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{ program notes
Symphonie espagnole
Édouard Lalo
Born in Lille , France , January 27 , 1823 ; died in Paris , April 22 , 1892
A wind from the Pyrénées has aerated French music on many occasions and never did it blow more strongly than in Paris in the mid-1870s . Consider this : on February 7 , 1875 , violin virtuoso Pablo de Sarasate introduced a new concerto , redolent with Spanish flavor , written for him by Édouard Lalo , the Symphonie espagnole . Just four weeks later , on March 3 rd , Georges Bizet unveiled his opera Carmen at the Opéra Comique .
The exoticism of Spanish rhythms and gypsy melodies would later ensnare Ravel , Debussy and others . But Lalo had special reasons for writing a “ Spanish ” concerto . His own ancestry was Spanish , and he was creating a work for the Pamplonaborn Sarasate , one of the greatest violinists of all time . Sarasate was renowned for his elegance and beautiful sound ; violinist Leopold Auer described it as “ a tone of supreme singing quality .” Lalo tailored his colorful , melody-drenched concerto to the special characteristics of Sarasate ’ s artistry . Symphonie espagnole exploits the violinist ’ s ability to sing eloquently in both the lowest and highest registers , to execute huge skips with unerring accuracy , to spin intricate fast passage work , and to do all this with flair and aplomb .
Spanish this work may be , but calling it a “ symphony ” is misleading . Neither is it a conventional concerto , possessing five movements rather than the usual three . Perhaps it falls best into the category of the multi-movement dance suite . But the soloist is always center stage .
The first movement begins unforgettably with strings and low woodwinds in unison thumping out two measures of the Iberian slow-triplet rhythm that will spawn the principal theme . The violinist responds with a provocative Spanish phrase , then falls silent while the orchestra presents the entire theme , earthy and foot-stomping . When the violinist takes it up in the instrument ’ s lowest range , she then adds a lyrical , higher countermelody . Later comes the true second theme , a sweet , sinuous melody straight out of Spanish folk song .
Movement 2 is a vivacious seguidilla ; the light pizzicato accompaniment suggests an orchestra of guitars . A middle section in a slightly slower tempo features the soloist in a languorously coiling Moorish tune .
The third-movement Intermezzo is a sultry habañera Carmen herself might sing . The orchestra hammers out the three-plus-two rhythm , then subsides to a deep pizzicato bump-and-grind as the violin sings in its most seductive alto register . Despite a sprightly , almost waltzlike middle section , this seems a scene from the sort of dark , smoky gypsy cellar no tourist should enter .
By contrast , the Andante slow movement is the least Spanish of the work , but Lalo makes up for that with a gorgeous solo melody throbbing with gypsy soul and passion . The orchestral opening creates a hauntingly dark , bronze-colored atmosphere .
High woodwinds and bell-like harp imitating Spanish shepherds ’ pipes open the finale . The beginning of the effervescent rondo theme gradually spreads through the orchestra until the soloist finally gives us the full tune . A contrasting middle episode features a tango-like malagueña melody . In a final non-stop whirl of fast passage work , the soloist solicits our applause .
Instrumentation : Two flutes , piccolo , two oboes , two clarinets , two bassoons , four horns , two trumpets , three trombones , timpani , percussion , harp , and strings .
Abstractions
Anna Clyne
Born March 9 , 1980 in London , England .
London-born Anna Clyne is a composer of acoustic and electro-acoustic music that combines resonant soundscapes with propelling textures . She often collaborates with cutting edge choreographers , visual artists , filmmakers and musicians worldwide .
In August 2013 , Ms . Clyne ’ s Masquerade , a BBC Radio 3 commission , had its world premiere on the famed Last Night of the Proms by the BBC Symphony
14 Overture | www . bsomusic . org