MAHLER ’ S TITAN
The BSO
artist-in-residence for S & R Foundation and now holds the post of artistic director of the Ryuji Ueno Foundation in Washington , D . C .
Ryo Yanagitani makes his BSO debut .
About the Concert
CONCERTO FOR VIOLIN , CELLO AND PIANO IN C MAJOR
Ludwig van Beethoven
Born in Bonn , Germany , December 16 , 1770 ; died in Vienna , Austria , March 26 , 1827
Throughout the first half of his career , Beethoven was fascinated by the chamber ensemble known as the piano trio — piano , violin and cello . In fact , his very first opus number consisted of three piano trios . The most famous of his works in this genre is the beloved “ Archduke ” Trio of 1810 – 1811 , and it was this very Archduke , Rudolf of Austria , youngest son of Emperor Leopold II and brother to Emperor Franz , who probably instigated the creation of the unusual work we hear tonight .
Rudolf was a gifted pianist and musician who became Beethoven ’ s most devoted patron , only composition student and — within the limits of their different stations — close friend . He performed Beethoven ’ s piano trios ,
including his namesake , and purportedly dreamed of playing in a trio set within the grander context of the orchestra . In 1803 – 1804 , when work on his opera Fidelio was being delayed by problems at the Theater an der Wien , Beethoven took up Rudolf ’ s challenge .
The challenge was formidable : how to showcase not one but three soloists equally within the confines of the concerto format that Beethoven had already delineated in his first three piano concertos . Obviously , something was going to have to give ; therefore , in order to give equal time to all of his soloists , Beethoven had to prune the orchestral part . Another problem was how to balance the solo parts so the deep-toned cello would not be covered by the brilliant violin and powerful piano . Beethoven solved this by writing the cello part mostly in its highest register and by making it the leader of the trio , introducing all the principal themes . Because Archduke Rudolf ’ s piano technique was not on the virtuoso level of Beethoven ’ s , the piano part is not as difficult as the violin and cello parts , but so clever is Beethoven ’ s writing the listener will seldom be aware of this .
The Allegro first movement , in the home key of C major , sets the tone for the work : it is big in scale and length , giving an impression of imperial grandeur . Yet it begins very quietly with cellos and basses mysteriously previewing the principal theme from the depths of the orchestra . Then Beethoven dramatically builds this theme through a lengthy crescendo to a heroic fortissimo .
A regal orchestral summons soon brings the soloists on stage , with the cello singing the principal theme . The soloists dominate the development section , which takes on the tone of a strenuous quarrel among the three .
The very slow second movement is brief but unforgettable . It is essentially an extraordinarily beautiful and moving aria for the cello , eventually blossoming into a duet with the violin over a florid piano accompaniment .
The finale is a Rondo alla polacca . Made famous by Chopin , the polonaise is an aristocratic Polish dance dating back to the Renaissance with a strongly accented characteristic rhythm . Beethoven ’ s polonaise refrain is a sweeping , unforgettable tune of subtle beauty . Later in the movement , listen for the dramatic return of this refrain over a spectacular long trill in the piano . Near the end , Beethoven surprises us by switching from the polonaise rhythm of 3 / 4 to 2 / 4 for a virtuoso high-speed version of the refrain led by the violin .
Instrumentation : Flute , two oboes , two clarinets , two bassoons , two horns , two trumpets , timpani and strings .
SYMPHONY NO . 1 IN D MAJOR
Gustav Mahler
Born in Kalischt , ( now Czech Republic ), July 7 , 1860 ; died in Vienna , Austria , May 18 , 1911
When Gustav Mahler , age 29 , premiered his First Symphony in Budapest on November 20 , 1889 , the audience responded with tepid applause and scattered boos . At subsequent performances in Berlin and in Vienna , the reaction was even more negative . Only audiences in Prague and in Amsterdam ( where conductor Willem Mengelberg and the Concertgebouw Orchestra were creating something of
MAR – APR 2018 / OVERTURE 33