Beethoven, like any great storyteller, asks us to follow him down a path that has yet to be explored.
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Although Strauss’s music eventually releases its late Classical imprint and adopts the broad, sweeping style of late Romanticism, this concerto offers us hints of what is to come, foreshadowing the great “horn moments” in Strauss’s epic tone poems such Don Juan, Ein Heldenleben, and Don Quixote.
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“Actually, my entire exposure to African culture is the result of my relationships with my African brothers and sisters in the United States. It was these relationships that taught me my heritage and how to express my heritage in my music – one example being African Air.”
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The symphony opens in an atmosphere of mysterious beauty. In the first movement, tempo molto moderato, one might imagine time-lapse photography of wildflowers unfolding in a vast landscape, or as Sibelius wrote, “I begin to see dimly the mountain I shall ascend. God opens His door for a moment and His orchestra plays the Fifth Symphony.”
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Elgar did not need to have some unifying theme more than the sea itself in this work. His home audience knew the sea well and did not require an academic discussion to remind them how important it was for their way of life. Pure enjoyment of poetry on the sea set to music sufficed.
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He was awed not only by the beauty of the river, but also how the river was an integral method not just for travel, but entertainment. So moved from what he saw, in a span of nineteen days (as noted in his diary), Smetana composed this tone poem to musically portray the river.
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My take on music, nationalism, politics, and my slightly different approach to writing program notes for the Magarò, Smetana & Sibelius concert.
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“A sacrifice to the bitch goddess of greed and nothing else. He had no success in the United States and Europe for several seasons, and his concerts in the Soviet Union were triumphs. When I saw him for the last time he was despondent about his material fate in France. He returned to the Soviet Union, and when he finally understood his position there it was too late.”
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Bach was quickly scooped up by Leopold, Prince of Anhalt-Köthen. What this meant for Bach was that he was freed from church duties and able to compose secular music for some of the best musicians in Europe.
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“All I know of love is the pain it causes!”
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“The applause went on for nearly an entire hour. People were in uproar, and ran up and down through the streets of Leningrad until the small hours, embracing and congratulating each other on having been there. They had understood the message...”
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