Hector |
Fryderyk (Frederic) |
Johannes |
EVENINGS OF CLASSICAL MUSIC - BAHRAIN - |
PROGRAMME FOR 15 MARCH 2000 |
25 GREAT COMPOSERS SERIES This evening features 3 more composers (no's 9 to 11 in the series) |
9 |
10 |
11 |
JOHANNES BRAHMS (1833-97) |
i ii iii |
Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace Poco più presto |
Violin Concerto in D major, Op. 77 |
Arthur Grumiaux (Violin) New Philharmonia Orchestra conducted by Colin Davis |
FRYDERYK (FRÉDÉRIC) CHOPIN (1810-49) |
Sonata for Piano and Cello in G minor, Op. 65 |
i ii iii iv |
Allegro moderato Scherzo: Allegro con brio Largo Finale: Allegro |
David Finckel (Cello) & Hu Wan (Piano) |
HECTOR BERLIOZ (1803-69) |
Symphonie Fantastique, Op. 14 (Episode de la vie d'un artiste) |
i ii iii iv v |
Rêveries Passions (Largo Allegro agitato e appassionato assai) "Daydreams Passions" Un bal (Valse. Allegro non troppo) "A Ball" Scène aux champs (Adagio) "In the Meadows" Marche au supplice (Allegretto non troppo) "March to the Scaffold" Songe d'une nuit de sabbat (Larghetto Allegro Ronde du sabbat: Poco meno mosso) "Sabbath Night's Dream" |
London Symphony Orchestra conducted by Colin Davis |
PROGRAMME (for Symphonie Fantastique) Notice The composer aims to develop in a musical fashion different situations in the life of an artist. The plan of the instrumental drama, deprived of assistance from a text, needs to be explained in advance. The following programme should thus be considered in the same manner as the spoken text of an opera, serving as introductions to the pieces of music, whose character and expression it motivates. Part 1 DAYDREAMS - PASSIONS The author imagines that a young musician, afflicted by the disease of the spirit which a famous writer has referred to as the surge of the passions, sees for the first time a woman who combines all the charms of the ideal being of whom he has for so long dreamed, and becomes hopelessly taken with her. By a strange turn of fate, the cherished image only presents itself to the artist's spirit in connection with a musical idea, in which he discovers a character impassioned, but at the same time noble and timid, similar to that which he attributes to the object of his affections. This melodic reflection with its model follow him incessantly like a double obsession (idée fixe). This is the reason for the constant appearance, in all the movements of the symphony, of the melody with which the first allegro begins. The passage from this state of melancholy reverie, interrupted by several outbursts of groundless joy, to a state of delirious passion, with movements of anger, jealousy, reversions to tenderness, tears, religious consolation, is the subject of the first piece. Part 2 A BALL The artist finds himself in the most varied circumstances of life, in the middle of the bustle of a festival, in the quiet contemplation of the beauties of nature; but everywhere, in the town, in the fields, the beloved image presents itself to him and throws him into disquiet. Part 3 IN THE MEADOWS Finding himself one evening in the countryside, he hears from afar two herdsmen singing a pastoral melody; this pastoral duo, the site, the light rustling of the trees gently shaken by the wind, some reason for hope that he has just conceived, all combined to give his heart an unaccustomed sense of calm, and to give a more cheerful colour to his thoughts. He reflects on his loneliness; he hopes that he will not be alone much longer ... But if she were to deceive him! ... This mixture of hope and fear, these thoughts of happiness, troubled by black forebodings, form the subject of the adagio. At the end, one of the herdsmen begins singing the pastoral melody once again; the other no longer responds ... The sound of thunder in the distance ... loneliness ... silence. Part 4 MARCH TO THE SCAFFOLD Having become certain that his love is unrecognised, the artist poisons himself with opium. The dose of the narcotic, too slight to kill him, plunges him into a sleep accompanied by horrible visions. He dreams that he has killed the one he loves, that he has been condemned, led to the scaffold, and that he is present at his own execution. The procession advances to the sound of a march both dark and cruel, both brilliant and solemn, in which the muffled sound of heavy footsteps gives way without transition to the most resounding outbursts. At the end of the march, the first four bars of the obsession reappear as a final thought of love interrupted by the fatal blow. Part 5 SABBATH NIGHT'S DREAM He sees himself at a witches' sabbath, in the middle of a horrendous band of ghosts, witches, monsters of all kinds, gathered for his funeral. Weird noises, groans, laughter, distant cries to which other cries seem to respond. The beloved melody appears once again, but it has lost its noble and timid character; it is merely a base, trivial, and grotesque dance tune; it is she who is coming to the sabbath ... A howl of joy at her arrival ... She joins in the diabolical orgy ... The funeral knell, a burlesque parody of the Dies irae, a sabbath round. The sabbath round and the Dies irae together. Notes: 1 Distribution of this programme in the auditorium at concerts in which this symphony is performed is essential for full comprehension of the dramatic plan of the work. 2 The Dies irae is a hymn sung at funeral ceremonies of the Catholic Church. |
Johannes |
Fryderyk (Frederic) |
Hector |
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