderhythm, with mysterious trombones.

The theme bursts out afresh in E minor to signal the second half of themovement, where Brahms applies ever-increasing pressure to his subject, todisclose its infinite latent possibilities. At last it breaks out of its E minorconfinement into the thrilling modulations of the coda, which crowns thesymphony with an outburst of magnificent, wintry resolve. The theme is stilldefiantly growing and reshaping itself, even as it is terminated by the finalcadence.

© Calum MacDonaldCalum MacDonald is a writer, lecturer and broadcaster, and editor of Tempo (theinternational quarterly review of modern music, published by Cambridge University Press);his many books include the ‘Master Musicians’ volumes on Brahms and Schoenberg


Biographies

Veronika Eberle violinVeronika Eberle was born in 1988 in Donauwörth, Germany, where she began her studies at theage of six. She subsequently studied with Olga Voitova at the Richard Strauss Konservatorium,Munich, and privately with Christoph Poppen; she currently studies with Ana Chumachenco at theHochschule für Musik und Theater, Munich. She established her international career in 2006,performing Beethoven’s Violin Concerto with the Berlin Philharmonic Orchestra under Simon Rattleat the Salzburg Festival. Her subsequent concerto engagements have included appearances withthe Los Angeles Philharmonic, New York Philharmonic, Bamberg Symphony, RotterdamPhilharmonic, City of Birmingham Symphony, Helsinki Philharmonic, Dresden Philharmonic andMunich Chamber Orchestras, and the Zurich Tonhalle Orchester. She has collaborated with suchleading conductors as Rattle, Marriner, Ticciati, Nézet-Seguin, Kreizberg and Paavo Järvi. Thisseason she makes her debuts with the Royal Concertgebouw Orchestra, the Leipzig GewandhausOrchestra, the St Paul Chamber Orchestra and the Scottish Chamber Orchestra. She hasappeared in recital at Carnegie Hall, New York; the Mozarteum, Salzburg; the Herkulesaal,Munich; the Concertgebouw, Amsterdam; the Tonhalle, Zurich; and the Lucerne Festival. She is adedicated chamber musician, her regular partners including Lars Vogt and Renaud Capuçon, andher recent engagements include appearances at the Queen Elizabeth Hall, the Concertgebouw,Amsterdam, and the Berlin Konzerthaus.

James Gaffigan conductorBorn in New York in 1979, James Gaffigan studied at the New England Conservatory of Music,Boston, and the Shepherd School of Music at Rice University, Houston. He also attended theAmerican Academy of Conducting at the Aspen Music Festival and School, and was aconducting fellow at the Tanglewood Music Center. He won the 2004 Sir Georg SoltiInternational Conducting Competition. Formerly Assistant Conductor of the Cleveland Orchestra(2003–06) and Associate Conductor of the San Francisco Symphony Orchestra (2006–09), heis currently Chief Conductor of the Lucerne Symphony Orchestra, Principal Guest Conductor of theNetherlands Radio Philharmonic Orchestra and Principal Guest Conductor of the GürzenichOrchestra, Cologne. His recent engagements include appearances with the leading orchestras ofEurope and the USA; this season he makes his debuts with the Gothenburg Symphony and BerlinRadio Symphony Orchestras and returns to the Munich and Rotterdam Philharmonic Orchestras,and the MDR Leipzig Radio and Bournemouth Symphony Orchestras. Since his opera debut in2005, conducting La bohème in Zurich, his opera engagements have included La bohème andDon Giovanni at the Vienna Staatsoper; Così fan tutte and La Cenerentola at Glyndebourne,where he conducts Falstaff this season; Don Giovanni and Le nozze di Figaro at the Aspen MusicFestival; and Le nozze di Figaro in Houston.

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BBC Symphony Orchestra

Sakari Oramo chief conductorSemyon Bychkov Günter Wand conducting chairJiří Bělohlávek, Sir Andrew Davis conductors laureateOliver Knussen artist in associationPaul Hughes general manager

Founded in 1930, the BBC Symphony Orchestra (BBC SO) enjoys the highest broadcast profileof any UK orchestra, with most of its concerts broadcast on BBC Radio 3, streamed live onlineand available through BBC iPlayer. It performs about a dozen concerts each year at the BBCProms, including the First and Last Nights, and is also Associate Orchestra of the Barbican inLondon. The Orchestra has a strong commitment to contemporary music, with recent performancesincluding premieres of works by Jiří Kadeřábek, Jonathan Harvey, György Kurtág, AlexanderGoehr, Einojuhani Rautavaara and Kalevi Aho. Highlights in its 2013–14 season include sixconcerts with its new Chief Conductor, Sakari Oramo; Britten’s War Requiem at the Royal AlbertHall; Albert Herring at the Barbican; Total Immersion days celebrating the 100th anniversary ofStravinsky’s The Rite of Spring and the music of Thea Musgrave and of Villa-Lobos; and current touring plans include performances in Asia, Switzerland and Spain. It is committed toeducation work, its ongoing projects including BBC SO Plus Family, BBC SO Family Orchestraand Chorus, Total Immersion composer events and work in local schools. Extensive collaborationsare planned with the Barbican, Hammersmith & Fulham Music Services, the Royal College ofMusic and the Guildhall School of Music and Drama.

photo: Lara Platman


First violinsStephen Bryant leaderAnna Colman sub leaderRichard AylwinJeremy MartinRuth Ben-NathanRegan CrowleyCelia WaterhouseColin HuberShirley TurnerAnna SmithNi DoJulian TraffordJuliet LeeDorina Markoff

Second violinsRuth Schulten guest principalDawn Beazley co-principalRuth HudsonDaniel MeyerHania GmitrukVanessa HughesPhilippa BallardDanny FajardoLucy CurnowTammy SeCaroline BishopEdward Barry

ViolasNorbert Blume principalCaroline Harrison co-principalAudrey HenningMichael LeaverCarolyn ScottMary WhittlePeter MallinsonMatthias WiesnerBryony MycroftNigel Goodwin

CellosGraham Bradshaw co-principalTamsy KanerMarie StromMark SheridanClare HintonMichael AtkinsonAugusta Harris Bozidar Vukotic

Double bassesNikita Naumov guest principalRichard AlsopMichael ClarkeMarian GulbickiAdolf MinkBeverley Jones

FlutesDaniel Pailthorpe co-principalTomoka Mukai

PiccoloKathleen Stevenson

OboesRichard Simpson principalRachel Harwood-White

Cor anglaisHelen Vigurs

ClarinetsJames Burke co-principalPeter Davis

Baritone saxophoneMartin Robertson

BassoonsJulie Price co-principalJulie Andrews

ContrabassoonClare Webster

HornsNicholas Korth co-principalMichael MurrayAndrew AntcliffChristopher LarkinNicholas Hougham

TrumpetsGareth Bimson co-principalMartin HurrellMiles Maguire

TrombonesRoger Harvey co-principalDan Jenkins

Bass trombonePaul Lambert

TubaJonathan Riches

TimpaniChristopher Hind co-principal

PercussionAlex Neal co-principalFiona RitchieJoseph CooperGiles HarrisonMatthew RichBen Fullbrook

HarpLouise Martin co-principal

PianoJanet Simpson

CelestaJohn Reid


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bbc symphony orchestra · (in d minor) and a double concerto for violin and piano. but his only...

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