something of a child prodigy. At the age of ten, he played his cantata Gold for Gustav Mahler,

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1 Suite from Much Ado About Nothing Erich Wolfgang Korngold ( ) Written: 1919 Movements: Five Duration: Sixteen minutes Erich Wolfgang Korngold is most often remembered today for his brilliant Hollywood movie scores, but these are only half the story. Before emigrating from an unstable Europe in 1934, he was one of the most popular and successful composers in Europe. Korngold was something of a child prodigy. At the age of ten, he played his cantata Gold for Gustav Mahler, who declared him to be a genius. By the age of fifteen, Richard Strauss had pronounced Korngold s orchestral music amazing, adding that One s first reactions... are awe and fear. Upon arrival in the States, Korngold s Hollywood career was no less brilliant he received two Oscars (for Robin Hood and Anthony Adverse). In spite of his success in the film industry, he continued to compose and publish music for the concert hall until his death in Many decades after writing incidental music for Shakespeare s play Much Ado About Nothing, Korngold made a recording of a suite that he arranged from it. Here is his description of the music found in that suite: Overture: A whirling comedy rhythm indicates the verbal duel between the hostile lovers, Beatrice and Benedick. A lyrical second theme reveals their true feelings for each other. And the final percussion crescendo confirms with the twinkle of an eye: Much ado about nothing... Beatrice: I had rather hear my dog bark at a crow than a man swear he loves me. Benedick: God keep your ladyship still in that mind! So some gentleman or other shall 'scape a predestinate scratched face. Beatrice: Scratching could not make it worse an 'twere such a face as yours were.

2 Benedick: Well, you are a rare parrot- teacher. Beatrice: A bird of my tongue is better than a beast of yours. Benedick: I would my horse had the speed of your tongue, and so good a continuer. But keep your way O' God's name; I have done. Bridal Morning: On the morning of her wedding day, young Hero is torn between her sentiments. While she adorns herself for the wedding, she must endure vulgar jokes. Full of sinister forebodings in her heart... Margaret: I saw the Duchess of Milan's gown that they praise so. Hero: O, that exceeds, they say. Margaret: By my troth, it's but a night- gown in respect of yours, cloth of gold, and cuts, and laced with silver; set with pearls, down- sleeves, side- sleeves, and skirts round, underborne with a blueish tinsel: but for a fine, quaint graceful, and excellent fashion, yours is worth ten on 't. Hero: God give me joy to wear it, for my heart is exceeding heavy. Dogberry and Verges: March of the night guards. A grotesque jagged march rhythm, vacillating in drunkkenness, portrays the two "foolish officers" and their state of mind. Comrade: Away! you are an ass. Dogberry: Dost thou not suspect my place? Dost thou not suspect my years? 0 that he were here to write me down an ass! But masters, remember that I am an ass; though it be not written down, yet forget not that I am an ass. Intermezzo: A romantic and nostalgic cello melody. Beatrice has become conscious of her love for young lord Benedick... Beatrice: Contempt, farewell! and maiden pride, adieu! No glory lives behind the back of such.

3 And Benedick,love on: I will requite thee; Taming my wild heart, to thy loving hand; If thou dost love, my kindness shall incite thee To bind our love up in a holy band... Masquerade (Hornpipe): A gay and boisterous general dance leads to the final curtain. Benedick: Strike up, pipers! 2015 John Varineau Concerto No. 1 in G Minor for Violin and Orchestra, Op. 26 Max Bruch ( ) Written: Movements: Three Duration: 24 minutes From the long list of outstanding romantic violin works, four rise to the top: the concertos by Beethoven, Brahms, Mendelssohn and Bruch. Of those four, the greatest violinist of the nineteenth century, Joseph Joachim, called the one by Max Bruch the richest and most seductive. These days, Bruch s reputation rests almost entirely on that concerto (perhaps along with his Kol Nidrei for cello). And yet, in his lifetime, Bruch was known as a gifted performer, outstanding conductor, influential teacher and, yes, good composer. He wrote three symphonies, dozens of choral works, several operas, chamber music, and many other works for solo instruments with an orchestra. He began writing his Violin Concerto in G Minor when he was only nineteen. The very shape of the work troubled him. It didn t follow the standard concerto form, especially in the first movement. Normally that movement carries most of the weight of a concerto. It has a full exposition in which both the orchestra and soloist get to play all of the important themes, an extended working out section where those themes get developed, and then a complete recapitulation where the themes get restated in full. The normal first movement also contains an area for the soloist alone, called a cadenza. Bruch s concerto really has only the exposition, along with a cadenza, before it transitions into the second movement. Maybe he shouldn t have called the work a concerto but

4 a fantasy instead. Joachim disagreed. The last two movements are too completely and symmetrically developed. The different sections are brought together in a beautiful relationship, yet and this is the principle thing there is sufficient contrast. So a concerto it is. Joachim played the premiere of the revised version, and Bruch conducted. The second movement is the one that has the most emotional weight with its three gorgeous and romantic themes. It builds to a full climax and then fades away to nothing. The final movement contrasts a fiery gypsy- like tune with a more lyrical one. The great program annotator of the twentieth century, Donald Francis Tovey, remarked that, It is really easy for Bruch to write beautifully, it is in fact instinctive for him.... Further, it is impossible to find in Max Bruch any lapses from the standard of beauty which he thus instinctively sets himself. Too bad the rest of Bruch s output lies dormant John P. Varineau Symphony No. 7 in D Minor, op. 70 Antonín Dvořák ( ) Written: Movements: Four Duration: 35 minutes Without doubt, Dvořák s Ninth Symphony is one of the most popular symphonic works in America. Everybody knows and loves the New World Symphony. However, this wasn t the great symphony for the esteemed program annotator Donald Francis Tovey. It was Dvořák s Seventh: I have no hesitation in setting Dvořák s Seventh Symphony along with the C Major Symphony of Schubert and the four symphonies of Brahms, as among the greatest and purest examples in this art- form since Beethoven. There should be no difficulty at this time of day in recognizing its greatness. It has none of the weaknesses of form which so often spoil Dvořák s best work. In 1883, in spite of some artistic success and the ardent support of Johannes Brahms, Dvořák was still something of an unknown. The problem was that he was from Bohemia and not part of the dominant culture of the day, ruled from Vienna by the Hapsburgs. Dvořák was from the nineteenth century s version of a flyover

5 country. There was a great deal of resentment on the part of the Czechs; and for their part, the Austrians and Germans just didn t get it. Dvořák was a hero in his own country, but had not conducted outside its borders. Finally, as the result of a performance of his Stabat Mater in England, Dvořák was invited to travel to London to conduct a concert of his own works. The response was so great that the Royal Philharmonic invited him back and asked him to write a new work for them. He resolved to make this new symphony, what we now call his Seventh Symphony, with God s help, a work which would shake the world. The first movement begins in a dark and somber mood with a main theme in minor, first played by the violas and cellos, then the clarinets. This theme builds to a climax and then subsides, giving way to a spacious second theme in major, first played by the flutes. It, too, builds to a climax and then dies away to the soft beginning of the development that works through various motives of the main themes. There is the standard restatement of the opening themes, this time building to a huge climax before the whole movement dies away to nothing. The clarinet gets to start the second movement with a serene melody. Soon the flutes join in until the violins play their expressive melody. After some stormy moments this movement, too, dies away. The third movement, a scherzo, employs one of Dvořák s favorite tricks: the intentional confusion of rhythm. The violins and violas play a melody that obviously has the feel of three beats to a measure over a bass line that has the feel of two beats to a measure. This rhythmic juxtaposition persists throughout the entire movement which ends, finally, full force. The last movement begins in the minor key with a dark and stormy melody played by the cellos, horns, and clarinets. It becomes more marked and march- like before giving way to a much more lyrical theme in major. Once again, the development sections works through both themes before ushering in the recapitulation and, finally, a triumphant and brilliant close in major John P. Varineau