PROGRAM NOTES by Joseph & Elizabeth Kahn 2010
October 16 and 17, 2010 Beethoven's Fifth
Hero worship, bitter divorce & revolutionary genius
LUDWIG VAN BEETHOVEN (1770-1827)
Symphony No. 5 in C minor, Op. 67
FELIX MENDELSSOHN (1809-1847)
Violin Concerto in e minor, Op. 64
If ever there was a composer born with a silver spoon in his mouth, it was Felix Mendelssohn. He was raised in affluence and comfort, his precocious musical talent recognized and nurtured by his culturally sophisticated and highly supportive family. His home was a Mecca for the artistic and intellectual elite of Germany who also encouraged the prodigy and his talented sister Fanny. One of his admirers was the formidable grand old man of German literature, Johann Wolfgang von Goethe. Fortunately for the development of Felix’s rare abilities, his carefully selected teachers were demanding. His strict training, especially in fugue composition, familiarized him with the works of Johann Sebastian Bach, who at the time was dismissed as a mere pedagogue. In 1829, Mendelssohn was central to a Bach revival with an historic performance of the Saint Matthew Passion in Berlin, virtually rescuing the great composer’s music from the counterpoint classroom.
As a mature artist, Mendelssohn was acclaimed throughout Europe as a composer and conductor, especially in his native Germany and in England, where he had a private audience with the young Queen Victoria, who sang for him after he had played for her. His untimely death from unknown causes created a profound shock, and Mendelssohn societies promoting his music and ideas quickly sprang up all over middle and northern Europe.
Unlike Mozart, Mendelssohn was extremely self-critical, constantly requesting feedback and carefully perfecting his compositions. The Concerto in e minor had a long gestation period. Mendelssohn started it in 1838 but did not finish it until six years later. He wrote it for his friend, the famed violinist Ferdinand David (1810-1873), concertmaster of the Gewandhaus Orchestra of Leipzig where Mendelssohn served as conductor from 1835 to 1843. The composer sought – and took – David’s advice on technical aspects throughout its composition. David finally premiered it in Leipzig in 1845, but Mendelssohn was ill and unable to attend. Now one of the staples of violin repertory, the Concerto was considered daring and innovative at the time of its composition.
From the first bar, the Allegro molto appassionato opening broke new ground. Instead of the usual orchestral exposition of the main themes, the violin enters at once to present the principal theme on which the movement is built. For the second theme, the roles are reversed, with the winds introducing the theme. The cadenza, largely the creation of David, is placed unconventionally before the recapitulation. Relocating the cadenza away from its traditional place at the end of the movement stresses the continuity with the second movement, which follows without pause.
The Andante emerges out of a single quiet bassoon tone, emanating from the last chord of the opening movement. It is joined by other instruments for a short transitional passage, after which the solo violin introduces the simple, almost religious theme.
Another transition, based on the opening theme of the Concerto, leads into the Allegro molto vivace. Mendelssohn saved the demonstration of the virtuoso possibilities of the violin for this sparkling Finale. After an orchestral fanfare for the winds, the soloist enters with a flourish followed by a delicate, dancing theme that dominates the movement and recalls the atmosphere of the teenaged composer’s first great hit, the Overture to A Midsummer Night’s Dream.
2009 www.WordProsMusic.com
