This is the BIG ONE, ladies and gentlemen....

The first installation in our multi-year initiative "IN
MAHLER's SHADOW", which has already garnered
considerable media and critical attention, and which
is a standout example of the kind of venture that
recently won the NSO the "Programming of the Year"
award from the Illinois Council of Orchestras.

This blog entry will be a bit different from previous
ones; you will see that we are providing a LINK below,
which will take you to the Tuesday, April 30th article
in the Northbrook TOWER, in which I answered a number
of questions about the May 5th concert.

I would like to add a few details about the magnificent
Symphony No. 1 of Franz Schmidt, which we just rehearsed
in full on Monday (April 29th). What a thrill to hear
these joyous sounds come to life on our stage...and for the
first time anywhere in the Chicago area.

Anyone listening to the work will undoubtedly hear the
influence of other familiar composers---Schmidt was a
mere 25 years old when he finished the Symphony---
but let's face it--- even Mozart and Beethoven began their
composing activities by imitating the work of their
contemporaries.

But Schmidt's Symphony, his first major work, is MUCH
more than a mere pastiche; it is an exceptionally strong,
beautifully constructed piece that almost seems to delight
in its own beauty, energy, and spirit.

A few things to listen for:

1st Movement --

a.) stately, Baroque-like introduction, complete with antiphonal
brass fanfares

b.) a rousing, vigorous main Allegro, closely resembling
Strauss' Don Juan in its melodic outline and martial rhythm

c.) Schmidt's trademark "fantasy" music--- light, mysterious
and shimmery, leading to

d.) an absolutely gorgeous lyrical tune, which Schmidt will
bring back often in the course of this movement

e.) a thrilling conclusion, which brings back the best of
the romantic material from the beginning of the work.

2nd Movement

The slow Movement which combines two main elements:

a.) a long clarinet melody in Schmidt's best Hungarian/gypsy-like
mode, dark, alluring and intense (Schmidt's parents were both
Hungarian)  and

b.) a lovely "woodland" choral of four horn and bassoons, answered
by forest murmurs and bird-song; it's like Humperdinck's famous
opera channeled into a grand symphonic fantasy.

These two elements alternate to produce music that is stunningly
beautiful.

3rd Movement

The Scherzo

a.) in the style of an Austrian laendler, a quick, waltz-like
folk dance, that is alternately charming, vigorous, and somewhat
sardonic in character. 

b.) the music grows calm, and Schmidt's unique, "mystical" harmonies
takes us into the central section of the Scherzo...

c.) the TRIO---- which is to me the highlight of the entire symphony..
an exquisite, tender lullaby in the Hungarian style, which must be heard
to be appreciated. And it flows directly into....

d.) Schmidt's loving tribute to Vienna, Mozart, and Schubert, a radiant
pastoral section that is as lovely as any music that I know.

e.) The Scherzo returns, and concludes in a fleeting, magical coda
in Schmidt's best "fantasy" mode.

4th Movement

Here's a Finale that really "Stands up to" the previous three movements!

a.) A rare example of Germanic-Neo Baroque music--robust and joyous,
followed by

b.) several beautifully-crafted contrapuntal episodes, which introduce us
to:

c.) Schmidt's grand, life-affirming chorale tune, with the woodwinds and
horns imitating the sound of a grand cathedral organ (and pointing the
way to Schmidt's substantial output for that instrument)

d.) The neo-Baroque delights continue in a Gigue, a sprightly dance whose
melody is a transformation of the opening tune of this finale..

e.) all of which is whipped up into a flurry of excitement as the BIG
MOMENT approaches.....the one we've all been waiting for:

f.) the return of the Grand Chorale Melody, now resplendent in the
full orchestra.

g.) The music briefly dissipates into more of Schmidt's striking
"fantasy" sound, before its final burst of energy, propelling
us to the triumphant conclusion.

And all of this in 45-minute Symphony by a 25-year old composer...
who existed literally and figuratively "In Mahler's Shadow" and, as far
as I am concerned, is worthy of standing proudly in the full light of day
alongside his more famous counterpart.

Please check out the TOWER article/link.


I hope to see you on Sunday, May 5th, at 4 pm.

AND YES...THE CONCERT OPENS WITH MUSIC OF BEETHOVEN,
BRAHMS, and SCHUBERT----all living and working in Vienna,
and all writing in a distinctly HUNGARIAN mode...as you will
hear!

Thanks,

Larry

The Path to Romanticism

It's essentially a continuation of our February concert of Rameau, Arne, Mozart
and Haydn, picking up where we left off with more Mozart, and ending with
the thrilling Symphony No. 8 of Beethoven (which replaces the Mendelssohn
Symphony No. 8 which was originally scheduled).

And, yes.....this may be our best concert ever.

The music is loaded with historical and stylistic details that criss-cross throughout
the program. The opening work is a Gavotte (French folk dance) by G.B. Martini,
an Italian who happened to be one of the young Mozart's teachers. It's a delightful
work that many musicians recall from their student days, since there have been
many different arrangements of it over the years. The orchestration we are
playing is by a French composer, to which I have added some extra woodwinds
and horns for a more "rustic" sound.

We are also performing a French art song by another Martini--Jean Paul, who was
really German, though he lived and worked in France.  It may be confusing,
but there's no need to be concerned: the music is gorgeous. AND, as a matter of
fact, the song  -- titled Plaisir d'amour ("The pleasures of love") has something very
special about it which I think most of you will recognize immediately. I won't give
it away now, but I think most of you will experience one of those "hey, I think I
know that tune!" moments when you hear it.

In addition to the novelty of the music itself, Plaisir d'amour will be performed in
a brand-new version which I wrote especially to complement the exquisite singing
of our guest artist, the lovely and extremely talented young soprano Melinda
Alberty. I will only say that the quality of her singing is something rare indeed.

Melinda will also perform two concert arias by Mozart, one of which will actually
end the program; why? Because Mozart himself wrote it for a singer (actually his
sister-in-law) to sing as a direct address to the audience as the final number on
a concert---so we will honor the tradition. It's unbelievably lovely music, and will
be sung directly to you.

Did I mention that we are playing TWO COMPLETE SYMPHONIES---one by
Mozart and one by Beethoven?! The Symphony No. 34 by Mozart is perhaps
my favorite of all of his works in this form and, not surprisingly, it is not that
well-known.  It's in 3 (not 4) movements---the second, a lovely serenade for
strings only, and a brilliant finale that seems to me a sentimental tribute to his
early visits to Italy, where he studied with G.B. Martini. Very few, if any, of our
players are familiar with it, but after two quick work-throughs in rehearsal,
they are playing it as if they have known it all their lives.

Then there's Beethoven's rollicking Symphony No. 8, one of the "lesser" of
his output (yeah, right....) and the one in which he seems to be looking back
very lovingly but very humorously at the classical era of Mozart and Haydn.
Fascinating, especially since he himself was primarily responsible for the
demise of the classical style, as his own music became ever more bold
and dynamic....leading us into the Romantic style which dominated the
19th-century.

As always, I will introduce the works from the stage and demonstrate
various features of the music for you before we play. This concert has all
the makings of a truly memorable event: a combination of delightful music,
a first-rate vocal soloist, and the fascinating historical framework which
makes it all so much more compelling. And.....in addition to everything
I have mentioned in this column...there just might be one more surprise
that won't be listed on the program; you'll have to stick around at the
end of the concert to find out what it is. And you will be glad you did.

I look forward to seeing all of you this Sunday at 4pm; bring a friend--
or two---or four!

Thanks for reading,

Larry

COUNTDOWN to our February 17th Concert - Post #4 Final

Haydn  ~ Symphony No. 95 in C minor

Franz Josef Haydn is known as the "father" of the Symphony, since it
was he who took the various stylistic elements of his time and
essentially codified them into the familiar, 4-movement Symphonic form that became the standard for the next century.

And what wonders his 104+ symphonies contain! They are a vast treasure
trove for the musical world to revel in. Yet very few of his works are heard
at your standard symphonic concert any longer, which is a true pity.

But not at the NSO--- we play a Major Haydn Symphony every season and,
for some of us, it is the highlight of the year. Mozart's music may provide
a loftier experience, but Haydn's are more fun ---pure enjoyment from
beginning to end. And it shows in our performances.

The great #95 was written at the beginning of Haydn's big super-star
residence in London in 1791, during which time (over the course of
two lengthy residencies) he would compose his final twelve symphonies,
known as a group as the "London" symphonies. And #95 is my favorite of
them, and I've waited a long time to perform it.

It's the only one of the "London 12" that begins by immediately launching
into its opening Allegro, without a slow introduction---and a stormy and
dramatic one it is. But the contrasting secondary theme is light and
graceful--utterly charming. In fact, years ago, I must have walked
around for a whole two weeks with this melody in my head, without being
able to remember what it was; it's that catchy.

The symphony continues to amaze and delight throughout, with its graceful,
song-like variation second movement followed by the shadowy and fleetingly
tragic Minuet in C minor...which changes to the Major key for the trio section
in which Haydn awards the wide-ranging melody to the solo cello (expertly
performed, as you will hear, by the NSO's Dan Klingler).

And then there's the fourth movement, my favorite of all of Haydn's symphonic
finales, since I feel it is the most unique and special---- for reasons we will
demonstrate at the concert itself. Let's just say that the Latin inscription
which Haydn wrote on the final page of his works -- Laus Deo--- ("Praise
God") is particularly appropriate here in this finale.

See you at the Concert---- 4 pm on Sunday.
Thanks for reading,

Larry 

COUNTDOWN to our February 17th Concert - Post #3

Mozart - Piano Concerto No. 15 in B-Flat, K. 450

Imagine hearing the young wunderkind Mozart himself, playing
one of his own brilliant piano concertos.....something which occurred
often during the Lenten season (that is, during February and March)
in Vienna, during the 1780's.  Impossible to go back into time for such
an event, I realize.

However, you can experience something similar at Sunday's concert,
as young master Roger Shen takes charge of the proceedings as soloist
in one of Mozart's most delightful, tuneful concertos---a work which
Mozart himself premiered as soloist in 1784.

I will let each of you discover what lies ahead in terms of the pianistic
excellence on this program. The work itself is one of those Mozartean
miracles, every note of which is perfectly conceived and crafted.

The first movement begins with a jolly, jaunty tune played by oboes and
bassoons, which indeed gives the impression that the local town pipers
are on parade. This is only a precursor to the wondrous things which
follow, as the seemingly unstoppable flow of Mozart's genius continues.
The lyrical second movement is both simple and exquisite-- the orchestral

strings play a gorgeous, hymn-like melody, which the pianist then repeats
and embellishes. That's basically all that happens in this movement....
and that's all you'll need to float off into Mozart's own vision of heavenly
bliss.

 

The finale is, again, full of delights that could have only come from Mozart's
youthful font of genius---there are comic sequences, a miniature
bird-song exchange between flute, oboe and piano and at the very last minute, 
a coda in which Mozart turns the entire orchestra and piano into a brisk and
articulate military marching unit, as the music concludes in a burst of festive
brilliance.

 

Mozart himself wrote to his father of the difficulty of this concerto, stating that
this was a work to make the pianist "sweat". It is indeed a mighty challenge
for a young soloist -- or any soloist (Leonard Bernstein considered it Mozart's
most difficult!). But I must say that, having rehearsed this great work in
detail with young Mr. Shen, you will definitely hear a performance of great
technical and expressive achievement. You might even imagine that you are
in the presence of the the young Mozart himself, as Roger Shen's ten fingers
duplicate exactly what Mozart had written for himself to play ....way back
in March, 1784.

Thanks for reading.

Larry 

(Bernstein)

Countdown to the Concert of Sunday, February 17th - Post #2

Arne - Symphony No. 4 in C minor

The attitude of England toward its own 'home-grown" composers has
been curious...over the course of 200 years (roughly 1700 to 1900),
the Brits have treated their native composers somewhat harshly, preferring
instead to import composers from other countries (Handel, Mendelssohn,
Dvorak, and..of course, Haydn, whom we will hear from later in our
concert).

Thomas Arne was a prolific and popular English composer whose contribution
to his country's own "classical" era was remarkable. He was known primarily as
a composer of stage works, many of which were produced at London's Drury
Lane Theater. His instrumental output is rather small, and his FOUR SYMPHONIES
are dated as a group from 1767.

This in itself is interesting, since Arne's 4th Symphony is a rather surprising work
in that it clearly points ahead some 35 years to the late classical or even the early
Romantic period. It's first movement is rather dark and stormy, with marvelous
contrasts in dynamics and texture.

The middle slow movement is also noteworthy for its austere beauty; during
certain passages, the music seems to "hover" as the gentle voices of flutes
and oboes gradually emerge and form themselves into lovely melodic phrases.
The Finale is light and gracious, and very "sweet" in its sound. And yet, there are
frequent reminders of the somewhat wistful, dark sound of the first movement,
prior to the symphony's vigorous and joyous conclusion.

Was it possible that Arne knew any of Haydn's early symphonies...some of which
are also dark and dramatic? It's not likely, since Haydn's strikingly bold early
scores were brand new when Arne composed his 4th. It's possible that Arne
was a more original and forward-looking composer than he is given credit
for....at least that's the impression created by this wonderful work.

I would guess that Sunday's performance of Arne's 4th Symphony will be
a Chicago-area first; the only performing version available was published in
1973, and I doubt that there's been any particular rush to play it.  So,
as usual, the NSO is providing audiences an opportunity to hear an overlooked
but deserving work brought to life in performance---if only for its
brief "15-minutes" of fame (the approximate length of the symphony).

Thus far, the NSO has performed Arne's 1st and 2nd symphonies, leaving
only #3 for a future date. I love doing the "second-tier" works of this period,
providing that they have something uniquely beautiful about them. Arne's
4th is definitely in that category, and I can assure you that our performance
will be a superbly crafted and extremely committed one--- like everything
else the NSO does.  We approach this work as if it's the greatest piece known
to man.....because for the 15 minutes in which we are performing it, it is.

Thanks for reading; see you Sunday!

Larry

COUNTDOWN to The NSO's FEBRUARY 17th CONCERT--- Post #1

Our next two concerts---Feb 17th and April 7th---are actually ONE
CONTINUOUS CONCERT, since they are in effect a chronological
journey  through the latter half of the 18th-century (the "Golden Age"
of the Classical era) into the 19th, the dawn of the grand, Romantic
era.

Our Feb 17th program, like every concert we perform, will delight
and inspire you, I promise.  We will perform FOUR works, and I
will "count-down" one work per day for the next four days.



Two Passepieds by Jean Phillipe Rameau

You may recall our opening work on September's French concert, the
grande, enchanting Suite from Rameau's opera Nais. After that experience,
I have decided that, whenever possible, the NSO must play something by
this fabulous French Baroque master, since his music is breathtakingly
beautiful.... I mean, really exquisite stuff!

Last fall, I discovered this delightful little dance from Rameau's tragic drama
Zoroaster ; it was one of those experiences where I had to hit the "re-play"
button on the cd player again and again; this miniature gem lasts less than
2 minutes, and I simply did not want it to end. (The passepied is like a
fast Minuet, and is usually associated with pastoral settings and characters;
this one is scored for 2 flutes and strings only...which is all it needs.)

Problem is, there's no available source for the actual music that I could find.
Luckily, though, we Internet users have a great new resource at our disposal--
an on-line music library which includes TONS of public domain (older) music
that you can view and download free of charge....and there's many of Rameau's
works available. I found Zoroastre in an old, 18th-century French edition, and
thus was able to locate the little Passepieds dance and transcribe it, using
the on-line music and a recording to fill in a few missing parts by ear.

Long story short:  we will open our concert with this delightful, breezy little
dance, sort of a belated Valentine gift to our audiences.

Yes, it seems that...among other things...the NSO is now becoming the Rameau
orchestra of the Chicago area; this is music that is simply too good not to
be heard.

MORE tomorrow.......

Thanks for reading,

Larry