SYMPHONIC DANCES
introduction , we ’ re not sure what the key really is ; only the abrupt opening of the main Allegro con brio section confirms that it is C major . An aggressive but plain first theme is , like Beethoven ’ s best symphonic themes , rich in developmental potential . Contrasting with it is a limpid , graceful second theme , launched by a duet of oboe and flute . Following the custom of the day , this exposition section is repeated before moving on to a taut , dramatic development . Here , Beethoven shows he is already skilled at breaking apart the elements of his first theme and coaxing marvelous new possibilities out of the fragments .
The Andante cantabile second movement , in the key of F major , actually sounds much more like an 18th-century courtly minuet than does the third movement , which seems mislabeled as a minuet . The second violins open with a mincing Haydnesque theme that grows into a little fugue as the other instruments enter . Gracious and gentle as this movement is , it does contain an unsettling rhythmic accompaniment , first heard in the timpani , that adds considerable excitement to the development section when it is passed to the strings .
Beethoven called his third movement a minuet , but it is really the first of the faster and tougher scherzo movements he developed to replace the older court dance . It is full of bold harmonic modulations and dueling cross-rhythms between instruments . The middle trio section features the woodwinds ( they play an important role throughout this work ) and , although initially gentler , crescendos at the end to match the vigor of the scherzo . This is the symphony ’ s most forward-looking movement .
The last movement reverts to the exuberant , whirlwind style of a Haydn finale . It opens with a loud , portentous chord suggesting serious matters ahead . But its trick opening lets the cat out of the bag . Here , Beethoven proved that , despite his squabbles with Haydn , he had learned much from the old master .
Instrumentation : Two flutes , two oboes , two clarinets , two bassoons , two horns , two trumpets , timpani and strings .
VIOLIN CONCERTO IN D MAJOR
Erich Korngold
Born in Brno , ( now Czech Republic ), May 29 , 1897 ; died in Hollywood , CA , November 29 , 1957
Erich Korngold was one of the most gifted composing prodigies in musical history . The Snowman , the ballet he wrote when he was 11 ( he received some help in its scoring from his teacher Alexander von Zemlinsky ), was produced at the Vienna Court Opera in 1910 . By the time he reached 13 , he was able to create his own scoring for his concert overture for large orchestra , Der Schauspiel Ouverture , which was taken up by nearly all the major conductors in Europe . None other than Gustav Mahler pronounced him a genius .
But it was in opera that Korngold particularly shone . At 17 , he astonished Vienna with his lurid tale of lust and revenge Violanta , which won Puccini ’ s praise . And in his early 20s , he wrote his masterpiece , the opera Die tote Stadt (“ The Dead City ”), which is still in the repertoire .
However , Korngold ’ s subsequent career did not lead to more triumphs in the concert hall and opera house . Instead , in 1934 , it sent him to Hollywood where his superb orchestrating skills enhanced the Mendelssohn-based score for Max Reinhardt ’ s legendary film of A Midsummer Night ’ s Dream . Then , for the next decade , Korngold flourished as one of Hollywood ’ s most sought-after score writers , specializing in romantic costume dramas ( often starring Errol Flynn ) such as Captain Blood and The Adventures of Robin Hood . He won two Oscars ® for his scores ( Anthony Adverse in 1936 and The Adventures of Robin Hood in 1938 ). In fact , his popularity in Hollywood saved his life , for the Jewish Korngold was in California when his native Vienna fell to the Nazis in 1938 .
Korngold , now forced to stay in America , paid dearly for his film successes . To his sorrow , the classical world spurned him for selling out to Hollywood . In 1946 , he tried to rehabilitate his career with his sumptuously romantic Violin Concerto . Its 1948 premiere was played by Jascha Heifetz , performing with the St . Louis Symphony .
As a Heifetz vehicle , this concerto was designed to be a true virtuoso showpiece for the soloist , but , interestingly , it also used themes from several of Korngold ’ s film scores . The yearning principal theme with which the violin opens the first movement comes from Another Dream ( 1937 ). After some playfully quick transitional music , the violin turns to an even more soaring and bittersweet theme ; this is from Juarez , a 1939 historical epic starring Bette Davis .
Korngold ’ s Oscar ® -winning score for Anthony Adverse provides the lovely , rather sentimental theme for the slow movement , “ Romance .” Here , the violinist sings from the heart and shows off the sweetness of the instrument ’ s upper register . The luscious orchestral writing conjures nocturnal mystery .
The breathless rondo-form finale calls for the kind of fiery , high-speed playing at which Heifetz excelled . When the violin finally finds time for a real singing theme , it is the title music from The Prince and the Pauper ( 1937 ); this also later receives a grand treatment from the orchestra . But mostly this finale is about the soloist ’ s ability to dazzle us with sheer technique and charisma .
Instrumentation : Two flutes including piccolo , two oboes including English horn , two clarinets , bass clarinet , two bassoons including contrabassoon , four horns two trumpets , trombone , timpani , percussion , harp , celesta and strings .
SYMPHONIC DANCES
Sergei Rachmaninoff
Born in Oneg , Russia , April 1 , 1873 ; died in Beverly Hills , CA , March 28 , 1943
By 1940 , Sergei Rachmaninoff , then 67 and in failing health , believed his composing career was over . Since fleeing Russia during the Bolshevik Revolution in late 1917 for refuge in Western Europe and America , he had managed to create only five substantial works , including his popular Rhapsody on a Theme of Paganini .
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