Programme Notes

Wolfgang Amadeus Mozart (1756-1791)

During his last ten years, Mozart developed a growing reputation for composing great operas including Idomeneo, K366 and Le Nozze di Figaro, K492, composed in 1786. Operas were very important to Mozart because they were the biggest musical forms and often his main source of income.

The opera Don Giovanni was commissioned by the Prague National Theatre and first performed there in October 1787. One of the finest examples of opera buffa, it is an amusing tale about a man who mischievously seduces women. After refusing to change his ways Don Giovanni finally receives his punishment and is dragged into the fires of hell.

This short instrumental introduction to the opera was allegedly composed in a few hours the night before the premiere however, there is no trace of any slapdash composing in this excellent and cheerful work. After a slow beginning with plain harmonies, the lively playing that follows on has two themes - the first smooth, played by the strings but the second is more fragmented, being a combination of strong accented notes followed by 1st violins' ornamented high notes. Strings carry the main flow of the music for most of the time with woodwind and timpani adding to it. After much quick and joyful music making, the ending is loud and jubilant

Camille Saint-Saëns (1835-1921)

Soloist: Ana Ruth Bermudez

Allegro non troppo - Allegro con moto - Tempo 1

By the age of five, Camille Saint-Saëns had developed exceptional skills as a pianist and composer. His skills at improvisation and playing from memory were legendary. In 1846 he made his official debut piano recital at Salle Pleyel in Paris, offering to play any Beethoven sonata from memory as an encore. Two years later he entered the Paris Conservatoire and won the admiration of other prominent contemporaries such as Rossini, Berlioz and Liszt.

The Cello Concerto No. 1, composed in 1873, is dedicated to Auguste Tolbecque. Born in 1830, he became a cellist, composer and instrument maker who like Saint-Saëns had also studied at the Paris Conservatoire.

The work is in three movements but with no breaks between sections, giving the impression of one long, continuous movement. Saint-Saëns' improvisation skills can clearly be heard in the stormy first movement as melodies quickly flow from the cellist's bow. In the slow movement the mood softens, becoming airy and lightly scored with muted and plucked sounds from the strings. This section, in the style of a minuet, later contains a brief cadenza from the soloist. A return to the opening lively theme and fast tempo marks the beginning of the finale with a mellow second theme consisting of low sustained notes.

Pyotr Tchaikovsky (1840-1893)

Soloist: Ana Ruth Bermudez

• Introduction. Moderato quasi Andante
• Theme. Moderato semplice
• Variation 1. Tempo del Tema
• Variation 2. Tempo del Tema
• Variation 3. Andante sostenuto
• Variation 4. Andante grazioso
• Variation 5. Allegro moderato
• Variation 6. Andante
• Variation 7. Allegro vivo

One of the leading composers of the late nineteenth-century, Pyotr Tchaikovsky is noted for writing music full of tuneful melodies, colourful scoring and emotional climaxes. Despite having Russian roots, he was also deeply influenced by the French music of Bizet and Saint-Saëns.

The Rococo Variations, or Variations on a Rococo Theme, Op. 33, is a work for solo cello and orchestra that was composed in December 1876 and first performed in Moscow, 30th November 1877. It was written for the cellist Wilhelm Fitzenhagen, Tchaikovsky's fellow professor at the Moscow Conservatory.

This "Rococo" work takes a look back at eighteenth-century styles, a salute to an older period expressed in Tchaikovsky's own Romantic style. The orchestration - double woodwind, 2 horns and strings is also that of Mozart's age.

After an expressive and gentle introduction the theme is presented, which has the graceful contours and well-mannered phrase endings of Rococo period music. Rather than composing a set of variations on someone else's theme, Tchaikovsky created this charming melody himself. Variation 1 is an ornamented version of the theme, whereas Variation 2 is more excited with catchy rhythms.

Variation 3 is the first real change of mood, being slower, thoughtful and beautiful. The atmosphere of Variation 4, marked Andante grazioso, is captured by the soloist playing quick rhythms sometimes in high registers and sparse backing from the orchestra. This variation features off the string playing from the cellist (bouncing the bow on the string) to give a light, staccato sound. Beginning with a flute solo, Variation 5 later contains a cadenza from the cello - virtuoso playing allowing the performer to display their mastery of the instrument.

Variation 6, in a minor key, is slower and contains long, impressive sustained notes with vibrato from the cello - perhaps the only sad moment in this mostly sunny work. The final variation contains the fastest music yet heard in the piece; the soloist in dialogue with strings then woodwind, which brings this delightful work to an end.

Ludwig van Beethoven (1770-1827)

• Adagio-Allegro vivace
• Adagio
• Allegro vivace
• Allegro ma non troppo

Ludwig van Beethoven was born into a family of musicians and had his first music lessons with his father. In November 1792 he moved to Vienna and spent the next few years becoming better known as a composer and pianist-improviser in the homes of wealthy music lovers.

Composed in 1806, Symphony No. 4 is dedicated to Count Franz von Oppersdorf, a relative of Beethoven's patron Prince Lichowsky. Beethoven met the count at the prince's summer home near Troppau where the composer was enjoying a holiday. Fully aware of Beethoven's potential and growing reputation as a composer, Count Oppersdorf offered the composer a large sum of money (350 florins) to have his name on the title page. The symphony was first performed at a concert at the palace of Prince Lobkowitz in March 1807, conducted by Franz Clement, and was well received.

The slow introduction is beautiful, serene and uncomplicated. In the Allegro vivace the first theme with its straight rhythm, staccato sound and happy tone sets the mood of the opening movement. The more elegant second theme begins as a conversation between bassoon, oboe and flute. This movement merrily motors along with many strong outbursts and boldly accented harmonies from the full orchestra.

Beethoven's slow movement consists of a recurring theme with episodes. The theme has an air of gracefulness and nobility about it, the composer perhaps thinking about the count, the distinguished gentleman. A march-like motif complements this main theme and later on, a dramatic episode disturbs the peaceful atmosphere. Woodwind take a more active role when the theme returns, with beautiful solos from flute, horn and bassoon.

The third movement is an elongated Scherzo & Trio; the usual plan would be ternary but here Beethoven writes Scherzo - Trio - Scherzo - Trio - Scherzo. Strings show the way forward with a lively and punchy rhythm but as is often the case, woodwind take the lead for the smoother, softer and slower Trio.

First violins take the role of soloists for much of the finale with their playful melody full of runs and constant fiddling. This theme is best suited to the violins with their agile bowing and all other instruments rarely get to play it. Beethoven was a violinist who was well aware of the instrument's character and capabilities. Woodwind play graceful solo melodies in amongst this constantly active and bright conclusion.

Beethoven was composing this symphony at a time of great personal happiness, his talents being recognized and rewarded. These joyful feelings seem to have found their way into the music, which has continued to entertain audiences for almost 200 years.

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