Program Notes for October 22, 2022
written by RSO Principal Cellist Michael Beert
Symphony No. 7 in A major, Op.92 by Ludwig van Beethoven
Beethoven in 1814
Composer: Born December 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna, Austria
Work composed: Fall of 1811 through 1812 in the Bohemian spa town of Teplitz
First performance: December 8, 1813, at the Great Hall of the University of Vienna, with the composer conducting. Beethoven’s friend, violinist Ignaz Schuppanzigh, led the orchestra. The orchestra included such notable artists as the violinist Louis Spohr and composers Hummel, Meyerbeer, and Salieri.
Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, horns, trumpets, timpani, and strings
Estimated duration: 42 minutes
The Seventh Symphony of Beethoven’s was a grand statement by the composer. The work was written approximately three years following the Fifth and Sixth Symphonies. Beethoven started sketches of the Seventh at least two years before in 1809.
Why is it a grand statement by the composer? Beethoven always considered the symphony to be the ultimate in expression of emotions, autobiographical statement, logical thought, the human condition, and the world around him. In regard to emotions, Beethoven was always keen in expressing his condition through his music. Extreme contrasts of dynamics with sudden changes in loud/soft and unexpected rhythmic or formal appearances were ways to help him demonstrate the changes in his psyche. Even dramatic contrasts between the movements of the symphony were important in Beethoven’s music. They certainly supplied contrast in his later symphonies as in Nos. 5, 6, 7, and 9.
The Seventh was written at a time when Beethoven felt he was in good health. He had just spent an extended time at a spa in Bohemia (Czech Republic) to rejuvenate himself. The years between the Sixth and Seventh Symphonies were not void of compositions; there are many smaller but highly personal works written between such as the “Farewell” Piano Sonata, The “Emperor” Piano Concerto, and the "Archduke" Piano Trio. Beethoven was clearly feeling better as we hear in the Seventh with its joyful nature.
In regard to logical thought, Beethoven is continuing his experiments in form and relational ideas of melody and rhythm in this work. The first movement has one of the “simplest” introductions but also the longest of all his symphonies. Simple in the sense that the woodwinds present melodic ideas using simple triads punctuated with loud chords in the rest of the orchestra. These triad outlines in the woodwinds are repeated again but with the addition of running scales in the strings as a variation of the accompaniment. The music builds up to a climax and then the flute repeats a series of E-naturals – the fifth note of the key of A Major. This E-natural then takes us into the first movement proper.
Then begins a melodic idea built around a rhythm that resembles a “Scottish Snap.” This rhythm is of great interest throughout the entire movement, almost obsessive in nature. Of curious interest in regard to form is that the beginning introduction and ending coda are of equal length with the main movement also in balance mathematically. Of interest is also the idea of the E-natural heard throughout the movement. Notes right next to the E (F-natural and D-sharp) will become prominent throughout the entire symphony, as if it were an idea that Beethoven set out to work on in this piece. Again, obsessively!
The second movement is the most popular of the symphony and was frequently applauded during performances. It is still played independently from the symphony. The work is marked “Allegretto” or slightly fast, certainly NOT a slow movement in the traditional sense of the word or what is expected. It is in the minor key from the first movement, so it supplies emotional contrast. The second movement is also the most contrapuntal of the four movements. The movement works up organically and dramatically by the addition of different ideas played at the same time. There is even a fugal section included (think “Row, Row, Row Your Boat”). There are also sections of great beauty and tenderness when Beethoven goes to the major key. These moments create a wonderful sense of relief to the buildup of tension throughout most of the movement.
The third movement is a scherzo or “musical joke,” a form that Beethoven adopted early in his compositional career. There are a couple of “joke” ideas floating around: the peasant-like nature of the first melody with its quick passing of material between strings and woodwinds; the use of constant changes in volume; and finally, the contrasting trio sections with their more military sound supplied by the trumpets. Beethoven repeats the trio twice and even starts it a third time before it is rudely thrown out by a quick cadence or resolution in the original key to end the movement. Certainly, a shock to the Viennese audiences of the day!
The final movement is again a study of Beethoven working with a couple of ideas in a very fast tempo: the first being obsessive nature of the E-natural — particularly in the opening and the coda. Listen for the cellos and basses grinding out a low E in the final minutes of this finale. What is this obsession with the E-natural? It is the fifth note of the scale in A major and acts as one of the most important notes of the scale, the dominant as it is called in music theory.
Its real purpose is to resolve to the tonic or first note of the scale. However, Beethoven doesn't always resolve this note properly and throws the audience a few curve balls along the way. It's as if he is pulling the rug out from under us. Just when we expect the resolution that we anticipate, he refuses to give it to us! He knew his audience would anticipate the resolution, but he created more dramatic tension by not giving it to them. Again, listen to the end of finale with the cello and basses continuously grinding out the E – D-sharp oscillation. Where is it going?
The other idea is the opening motive or short melodic idea. It is basically a reversal of the main melody of the Fifth Symphony: short-short-short-long. It becomes long-short-short-short. Much of the movement is reserved for these two ideas and each is beautifully intertwined together in this robust and joyful finale.
Beethoven is writing at a time when much of Europe (including Vienna) was controlled by Napoleon Bonaparte. The premiere was given to aid Austrian troops and veterans. At the premiere was also a performance of Beethoven’s new composition “Wellington’s Victory.” This was one of the few works that was a failure in the large catalogue of Beethoven. However, it made the patriotic point that Napoleon was not to be admired or championed. The audience approved. Especially when Napoleon found himself retreating from his failure in trying to take Moscow in the fall and winter of 1812, one of the worst defeats of his career.
Of interest is how the world received this composition. The Viennese thought it Beethoven’s best, asking for encores of the second movement and the repeat of the work multiple times in the course of a few weeks following its premiere. Beethoven conducted a performance a year later to great success, something he would not do again until the premiere of the Ninth Symphony many years later. Beethoven’s deafness and isolation was taking a toll on him, even in 1813. He still thought it his best symphony and a personal triumph.
Many great composers were equally impressed with the work. The great piano virtuoso Franz Liszt made a piano transcription of the entire work. French composer and curmudgeon Hector Berlioz could not say enough great things about it. The German opera composer Richard Wagner thought the work was the epitome of the dance, particularly the first and last movements with its obsessive use of rhythms. He even went so far as to prove his point by dancing to a performance of the piano reduction played by his father-in-law Liszt!
Overture No.1 in E Minor, Op. 23 by Louise Farrenc
Composer: born May 31, 1804, in Paris; died September 15, 1875, in Paris
Work composed: 1834
First performance: Unknown
Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.
Estimated duration: 7 minutes
This is the first Rockford Symphony Orchestra performance of this work
Louise Farrenc
Louise Farrenc (born Jeanne Louise Dumont) was born to a family of visual artists in Paris. She was recognized as a pianist with considerable talent by an early age and received training in piano by the likes of the great pianist/composers Ignaz Moscheles and Johann Hummel. She received her training in composition at the Paris Conservatoire with Anton Reicha. She was known as a great concert pianist as well as a composer of orchestral music, piano works, and chamber music. She eventually became a professor of piano at the Paris Conservatoire.
Her music comes at a time of transition in Paris when few women were regarded in the arts. There is a slow improvement at this time with the likes of Clara Wieck-Schumann, considered one of the greatest pianists of the 19th century, and Aurora Dudevant, who wrote popular novels in the early 19th century under the pen name Georges Sand. Louise Farrenc's music at this time was transitional from the wonderfully lyrical world of Schubert and the daring harmonic and dramatic experiments of the early Romantics such as Schumann, Liszt, and Berlioz. Her music was championed by many conductors and composers in the 19th century and is again, making a well-deserved comeback to the concert hall.
Beethoven 9 Symphonic Remix by Gabriel Prokofiev
Gabriel Prokofiev
Composer: born January 6, 1975, in London
Work composed: 2011
First performance: June 24, 2011, by the Orchestre National des Pays de la Loire, John Axelrod conducting
Instrumentation: electronics, two flutes (one doubling on piccolo), two oboes, two clarinets (both doubling on bass clarinet), two bassoons, one contrabassoon, four horns, two trumpets, two trombones, bass trombone, timpani, percussion, and strings
Estimated duration: 25 minutes
This is the first Rockford Symphony Orchestra performance of this work
Gabriel Prokofiev is the grandson of the well-known Russian composer Sergei Prokofiev who lived from 1891 – 1953. Both grandfather and grandson are noted for their revolutionary ideas about music and experiments in classical music. Both have a great understanding of the orchestra, melody, harmony, and form. Where Gabriel departs from his grandfather is his use of electronics and his deep knowledge of popular music. Particularly his interest in dance, house, and hip-hop music. Tired of the way classical music was repetitive, he started incorporating popular music with classical through electronic sound manipulation. This has created a fresh approach to music, music that can appeal to a wider audience as well as to the traditional concert attendee.
From Yaniv Segal's original recording with the BBC Wales Symphony Orchestra liner notes:
Beethoven9 Symphonic Remix (Symphony No. 9 was written by Beethoven between 1822 – 1824. Gabriel Prokofiev wrote his Symphonic Remix in 2011.)
This audacious and dynamic work is based entirely on material from the last movement of Beethoven’s final symphony. While staying true to the traditional theme and variation form of the original, Prokofiev uses Beethoven’s melodic cells and the “Ode to Joy” theme to create loops, grooves, and musical transformations that incorporate Modernism, Minimalism, Hip-hop, Grime, North African Rai, Neo-classical, Impressionism, Egyptian Funk, Sufi Zhikri, Baroque, House, and Electroacoustic ideas. Each style brings a different culture, social context, and even time period to the piece, creating a contemporary ‘remix’ that is a modern tribute to the universalist sentiments of Beethoven’s masterwork. In the composer’s words:
The idea of making a remix for full orchestra, and not simply following the more classical theme and variations approach, really appealed to me. The 'remix' is a very contemporary concept which originated in the world of night clubs and dance music but actually suggests many interesting approaches to how one can handle the original material; and unlike the more traditional theme and variations which tend to focus mainly on the 'theme' or melody of the original, remixes can take into account any element of the original piece of music.
The work was commissioned by John Axelrod and the Orchestre National de Pays de la Loire in 2011. The original choral part has been sampled from a recording specifically made by the ONPL chorus (Valérie Fayet, director) and then transformed into a live electronics part that is performed by the composer himself.