Featuring MYSO’s acclaimed Chamber Orchestra in MYSO's first performance of the organization's 69th season.
Carter Simmons, Artistic and Music Director
Wednesday, October 16, 2024 | 7:00 pm
W.A. Mozart (1756-1791)
Overture to Der Schauspieldirektor (The Impresario), K. 486
L. VAN Beethoven (1770-1827)
Symphony No. 4 in B-Flat Major, Op. 60
- Adagio; Allegro vivace
- Adagio
- Allegro vivace
- Allegro ma non troppo
FIRST VIOLIN
Henry Snavely
Jay Suthan
Colette Wiering
Anna Lena Derocher
Lexi Mabini
Ruthee Rosploch
SECOND VIOLIN
Sophia Collins
Samuel Botshtein
Giovanna Hughes
Nishanth Suthan
Soren Ellingstad
Ishani Joshi
Ilina Joshi
VIOLA
Spencer Laga
Jennifer Raychel
Eleanor Froelich
Max Hemann
CELLO
Ava Larsen
Gabrielle Peck
Phoebe Panozzo
BASS
Ean Gergetz
FLUTE
Zach Muñoz
OBOE
Claire Fifarek
Lydia Morency
CLARINET
Lilly Beane
Rayna Kavalauskas
BASSOON
Gavin Hansen
Andie Wisniewski
HORN
Eli Drews
Rachel Jacobson
TRUMPET
Max Marshall
Redding Mortwedt
TIMPANI
Nico Strichartz
Wolfgang Amadeus Mozart
b. January 27, 1756; Salzburg | d. December 5, 1791; Vienna
Overture to Der Schauspieldirektor (The Impresario), K. 486
Rivalry on several levels was the order of the day on February 7, 1786, when the Governor-General of the Netherlands visited the Emperor Joseph II at the Schoenbrunn Palace in Vienna. The Emperor ordered performances by both his Italian and German theatrical troupes; Salieri created "Prima la musica e poi le parole" (“First the Music and then the Words”) for the Italian company, while Mozart obliged with his charming one-act comedy, Der Schauspieldirektor (The Impresario).
The entire action of this tiny farce takes place in the office of an impresario, as he and an opera composer (a little self-portrait by Mozart) deal with two sopranos who are vying for a role in an upcoming opera. Well aware of the timeless machinations of singers, Mozart obviously enjoyed writing this lampoon of operatic politics. Mozart also indulged himself a bit in the overture, a sparkling parody of Salieri's Italian style. In the words of Otto Jahn, this effervescent overture “resembles a comedy, with the different characters and intrigues crossing each other, until at last, all ends well.”
Ludwig van Beethoven
b. December 16, 1770; Bonn | d. March 26, 1827; Vienna
Symphony No. 4 in B-flat Major, Opus 60
Having completed his "Eroica" Symphony in 1804, Beethoven began to work on a C minor symphony early the next year. Untold energy and countless drafts were expended on this new work, eventually to become Symphony No. 5; it seemed to resist its very composition. For reasons that can only be conjectured, Beethoven set aside the two completed movements of the C minor symphony in 1805 and, in the next year, poured out a symphony in B-flat major which became the Symphony No. 4.
How could Beethoven produce such a lyric flower as this amid his titanic struggles with the Fifth Symphony? This very natural question is the kind of subject upon which music scholars love to wax eloquent. When the musical community relaxed enough about Beethoven to hesitantly admit that he might have been human, a few jumped in and proclaimed: “Aha! If in fact Beethoven was human, he must have been in love when he wrote his Fourth Symphony.” One went so far as to dub the work a “symphony of love.” Others joined in the chorus and found parallels between this symphony and Beethoven’s impassioned letter to his “Immortal Beloved.” Very human, Beethoven was subject to fits of affection for various cultured ladies of the upper class, but this alone cannot account for his creation of the Symphony No. 4. (A thorough account of Beethoven and his “Immortal Beloved” can be found in Maynard Solomon's Beethoven [Schirmer Books]).
The raison d’être for a work of art is a complex matter that eludes simple explanation. It is immediately evident that the expression of the Fourth has not the gripping drama of the Third or the Fifth; Robert Schumann described it as “a slender Grecian maiden between two Nordic giants.” Frequently, the Fourth has been considered to be a “lesser” work; yet, the charms of “a slender Grecian maiden” could certainly hold more appeal than those of “Nordic giants.” Dramatic gesture is not the sole measure of greatness in music. Sir George Grove reveals something of the work’s artistic essence when he writes that it is “extraordinarily entrainant—a more consistent and attractive whole cannot be…The movements fit in their places like the limbs and features of a lovely statue; and, full of fire and invention as they are, all is subordinated to conciseness, grace, and beauty.”
Brief mention should be made about the dedication of this work to the Count Franz von Oppersdorf, for it reveals something of Beethoven’s subjective sense of business ethics. Having visited the Count’s castle while in Silesia during 1806, Beethoven was impressed with a performance of his Second Symphony by von Oppersdorf’s private orchestra. In June of the same year, the Count commissioned a symphony, with a half-year sole performance right, for an advance of five hundred florins. Beethoven originally planned to give him the Fifth Symphony, but then changed his mind and dedicated his already-performed Fourth Symphony to the Count. There were no further commissions from Count Oppersdorf.
I. Adagio; Allegro vivace; B-flat major, 4/4; 2/2. A marvelously controlled introduction builds tension that finds its ultimate release in the launching of the Allegro vivace. Carl Maria von Weber first heard this work at the age of twenty-one and wrote that the introduction was “full of short disjointed unconnected ideas, at the rate of three or four notes per quarter of an hour.” He went on to write a satiric allegory in which the cellos and double basses, complaining about the difficulty of their parts, were threatened with having to play the Eroica if they were not quiet. In later years, Weber recanted this immature, but witty, outburst.
After several ascending flourishes, the arpeggiated main theme makes its appearance in the violins. The second theme is a two-measure figure begun by the bassoon, passed to the oboe and rounded off by the flute. Development takes place along broad lines, the themes return for recapitulation and the movement closes with a concise coda.
II. Adagio; E-flat major, 3/4. Second violins begin with a dotted figure whose importance is more fully realized as the movement progresses. The main theme wafts gently downward and then rises in the first violins. Solo clarinet provides a subtle second theme and then the first melody is treated to florid variation. As the movement unfolds, it becomes clear that it is truly a masterpiece of lyric expression.
III. Allegro vivace; B-flat major, 3/4. The rhythmic interest of the Scherzo is essentially derived from an interplay of duple and triple patterns. Moving at a more subdued pace, the Trio section begins with woodwind phrases that are joined by airy comments in the strings. There is a repeat of the Scherzo proper before the movement is concluded by a short coda.
IV. Allegro ma non troppo; B-flat major, 2/4. Berlioz once characterized this finale as “one animated swarm of sparkling notes, presenting a continual babble.” The rapid notes forming a thread throughout the movement soon lead to a carefree theme in the violins. The second theme is begun by the oboe, and completed by the flute. After development and recapitulation, the rapid figure slows for a moment before lower strings and bassoons initiate a final burst of vitality.
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