Concerts of Thursday, February 1, and Saturday, February 3, 2018, at 8:00p

Concerts of Thursday, February 1, and Saturday, February 3, 2018, at 8:00p Robert Spano, Conductor Jorge Federico Osorio, piano Ludwig van Beethoven (1770-1827) Symphony No. 1 in C Major, Opus 21 (1800) I. Adagio molto; Allegro con brio II. Andante cantabile con moto III. Menuetto. Allegro molto e vivace IV. Adagio; Allegro molto e vivace Concerto for Piano and Orchestra No. 2 in B-flat Major, Opus 19 (1795) I. Allegro con brio II. Adagio III. Rondo. Molto allegro Jorge Federico Osorio, piano Intermission Concerto for Piano and Orchestra No. 3 in C minor, Opus 37 (1803) I. Allegro con brio II. Largo III. Rondo. Allegro Jorge Federico Osorio, piano

Notes on the Program by Ken Meltzer Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. Symphony No. 1 in C Major, Opus 21 (1800) The first performance of the Symphony No. 1 took place at the Burgtheater in Vienna on April 2, 1800, with the composer conducting. The Symphony No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Approximate performance time is twenty-six minutes. First Classical Subscription Performance: December 1, 1946, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: February 11 and 13, 2010, Roberto Abbado, Conductor. Ludwig van Beethoven completed the first of his Nine Symphonies in 1800. This was one of the happiest periods in Beethoven s life, a time when the young musician was dazzling Vienna with his unique and remarkable talents as a composer and piano virtuoso. The Symphony No. 1 premiered on April 2, 1800, at the Burgtheater in Vienna. The concert, organized by the composer for his own benefit, also featured a Mozart symphony, an aria and duet from Haydn s oratorio, The Creation, as well as Beethoven performing one of his Piano Concertos (either No. 1 or 2) and a keyboard improvisation. A danger to the musical art Many view Beethoven s First Symphony as the composer s homage to the elegant works of his Classical-era predecessors, Franz Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791). That is an opinion shared by the author of the 1802 guide, Historic Pocketbook with Special Regard to Austria: Beethoven has written his First Symphony in C Major. It is a masterpiece which does honor to this power of invention and his musical skill. It is as beautiful and excellent in design as in execution; a clear and radiant order reigns, and the work is marked by such a stream of the most pleasant melodies, as well as such a rich but never fatiguing instrumentation, that this symphony can be rightly considered the equal of any by Mozart or Haydn. Nevertheless, more than a few of Beethoven s contemporaries perceived the First in a far different light. One German critic characterized the Symphony as a caricature

of Haydn pushed to absurdity. A Parisian musician lamented the work s astonishing success, which he characterized as a danger to the musical art It is believed that a prodigal use of the most barbarous dissonances and a noisy use of all instruments will make an effect. Alas, the ear is only stabbed; there is no appeal to the heart. For those familiar with the path-breaking music of Beethoven s later Symphonies, such reactions seem misplaced, if not downright odd. The Beethoven First is a work overflowing with wit and high spirits. The scoring and architecture of the Symphony reflect the 18 th century tradition. Beethoven even designates the Symphony s third movement as a Minuet an elegant court dance in triple meter that appears in virtually every mature Haydn and Mozart Symphony. In 1802, Beethoven proclaimed to his friend, Wenzel Krumpholz: I am not satisfied with my works up to the present time. From today I mean to take a new road. In terms of the Symphonies, that new road is most clearly first revealed in the Third ( Eroica ), Opus 55 (1803). Nevertheless, Beethoven s First Symphony, for all of its homage to the past, offers more than a few hints that the revolution was just around the corner. Musical Analysis I. Adagio molto; Allegro con brio The First Symphony begins with a slow-tempo introduction (Adagio molto). Despite its generally graceful nature, the ambiguous, shifting harmonies of the opening measures must have been unsettling to audiences of Beethoven s time. An ascending and descending string passage leads to the principal Allegro con brio, and the first violins presentation of the vivacious initial theme. After a dynamic orchestral cadence, the oboe and flute present the second principal theme. The development of these themes concludes with a piano descending wind passage, leading directly to the orchestra s fortissimo recapitulation of the opening theme. Throughout the Allegro con brio, sharp attacks and pungent dynamic contrasts provide energy and drama. The coda, prominently featuring the brass and timpani, brings the opening movement to an emphatic close. II. Andante cantabile con moto The second violins, soon joined by the violas and cellos, sing the charming principal melody. Generally, the mood evokes the grace and elegance of the Classical era. Still, the timpani s hushed but insistent interjections toward the exposition s close hint at a more troubled mood that continues into the ensuing central episode. The second violins recapitulation of the opening theme now features a lovely cello obbligato. A brief coda rounds out the slow movement. III. Menuetto. Allegro molto e vivace The fleet tempos and violent orchestral attacks reveal that the third movement is a Minuet in name only. It is, in fact, a scherzo (the Italian word for joke ), a vibrant, energetic alternative to the minuet that appears in all of Beethoven s Symphonies, save the Eighth. As such, this movement constitutes the First Symphony s most radical departure from those of

Haydn and Mozart. The first violins present the Menuetto s ascending principal theme that finally erupts in a fortissimo orchestral explosion. The central Trio, prominently featuring the winds, has a more relaxed and rustic quality. The movement concludes with a reprise of the Menuetto. IV. Adagio; Allegro molto e vivace The Symphony s concluding movement reflects Beethoven s more humorous side. The finale begins with a slow-tempo introduction (Adagio). After a grand, fortissimo orchestral chord, the first violins begin to introduce the movement s principal theme. They do so quietly and tentatively, building the theme one note at a time. The first violins finally gather their courage to play the theme in its entirety, and the central Allegro molto e vivace is off and running. The violins also present the second theme, based upon a series of descending intervals. The brief, vigorous development combines both central themes. The first violins launch the finale s recapitulation. A dramatic fanfare and brief pause in the action set the stage for the First Symphony s rousing conclusion. Concerto for Piano and Orchestra No. 2 in B-Flat Major, Opus 19 (1795) The first performance of the Piano Concerto No. 2 took place at the Burgtheater in Vienna on March 29, 1795, with the composer as soloist. In addition to the solo piano, the Concerto No. 2 is scored for flute, two oboes, two bassoons, two horns and strings. Approximate performance time is twenty-eight minutes. First Classical Subscription Performance: December 4, 1962, Leon Fleisher, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: April 24, 26, and 27, 2008, Ingrid Fliter, Piano, Hans Graf, Conductor. Beethoven at the Keyboard It was as a pianist that the young Beethoven first ascended to prominence in Viennese musical circles. Audiences accustomed to the elegant and refined approach of such keyboard virtuosos as Mozart and Muzio Clementi were stunned by the elemental force of Beethoven s violent attacks upon the delicate fortepianos of the day. Of course, Beethoven s keyboard performances consisted of far more than displays of brute strength. Pianist and composer Carl Czerny recalled that audiences were moved to tears by the sheer eloquence of Beethoven s improvisational powers, for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing. The work known as the Second of Beethoven s Five Piano Concertos was actually the first in order of composition. Beethoven completed the B-flat Concerto, Opus 19, in 1795, three years before the composition of the Concerto in C. However, Beethoven revised the B-flat Concerto and withheld submitting the work to his

publisher until 1801. By then, the C-major Piano Concerto had already been published as Beethoven s First, Opus 15. Beethoven offered the premiere of the B-flat Concerto on March 29, 1795, as part of a series of charity concerts at the Burgtheater, held for the benefit of widows and orphans of the Society of Musicians. The concerts marked Beethoven s public debut in Vienna, and the pressure of the momentous event seems to have taken its toll on the 24-year-old composer/pianist. Beethoven, suffering from severe colic, was unable to complete the Rondo finale until just two days before the concert. As he finished each sheet of the Rondo, Beethoven handed the music to copyists who sat in an anteroom, keenly awaiting the next installment. Despite Beethoven s travails, the debut was, by all accounts, successful. On April 1, the Wiener Zeitung reported: the famous Herr Ludwig von (sic.) Beethoven reaped wholehearted approval of the public. Two days after the premiere, Beethoven performed in a concert at the Burgtheater, arranged by Mozart s widow Constanze. Beethoven played one of Mozart s Piano Concertos (in all likelihood, No. 20 in D minor, K. 466). Beethoven s fortunes grew rapidly and in December of the same year, he again played the B-flat Concerto as part of a concert at the Redoutensaal. The program also featured Franz Joseph Haydn conducting three of his London Symphonies. The B-flat, Opus 19, is generally considered the least impressive of Beethoven s Five Piano Concertos. Beethoven himself submitted the work to his publisher with the statement: I do not give it as one of my best. By no means, however, should Beethoven s comment be interpreted as a total dismissal of the Concerto. During his career as piano virtuoso ultimately curtailed by the tragic onset of deafness Beethoven frequently programmed the B-flat Concerto for important events, and played it to great acclaim. If the B-flat Concerto is perhaps not the equal of the other four, it is nonetheless a pleasurable work that offers tantalizing glimpses of the genius soon to emerge. Musical Analysis I. Allegro con brio The opening movement begins with the traditional orchestral exposition of the principal themes. The first theme comprises a succession of melodic fragments that alternate forceful and tranquil elements. The second motif, an ascending and descending phrase in the violins, is of a more consistently lyrical nature. When the soloist enters, it is first with a variant of the second theme, followed by highly decorated elaborations of the principal motifs. The development section, with its rapid and dramatic motive interplay between soloist and orchestra, is characteristic of Beethoven s mature compositional style. Orchestra and soloist join forces for the recapitulation of the principal thematic material. A lengthy cadenza and brief orchestral statement round out the opening movement.

II. Adagio The principal theme of the poignant Adagio is stated first by the orchestra, then by the soloist. The slow-tempo movements of Beethoven's Piano Concertos, this Adagio included, are notable for a rapt, sustained lyricism that allowed the young virtuoso to display those magical qualities that Carl Czerny and many others so admired. III. Rondo. Molto allegro The soloist immediately introduces the principal theme of the spirited Rondo finale; a tripping, syncopated melody, keenly articulated. Beethoven maintains playfulness and high spirits to the work s closing measures, as the orchestra overrules the pianist s restrained conclusion with a final joyous outburst. Concerto for Piano and Orchestra No. 3 in C minor, Opus 37 (1803) The first performance of the Piano Concerto No. 3 took place in Vienna on April 5, 1803, at the Theater-an-der-Wien, with the composer as soloist. In addition to the solo piano, the C-minor Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. Approximate performance time is thirty-six minutes. First Classical Subscription Performance: January 18, 1951, Hugh Hodgson, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: October 22 and 24, 2015, Olli Mustonen, Piano and Conductor. A terrible rehearsal The premiere of Ludwig van Beethoven s Third Piano Concerto was part of an April 5, 1803 concert at the Vienna Theater-an-der-Wien. Also on the program were the first performances of Beethoven s oratorio, Christ on the Mount of Olives and Second Symphony, as well as a repeat performance of the composer s First Symphony. All told, the concert featured well over two hours of music. It s not surprising that the energies and patience of the musicians were strained to their limits. Ferdinand Ries described the final rehearsal, which began at 8:00a on the day of the concert: It was a terrible rehearsal, and at half past two everybody was exhausted and more or less dissatisfied. Prince Karl Lichnowsky, who had attended the rehearsal from the beginning, sent out for large baskets of buttered bread, cold meat and wine. He warmly invited everyone to help himself, which was done with both hands, with the result that the warm atmosphere was restored. After tempers calmed, Lichnowsky convinced the musicians to continue with a rehearsal that lasted almost to the beginning of the concert itself.

Beethoven served as conductor for the entire program. He was also the piano soloist in his Third Piano Concerto. A reviewer in the Zeitung für die Elegante Welt wrote that Beethoven did not perform (the Concerto) to the complete satisfaction of the public. If the critic s view was accurate, the explanation may well be found in this account of the performance by Beethoven s pupil Ignaz von Seyfried: In the playing of the concerto movements he asked me to turn the pages for him; but heaven help me! that was easier said then done. I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphs wholly unintelligible to me scribbled down to serve as clues for him; for he played nearly all the solo part from memory, since, as was so often the case, he had not had time to put it all down on paper. He gave me a secret glance whenever he was at the end of one of the invisible pages and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper that we ate afterwards. Sketches for the C-minor Concerto indicate that Beethoven may have begun the composition as early as 1797. The manuscript bears the following notation: Concerto 1800 da L. v. Beethoven. Nevertheless, as previously noted, the solo part was not fully transcribed even by the time of the 1803 premiere. The C-minor Concerto is a work that reflects the transition from the Haydn and Mozart-influenced works of Beethoven s early period to the more heroic output of the middle portion of his career. The stormy opening movement looks forward to another work in the key of C minor, the immortal Fifth Symphony, Opus 67 (1808). The Largo recalls contemporary accounts of Beethoven s ability to move audiences to tears through the sheer beauty of his playing. The finale, on the other hand, reveals a humorous side of the composer that is too often forgotten. Musical Analysis I. Allegro con brio The strings, answered by the winds, softly introduce the ascending and descending opening theme. Soon the orchestra presents a vigorous statement of the theme (this is one of several times in the opening movement that Beethoven employs sharply contrasting dynamics to great effect). The first violins and clarinet introduce a more genial second theme. Echoes of the opening theme return to conclude the orchestral exposition. The soloist s entrance begins with a series of ascending flourishes and a bold statement of the opening theme, again quickly juxtaposed with softer dynamics. While the soloist is the focus of the proceedings, the orchestra hardly serves as mere accompanist, frequently engaging in lively exchanges with the pianist. The mysterious development section sotto voce for the most part is based upon the opening theme. A vigorous cascade of

notes by the soloist introduces a varied recapitulation of the principal themes. A solo cadenza followed by a brief but highly dramatic coda. II. Largo The opening of the stunningly beautiful Largo indeed virtually the entire movement is a tender dialogue for piano and orchestra. The soloist enters with a hushed and expansive statement, to which the orchestra, featuring muted strings, responds. The central section presents the soloist s flowing arpeggios as counterpoint to statements by the woodwinds. A descending passage by the pianist leads to a reprise of the opening section. The soloist is prominent in the Largo s closing pages, offering a series of scales and a brief cadenza. The concluding fortissimo chord disturbs the reverie, setting the stage for the high spirits of the ensuing Rondo. III. Rondo. Allegro The finale, a delightful combination of rondo and sonata forms, opens with the soloist s introduction of the angular principal theme. A series of orchestral fanfares, in tandem with ascending flourishes by the pianist, seems to portend a grand, dramatic passage. What follows instead is the descending, playful subsidiary theme. This is just one of many surprises in a remarkably inventive movement another is the sudden appearance of a rather pastoral interlude. A fugato section leads to a brief passage for the soloist, and finally, a reprise of the principal and subsidiary themes. Beethoven saves his most delicious surprise for the conclusion. A grand orchestral statement and cadenza by the soloist are followed by a skipping 6/8 Presto transformation of the principal theme, capped by a joyful sprint to the finish.