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"ROYAL HUNT AND STORM" (FROM
"THE TROJANS")
BERLIOZ (1803 - 69)
Berlioz spent the years 1856-8 working
on the opera which he saw as his operatic masterpiece
- the epic "Les Troyens" ("The Trojans").
Based on Virgil's "The Aeneid", Berlioz wrote
the libretto himself, and the result was a massive 5-Act
opera.
He was at first unable to get the work performed but
eventually persuaded the Théâtre-Lyrique
to stage the last three acts in 1863 under the title
"The Trojans at Carthage". It was reasonably
successful, but after the first night, the theatre management
began making further cuts to the opera. The original
first two acts first appeared in 1890 in Karlsruhe in
Germany under the title "The Fall of Troy".
The full opera "Les Troyens" had to wait until
nearly a century after its composition before it was
performed in full. Even then, in 1957, the performance
at Covent Garden was cut by 20 minutes. It was not until
May 1969 that it was performed in full, albeit in English,
by Scottish Opera in Glasgow. The first full performance
in the original French took place at Covent Garden in
September the same year.
The "Royal Hunt and Storm" opens Act 4 of
"The Trojans". In spite of the opera's troubled
performance history, this section is still performed
in the concert hall. This is slightly ironic as after
the first performance of "The Trojans at Carthage"
in 1863, this was the first section to be cut by the
theatre management - on the pretext that the set change
took an hour!
The opening of the work sees water nymphs by a forest
pool. A storm builds and at its height Dido, Queen of
Carthage, and Aeneas, leader of the Trojans appear.
They shelter in a cave. Wood nymphs and other woodland
creatures appear and dance, waving burning branches
after a tree is struck by lightning. The storm eventually
subsides and calm returns to the forest.
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CONCERTO FOR VIOLIN AND CELLO (OPUS
102)
BRAHMS (1833 - 97)
1. Allegro
2. Andante
3. Vivace non troppo
In August 1887 Brahms wrote to Simrock,
his publisher : "I must tell you of my latest folly.
It is a concerto for violin and cello. I kept thinking
of abandoning the whole idea on account of my relationship
with Joachim, but it made no difference. It's fortunate
that on artistic matters we've remained friends, but
I'd never have thought that we'd ever have any personal
dealings with each other again." Brahms and the
great Hungarian violinist Joseph Joachim had first been
introduced almost thirty five years before by Robert
Schumann and had become firm friends. Brahms composed
a number of works for Joachim and in 1878 had sent him
the draft of his violin concerto for comments. Brahms
dedicated the concerto to Joachim who subsequently gave
the first performance.
However, in 1880 a serious rift developed between the
two friends. Joachim was bringing divorce proceedings
against his wife, Amelie. Brahms openly supported Amelie.
During the summer of 1887, Brahms composed the concerto
for violin and cello. Having sketched out the concerto,
Brahms wrote to Joachim asking if "his honoured
friend would like news of an artistic nature".
Joachim replied and a clearly relieved Brahms began
a lively correspondence with both Joachim and Robert
Hausmann, the cellist in Joachim's string quartet, with
both players making suggestions regarding the solo parts.
The concerto's role in re-establishing Brahms' friendship
with Joachim was sealed when rehearsals started for
the first performance - this was the first time that
Brahms and Joachim had actually spoken since their rift.
The concerto was first performed on 18th October 1887
in Cologne with Joachim and Hausmann as soloists. It
was well received by the critics but initially was not
a popular success. It was to be his last orchestral
composition.
Brahms described the concerto as a "strange flight
of fancy". It begins with a short powerful orchestral
introduction followed by recitative-like passages by
both soloists - first separately and then together -
before a more extended orchestral passage. The second
subject recalls the opening theme of a violin concerto
by Viotti which was a particular favourite of Joachim.
The second movement is a melodic Andante, featuring
a song-like theme which first appears with the soloists
playing in unison. The Finale is a rhythmic Rondo, full
of Hungarian gypsy spirit.
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SYMPHONY NO. 2 IN D (OPUS 43)
SIBELIUS (1865 - 1957)
1. Allegretto
2. Tempo andante, ma rubato
3. Vivacissimo
4. Finale (Allegro moderato)
The development of Sibelius the symphonist
saw a progression from the relatively conventional first
symphony with its roots in the music of Tchaikovsky,
through the sunnier second, to the subdued almost chamber
music quality of the third. By this time Sibelius had
shaken off the constraints of the past and set off down
a new musical path. His aim seemed to be to "concentrate"
his music in its purest form and this resulted in a
series of terse and almost abrupt symphonies. This culminated
in his final completed symphony, the seventh, which
contains the conventional four symphonic movements compressed
into a super-concentrated twenty-minute single movement.
This development was unique in twentieth-century music
and a complete contrast to the music of Mahler, Richard
Strauss, Scriabin and the late romantics. Sibelius commented
on their parallel paths stating that while other composers
were "manufacturing heady cocktails of all colours",
he was serving up "pure cold water".
Sibelius' second symphony began to take shape during
the winter of 1900-01. He had taken his wife and daughter
to Italy and worked on sketches for the symphony during
this holiday. Italy was Sibelius' second favourite country
(naturally after Finland!) and many commentators have
commented that the sunny and relaxed nature of the second
symphony reflects the Italian influence. However, it
is perhaps worth mentioning that "Tapiola",
probably the coldest and bleakest of his compositions,
was also written in Italy! Sibelius returned to Finland
and began to work in earnest on the symphony while staying
at his mother-in-law's estate at Lojo during the autumn
of 1901. By November, the symphony was almost complete
but he spent the next few months revising it before
its first performance which took place on 8th March
1902 in Helsinki with Sibelius conducting. The symphony
was seen by many, including Robert Kajanus (Finland's
leading conductor), as being a nationalist work - an
expression of Finland's struggle against Russian interference
- in much the same way as "Finlandia" had
been two years earlier. Sibelius, however, denied any
nationalist intent - he saw it as being largely an abstract
work.
The first movement is a gentle allegretto beginning
with a pulsing figure in the violins which becomes the
accompaniment to the main theme - a jolly melody introduced
by the woodwind. The movement progresses to a powerful
climax before it draws quietly to a close. The Andante
begins with plucked strings through which a bassoon
melody appears. Throughout the movement, there is a
feeling of developing tension and it concludes in an
almost tragic atmosphere. The scherzo sets off at a
blistering pace in the strings. This is interrupted
by a beautiful trio section introduced by an oboe melody.
Both are repeated, but instead of a final reappearance
of the scherzo, Sibelius introduces a transitional passage
leading directly into the Finale which starts with a
glorious melody in the strings. The movement is a combination
of brooding development and passionate climaxes which
build to one of Sibelius' most inspiring and majestic
conclusions .
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