Painting of road through hills

Aaron Inglin & Holly Reeves2008-2009 Concerts

Romantic Passion

Sunday, February 8, 2009 at 7 p.m.
Washington Center for the Performing Art

Conductor
Huw Edwards

Guest Artists
Aaron Inglin & Holly Reeves

Concert Sponsors

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Romantic Passion
Johannes Brahms (1833-1897) Concerto for Violin and Cello in A minor, Op. 102
I. Allegro
II. Andante
III. Vivace non troppo

Mr. Inglin & Ms. Reeves

Intermission
Jean Sibelius (1865-1957)
 Symphony No. 2 in D major, Op. 43
I. Allegretto
II. Tempo andante, ma rubato
III. Scherzo: Vivacissimo - Lento
IV. Finale: Allegro moderato

 

Program Notes

Concerto for Violin and Cello in A minor, Op. 102
Johannes Brahms (1833-1897)

The Concerto for Violin and Cello in A minor--or "Double Concerto" as it is commonly known--is Brahms's final orchestral work, which followed close on the heels of the dark-hued Fourth Symphony.  Despite being such close comrades in both the string quartet and symphony orchestra, hardly any works had been written for the violin and cello to appear in tandem as concerto partners: Mozart had written several fine concertante works featuring violin and viola, and Beethoven had composed a "Triple Concerto" for violin, cello and piano, which undoubtedly inspired Brahms's creation.  Many Baroque composers employed the violin and cello as prime players in a Concerto Grosso--such as those by Arcangelo Corelli—so Brahms, in this work, was primarily looking to the past for a model to create something new at the zenith of the Romantic era. (Brahms's model, in turn, was to become an important blueprint for 20th-century composers--such as Alban Berg, Bela Bartok, Paul Hindemith, and Michael Tippett--who penned a diverse array of double concerto-type works.)

Brahms had composed his gorgeous Violin Concerto, op. 77, for his dear friend Joseph Joachim. The two had often disagreed about many issues but Joachim was an avid supporter and confidante to the composer.  Brahms had been opposed to Joachim’s divorce and this parting had put a severe strain on their friendship. Following years of distant but restless displeasure, the two musical giants re-forged their special bond and the Double Concerto can be viewed as a musical peace offering to Joachim--though it should be noted it is not a second violin concerto and the cello and the violin often feud in the course of this rich and dramatic work.

In contrast to his epoch-making four-movement Second Piano Concerto, op. 83, Brahms reverts to the standard three-movement Classical concerto format for the Double Concerto. In keeping with his Beethovenian antecedents, the first movement is by far the longest. It begins with an imposing motto that Brahms repeats several times.  Following the muscular orchestral exposition the soloists enter to add their insights on the far-reaching material. It is interesting to note Brahms's orchestration in this work, which is lighter when surrounding the cello--whose tone does not carry as well as the higher frequencies of the violin. It is hard to discern the sections of the movement as Brahms, by this stage in his illustrious career, was evolving a style of perpetual variation and development--a hallmark clearly evident in his Third and Fourth Symphonies.

In the central Andante, the soloists come together more as "one voice", which contrasts with their competitive independence in the expansive opening movement. This charming music is shaped in a simple A-B-A structure and there are moments of ethereal beauty to contemplate and enjoy along the way.

The Finale is a genial Rondo and here Brahms's art disguises art--such is the mastery of his structural and melodic fusion. As Hartmut Fladt comments, "a subtle virtuosity of more than a purely external brilliance, both on the executive and compositional planes, characterizes the third movement." There are glimpses of a valedictory tone in this richly-autumnal music, and a sense of sadness tinge the closing measures--the last Brahms would ever notate for orchestra.

Symphony No. 2 in D major, Op. 43
Jean Sibelius (1865-1957)

It has been widely reported that Sibelius wanted to epitomize the history and character of Finland and its people in his Second Symphony. On its completion in 1902, Finland was still part of Russia. Sibelius was fascinated by astronomy, which acted as the catalyst to immerse himself in Scandanavian myth and legends, most notably the epic Kalevala. He also visited the arctic most regions--the Karelia country--to gather folk music and poetry. Sibelius' music is full of his natural habitat and beloved bleak landscapes; he once remarked, "Springtime is no less sweet for being ice cold."

Although Sibelius received a Germanic education and studied symphonic form through the Austro-German masters (Haydn and Bruckner were among his favorites), his music has a very individual and nationalistic voice. The Scherzo of the Symphony No. 2 can be interpreted to display resentment of Russian oppression, whereas the finale portrays a confident unification against persecution. It was suggested that this Symphony is an impassioned plea for independence but the introspective composer repeatedly denied such politico-musical allegations.

Sibelius described his approach to symphonic composition as one in which God throws down, from heaven to earth, the pieces of a celestial mosaic which have to be put correctly together. As the authority on Nordic music, Robert Layton observes in the Second Symphony, "The apparent relaxation and effortlessness with which this sunny, genial music unfolds serves to obscure its immense strength; in the same way Sibelius' seemingly casual approach to his thematic ideas misleads the listener as to its intensely organic nature."

There is something incipiently monumental about the opening of this D major Symphony, with its broad repeated notes rising through three steps. This movement was conceived whilst on a rare vacation in Italy and is full of Mediterranean warmth. The music fuses with ease and the themes are combined later in the movement forming a luxurious tapestry of sound. The second movement—one of the greatest in all symphonic literature—is in stark contrast, like the long winter in Finland when daylight is absent for months. It is more episodic and dramatic than the first movement, thus reversing the roles of a traditional symphony. There are some gorgeously wrought sonorities along the way including low wind chords, husky basses, chilling tremolo and a massive eloquence from the brass choir. There is no respite to the intense and desolate mood right through to the closing maelstrom.

The Scherzo is a virtuosic movement recalling Beethoven's Seventh Symphony.  The oboe-led Trio (note the use of repeated notes like the start of the Symphony) is hymn-like and leads directly into the finale after its second refrain, as Sibelius was always searching for cogency in his works (his last Symphony, no. 7, is distilled into one concentrated movement).

The finale alternates its themes, unlike the opening movement and is underpinned by the ominous and slumberous growth of a huge ostinato.  The movement is marked by simplicity of utterance but also by a depth of thought.  Sibelius employs some fugal treatment of the second theme, which again, is memorable through its use of repeated notes. After a long peroration in the minor key (with the ostinato sounding from on high as well as from the abyss) the major mode erupts with a torrent of color. The trumpets finally add a fourth step to the work's opening theme to evolve the overwhelmingly Finnish finish.

Program Comments Copyright 2008 by Huw Edwards

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