Hamburg Symphony Orchestra - State Theatre

Hamburg
Symphony Orchestra

Welcome
2
The State Theatre in New Brunswick, NJ
welcomes you to the performance of the
Hamburg Symphony.
These Keynotes provide information to help
you take in the performance with a wellinformed
ear and eye. We hope that the guide
will add to your understanding and enjoyment
of the concert and inspire you to continue
exploring the rich world of classical music.
Contents
Welcome ................................................2
Meet the Orchestra ............................3
Jeffrey Tate, Conductor ....................4
Guy Braunstein, Soloist ....................5
A Closer Look: The Romantic Era..6
Vaughan Williams................................7
Johannes Brahms ................................8
Meet the Composers ........................9
Antonín Dvořák..................................10
Decoding the Program Page........11
Are You Ready?..................................12
Keynotes are made possible by a
generous grant from Bank of
America Charitable Foundation.
The State Theatre’s education program is funded in part by Bank of America Charitable Foundation, Colgate-
Palmolive, The Geraldine R. Dodge Foundation, E & G Foundation, Gannett Foundation, The William G. & Helen C.
Hoffman Foundation, The Horizon Foundation for New Jersey, Johnson & Johnson Family of Companies, J. Seward
Johnson, Sr. 1963 Charitable Trust, Karma Foundation, McCrane Foundation, MetLife Foundation, Mid Atlantic Arts
Foundation, National Starch, New England Foundation for the Arts, New Jersey State Council on the Arts,
Pennsylvania Performing Arts on Tour, PNC Foundation, Bill & Cathy Powell, The Provident Bank Foundation,
PSE&G, Robert Wood Johnson Foundation, TD Bank, and Wachovia Wells Fargo Foundation. Their support is
gratefully acknowledged.
The State Theatre Symphony Series is made possible through the generous support of
The Blanche and Irving Laurie Foundation.
Funding has been made possible in
part by the New Jersey State
Council on the Arts/Department of
State, a partner agency of the
National Endowment for the Arts.
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of the State
Theatre.
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is the official
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State Theatre.
Keynotes are produced by the Education
Department of the State Theatre,
New Brunswick, NJ.
Mark W. Jones, President & CEO
Lian Farrer, Vice President for Education
Online at www.StateTheatreNJ.org/Keynotes
Keynotes for Hamburg Symphony Orchestra
written and designed by Lian Farrer and Jennifer
Cunha.
© 2010 State Theatre
Find us at www.StateTheatreNJ.org
Contact: education@StateTheatreNJ.org
State Theatre, a premier nonprofit venue for the
performing arts and entertainment.

Meet the Orchestra
3
Founded in 1957, the Hamburg Symphony has both a national and
international reputation for being one of the most original symphonies in the
city. As the only orchestra housed in the Hamburg Music Hall, they have
secured a key spot in Hamburg’s music scene. The orchestra’s first principal
conductor, Robert Heger, has been succeeded by the likes of Imre Kertesz and
Miguel Gómez-Martinez, with guest conductors including Christian
Theilemann, Horst Stein, and Sebastian Weigle.
The Hamburg Symphony, when not touring, can be heard in subscription
series, including open-air concerts in the summer. One of theses series includes
chamber music concerts, vocal recitals, and concerts devoted to silent films.
The second is a series of concerts for children and young adults, including
outreach programs to schools. In 2008, the orchestra further dedicated itself to
the advancement of young musicians and established an Artist in Residence
position that has featured clarinetist Martin Fröst and violinist Guy Braunstein.
In 2009, Jeffrey Tate took over as Principal Conductor and Daniel Kühnel as
General Manager and Artistic Director. Together, they have strengthened the
orchestra’s connection with the city and increased their audience by 56%. The
Hamburg Symphony has featured some of the world’s most renowned soloists,
including Frank Peter Zimmerman, Placido Domingo and Elisabeth Leonskaja.
The orchestra has toured throughout Europe in Italy, Spain, Poland, Great
Britain, Turkey, and France, taking it’s place as one of Europe’s foremost
orchestras. This U.S. tour marks the first time the symphony as visited the States
since 2007.
“From the warmth of the first
horn chords and the airy
lightness of the violins in the
first movement, to the
grandeur of the finale, the
Hamburg’s performance was
all one hoped for. There were
moments when sections or
individuals shone... when the
orchestra itself seemed to
dance."
—Newsday

Jeffrey Tate, Conductor
4
British conductor Jeffrey Tate is one of the most
renowned conductors of his generation. His current home is
with the Hamburg Symphony Orchestra as Principal Conductor
in Germany, but he has performed with nearly every major
orchestra in the world.
Music was not Maestro Tate’s first profession. He
originally studied medicine at the University of Cambridge and
was an eye surgeon in London for three years before joining
the music staff at the Royal Opera Covent Garden in 1970. Tate
made his conducting debut at Gothenburg Opera in 1978.
Since then, he has become famous as a conductor of the music
of Wagner and
Strauss, along with music of the romantic and classical repertoires, 19th and
“As the music moved under
20th century British music, and contemporary music. In the 1982-83 season
my hands, I suddenly felt
alone, Tate conducted at the Royal Opera House, the Met in New York City,
that I was doing something I
and with the English Chamber Orchestra, eventually being appointed
Principal Conductor in 1985.
had been waiting to do all my
Maestro Tate has conducted world premiere performances of Henze’s Il life.”
Ritorno d’Ulisse at the Salzburg Festival and of Rolf Liebermann’s Der Wald
— Jeffrey Tate
in Geneva. Over the years, Tate has been appointed Music Director of the
Rotterdam Philharmonic Orchestra, Principal Guest Conductor of the
Orchestre National de France, and the Royal Opera House Covent Garden. He has also conducted performances at the
Bastille Opera and the Châtelet in Paris, not to mention Palais Garnier and La Scala Milan. He has developed relationships
with orchestras throughout the world, often returning to perform with them. These include the Berlin Philharmonic,
Dresden Philharmonic, the Boston Symphony, Maggio Musicale Fiorentino, and Sydney Symphony, to name a few.
In 2001, Maestor Tate was named the Honorary Director of the National Italian Radio Orchestra. For the 2009-10
season, he was nominated to become Chief Conductor of the Hamburg Symphony Orchestra. Already thinking ahead,
Jeffrey Tate is scheduled to work on Billy Budd at the Bastille in Paris and also to do two complete cycles of Richard
Wagner’s Ring des Nibelungen during the 2013-14 season at Vienna State Opera.
After more than four decades as a prominent conductor, there is no doubt that Maestro Tate has garnered many
awards in his career. In 2001, 2002, and 2010, he was awarded the Franco Abbiati Prize, which is Italy’s most prestigious
prize, for his work with Orchestra Sinfonica Nazionale della RAI, Teatro San Carlo in Napoli, and for the production of
Götterdämmerung at La Fenice in Venice. Tate has also earned the titles of “Chevalier de la Légion d’Honneur,” “Chevalier
des Arts et des Lettres,” and Commander of the British Empire for his work.

Guy Braunstein, Soloist
5
Violinist Guy Braunstein was born in Tel Aviv, Israel.
There, he studied the violin with Chaim Taub. When he
came to New York, he then learned under Glenn Dicterow
and Pinchas Zuckerman. His career as a soloist began at a
young age and has continued to grow ever since. Through
the years, he has played with the Isreal Philharmonic,
Bamberg Symphony, Tonhalle Zurich, and Berliner
Philharmoniker, to name a few.
Over his prestigous career, Braunstein has collaborated
with the likes of Issac Stern, Daniel Barenboim, Sir Simon
Rattler, Jonathan Nott, Gary Bertini, and Angelika
Kirschlager. In 2000, he was the youngest person in the
history of the Berliner Philharmonker to be appointed
concertmaster. He has kept his position and works with
them for approximately four months per year.
From 2003 to 2007, Braunstein served as Professor of
Music in the University of the Arts (Universitaet der Kunst)
in Berlin. Germany’s Rolandseck festival has had
international stars including Emmanuel Pahud, Amihai Grosz, and
François Leleux since Guy Braunstein took over as Music Director
in 2006.
During the 2010-11 season, Braunstein performed with Sofia
Philharmonic Orchestra and Mozarteun Orchestra Salzburg. He
also play-directed the Halle Staatskapelle and performed recitals
and chamber music concerts throughout Europe, making stops in
London, Jerusalem, Berlin, and Frankfurt. Guy is also a member of
the West-Eastern Divan Orchestra.
Guy Braunstein’s repertoire is quite impressive, covering 19
composers and 30 pieces. He covers Bach, Beethoven, Haydn,
Mozart, and Vivaldi and does so with a rare violin made in 1679 by
Francesco Ruggieri.
Ruggieri’s Violin
Francesco Ruggieri (1620-
1695) is the first in a family
of violin crafters out of
Cremona, located in northern
Italy on the left bank of the
Po River. Often thought of as
the first pupil of famous
violin maker, Nicolo
Amati, Ruggieri
patterned his
instruments on Amati’s
designs. Ruggieri’s
instruments are known
for their rich, full tone
and beautiful
craftsmanship, although
he is more known for his cellos.

A Closer Look :
The
Romanc Era
6
JMW Turner, “Chichester Canal” (1828)
ROMANTIC
1. displaying or expressing love or
strong affection.
2. ardent; passionate; fervent.
3. imbued with or dominated by
idealism, a desire for adventure,
chivalry, etc.
4. (usually initial capital letter)
pertaining to or characteristic of
a style of literature and art that
subordinates form to content,
encourages freedom of
treatment, emphasizes
imagination, emotion, and
introspection, and often
celebrates nature, the ordinary
person, and freedom of the spirit
(contrasted with classical).
5. of or pertaining to a musical
style characteristic chiefly of the
19th century and marked by the
free expression of imagination
and emotion, virtuosic display,
experimentation with form, and
the adventurous development of
orchestral and piano music and
opera.
6. fanciful; impractical; unrealistic.
7. imaginary, fictitious, or
fabulous.
Johanne Brahms’, whose work you will hear at the concert is a product of
music’s Romantic Era (roughly 1800-1910). The Romantic movement
encompassed not only music, but architecture, visual art, literature, dance,
theater, and philosophy as well.
The roots of Romanticism in music were in the preceding Classical Era, where
18th-century composers such as Mozart and Haydn perfected the musical
expression of the Age of Reason. Their works emphasized clarity and proportion
in both structural and harmonic language. In their orchestral works (as opposed
to their operas), the music stood on its
own, unconnected to ideas, images, drama, “People often complain that
or other non-musical elements.
music is ambiguous, that their
During the Romantic Era, music moved ideas on the subject always seem
from the abstract into the realm of the so vague, whereas everyone
representational. Now it might tell a story, understands words. With me it is
conjure an image, stir emotions. The genre exactly the reverse—not merely
became known as “program music”—
with regard to entire sentences,
music that has an underlying narrative or
but also as to individual words.
non-musical meaning. The emotional
These, too, seem to me so
content was typically intense. This was the
ambiguous, so vague, so
era that gave us the operatic mad scene,
unintelligible when compared
the symphonic shipwreck, and the
with genuine music, which fills
revolutionary étude. Besides love, popular
subjects in Romantic music included
the soul with a thousand things
nature, introspection, imagination, and the better than words.”
supernatural. Political revolutions in Europe —composer Felix Mendelssohn
during the 19th century created a wave of
nationalism that was reflected in the music of the Romantic Era. Composers
proudly integrated traditional music of their homeland into their works.
Looking for a broader palette with which to paint their musical pictures,
Romantic composers loosened and expanded the formal conventions of the
Classical Period, as applied to form, melody, harmony, tonal relationships, and
instrumentation. They still wrote symphonies, concertos, sonatas, and the like,
but they also created symphonic poems, program symphonies, fantasies,
nocturnes, impromptus, mazurkas, song cycles and other new genres that
expressed their aesthetic ideas.

Vaughan Williams:
7
The Wasps Overture
Wasps are not loveable insects. In the summer and fall, they
swarm around visitors at street cafes, landing on whatever is
sweet on the table and often enough in drinks. It is impossible to
get rid of them without attracting even more of the creatures.
This appears to have been the case in antique times as well, for
the Greek dramatist Aristophanes, in his comedy The Wasps from
422 BC, used wasps as a metaphor for litigious citizens who took
every opportunity to engage in legal battles. The historical
background for this was an increase in the remuneration for
citizens who served as trial judges. In ancient Athens, with its
specific early form of democracy, being a judge was not an
institutionalized profession, but rather one of the responsibilities
required of full citizens. Following the laws of the city, judges
arrived at their decisions after both parties in a case – the accuser
and defendant or their representatives – had presented their
positions. For this, the judge received a kind of expense
allowance, which was increased by a third under the rule of Cleon.
As a result, the willingness of the Athenians to go to court grew
dramatically, which Aristophanes used as the point of departure
for his comedy. He dealt with this situation in a highly satirical
manner by making the chorus of amateur judges into wasps and
the stylus with which the decision was written a wasp’s stinger.
Ralph Vaughan Williams composed his incidental music in
1909 for a performance of The Wasps at Trinity College in
Cambridge. He wrote not only the usual overture and interludes
between scenes, but also set a number of complete scenes to
music, so that the entire incidental music for the play lasts almost
two hours. The music is rarely performed in its entirety, but
Vaughan Williams himself arranged a suite consisting of five
instrumental pieces. The suite begins with an overture that is in
itself a splendid concert piece. The wasps can be heard
immediately; the instruments as they enter conjure up a swarm of
insects that buzz aggressively around the ears of the listeners.
This introduction is followed by the spirited presentation of three
themes sung by the chorus in the course of the play. This lively
music exudes energy and high spirits. It was particularly
important to Jeffrey Tate to bring music by an English composer
to audiences on the Hamburg Symphony Orchestra’s American
tour. Vaughan Williams’s setting of music for the ancient comedy
is modern and delightful, full of striking instrumental effects
without literally invoking antique musical conventions.
© 1994 Columbia Artists Management Inc.
Ralph
Vaughan
Williams
was born in
1872 in the
Cotswold
village of
Down
Ampney. He attended the Charterhouse School
followed by Trinity College in Cambridge. Later he
was trained by Hubert Parry and Charles Stanford at
the Royal College of Music.
Until he was 32-years-old Vaughan Williams
showed no desire to be anything other than an
industrious and efficient church musician. Fortunately
after a few years at his first professional post as
organist at the St. Barnabas Church in London he was
introduced to English folk music and his former
interest in church music was overtaken by his passion
for folk songs. This gave Vaughan Williams the
materials he needed to build new musical works.
Between 1905 and 1907 he wrote three Norfolk
rhapsodies for orchestra and produced a major
choral work, “Toward the Unknown Region” in the
English style, however inspired by American poet
Walt Whitman. He completed his first important
piece of work just two years later—Fantasia on a
Theme by Thomas Tallis.
After the war he joined the faculty of the Royal
College of Music teaching composition. He also
became the conductor of the Bach Choir in London
from 1920-1926. Premieres of his works became
events of national significance. In the decade
following World War I he composed numerous
masterpieces still heard today. In 1935 he received
one of the highest awards a composer can receive –
the Order of Merit. He died on August 26, 1958.

Johannes Brahms:
8
Violin Concerto in D Major, Op. 77
In 1853, Brahms embarked on a concert tour with the Hungarian violinist Eduard Hoffmann (a.k.a. Reményi). It was during
their stop at Göttinger, near Hanover, that Brahms came to meet Joseph Joachim, the virtuoso violinist – also a composer –
with whom he established an immediate rapport, flourishing into their long friendship. Joachim proved to be enormously
influential in Brahms’ career, as well as in the younger man’s development as a composer. The two shared an identity of
artistic outlook, and a great admiration for each other’s works; together they stood firmly against the “New German School”
as exemplified by Liszt and, later, Wagner. It was at Joachim’s suggestion that Brahms met Robert Schumann and his wife
Clara, both of whom were to become important in his life as well as in his further development as a composer.
Equally important, as a conductor Joachim introduced several of Brahms’ orchestral works, thus garnering recognition for
the younger composer and establishing his reputation, especially in England where the virtuoso/conductor was regarded with
high esteem. Early on, Brahms benefited immensely from Joachim’s advice regarding orchestration, and from hearing
Joachim’s Hanover Quartet perform some of his chamber works. It was not surprising, then, that when Brahms wrote his
masterful Violin Concerto in 1878, he would ask his friend for technical advice regarding the solo part: “I will be satisfied if
you will let me have a few words, and perhaps even write some in the score: difficult, uncomfortable, impossible, etc.”
Joachim—for whom the work was composed and to whom it is dedicated—assured Brahms that “…most of the material is
playable, but I wouldn’t care to say whether it can be comfortably played in an overheated concert hall until I have played it
through to myself without stopping.” Indeed, the violinist provided some invaluable guidance in the form of fingerings and
bowings, but ultimately, Brahms adhered to his original ideas. Joachim did also write the cadenza for the first movement,
although, many other violinists have provided their own cadenzas since then.
Joachim introduced Brahms’ Violin Concerto on New Years Day, 1879, at the Leipzig Gewandhaus, with the composer at
the podium. The premiere of the work was not entirely well received, and the infamous critic Hans von Bülow called it “clumsy
and devoid of flexibility,” further describing the work as being “written not for but against the violin.” However, through the
dedicated advocacy of Joachim, the concerto soon gained its deserved recognition and a very secure place in the repertoire.
A later advocate of the work, Bronislaw Huberman would answer Bülow’s criticism with the words: “Brahms’ concerto is
neither against the violin nor for violin with orchestra but…for violin against orchestra – and the violin wins.”
The main theme of the first movement (Allegro non troppo) is announced by violas, cellos, bassoons and horns. This
subject, and three contrasting song-like themes, together with an energetic dotted figure, marcato, furnish the thematic
material of the movement. The solo violin is introduced, after almost a hundred measures for the orchestra alone, in an
extended section, chiefly of passagework, as a preamble to the exposition of the chief theme. With great skill, Brahms
unleashes his two essentially unequal forces: the tender, lyric violin and the robust orchestra. In the expansive and emotional
development, the caressing and delicate weaving of the solo instrument about the melodic outlines of the song themes in
the orchestra is most unforgettable. A particular high point is provided when the long solo cadenza merges with the serene
return of the main theme in the coda that concludes the movement.
This feature is even more pronounced in the second movement (Adagio), where a dreamy oboe introduces the main
theme against the background provided by the rest of the woodwinds. The solo violin, makes its compliments to the main
theme, and announces an ornamental second theme. Adding the warmth of its tone, the soloist proceeds to embroider its
arabesques and filigrees upon the thematic material with captivating and tender beauty.
The Finale (Allegro giocoso, ma non troppo vivace) is a virtuoso’s tour de force, built upon a compact rondo structure,
containing three distinct themes. The jovial main theme, in thirds, is stated at once by the solo violin. The thematic material
and its eventual elaboration provide many hazards for the soloist: precarious passagework, double-stopping and arpeggiated
figurations. But the music, inhabiting the carefree world of Hungarian gypsies, is quite spirited and fascinating—music of
incisive rhythmic charm and great zest, which in turn pays tribute to the composer’s friend and colleague, Joachim. After the
proceedings accelerate to a quick march tempo based on the main theme, the brilliant coda finally slows down to bring the
concerto to its elegant conclusion.
© 1994 Columbia Artists Management Inc.

Meet the Composers
9
Born in 1833 in Hamburg, Germany, composer and pianist Johannes Brahms
was the son of a double-bass player, who gave him his first musical training. The
young Brahms gave a few public concerts in Hamburg, but did not become well
known as a pianist until he made a concert tour at the age of 19. In later life, he
frequently took part in the performance of his own works, whether as soloist,
accompanist, conductor, or participant in chamber music.
Brahms spent most of his professional life in Vienna—a major music capital—
where some looked to him as the successor to Beethoven. Like Beethoven, Brahms
was both a traditionalist and an innovator. His music is grounded on the structures
and compositional techniques of the Baroque and Classical masters. Though he
employed familiar structural underpinnings, Brahms created a bold new harmonic
language that was anything but traditional, challenging the existing conventions of
tonal music. With a point of view that looked both backward and forward,
Brahms came to be an important influenced for both conservative and
modernist composers who followed him.
Brahms resembled Beethoven temperamentally, as well as musically. Both
enjoyed nature, and both had a reputation for gruffness, especially with
adults. Still, Brahms had a number of strong friendships with other
musicians: composer Robert Schumann and his wife, the pianist Clara Schumann;
violinist Joseph Joachim; and “waltz king” Johann Strauss II. Though he never married,
he is thought to have carried a lifelong—though unrequited—passion for Clara Schumann.
Check out the Johannes Brahms WebSource
at: www.johannesbrahms.org
and the American Brahms Society at
http://brahms.unh.edu/
Composer Antonín Dvořák (1841-1904) wrote in a variety of classical
forms, including symphonies, concertos, ‘symphonic poems,’ chamber music,
choral and piano music, and even opera. His music is characterized by a fusion
of European Romantic style with the idioms and melodies of the folk music of
the composer’s native Bohemia.
Dvořák was the son of a butcher (who also worked as a professional zither
player). Displaying talent at an early age, the boy took lessons in organ, viola,
piano and basic composition. After graduating from the Prague Organ School,
he became a member of the new Provisional Theatre orchestra, which was conducted by the Czech nationalist composer
Bedrich Smetana.
Eventually Dvořák left the orchestra to devote himself full time to composing. By his early 30s, he was sufficiently well
known for Johannes Brahms to recommend him to the music publisher Simrock; the company commissioned Dvořák’s hugely
successful Slavonic Dances (1878). His music was increasingly performed to great acclaim, leading to new commissions and
invitations to tour abroad. England was especially hospitable to the composer, hosting frequent visits, commissioning new
works, and even awarding him an honorary Cambridge doctorate. He visited Russia in 1890, continued to launch new works
in Prague and London and began teaching at the Prague Conservatory in 1891.
Dvořák’s fame was not limited to Europe. From 1892-1895 he served as director of the National Conservatory in New York
City, where he also taught composition. In New York he wrote his best-known work—the Ninth Symphony (“From the New
World”), as well as the Cello Concerto in B minor. The composer’s American sojourn included a summer in the Czechspeaking
community of Spillville, Iowa, where he wrote two of his most beloved chamber works: the String Quartet in F (“The
American”), the String Quintet in E-flat.
Financial disputes and family ties took him back home, where he focused on writing opera and chamber music. He served
as director of the Conservatory in Prague from 1901 until his death in 1904.

Antonín Dvořák:
10
Symphony No. 7 in D minor,
Op. 70, B. 141
Antonín Dvořák
Born September 8, 1841 in Nelahozeves
Died May 1 , 1904 in Prague
Dvořák’s Symphony No. 7 was accepted immediately by conservatives and progressives alike. By that time, the composer
had already achieved success both at home and abroad. On March 13, 1884 he conducted his Stabat Mater, followed by a
concert of his orchestral works in London. The triumph of these performances led to many new invitations to England. He
was showered with orders from home and abroad, including the supreme honor of membership to the London Philharmonic
Society, accompanied by their request that he compose a new symphony for them.
The rugged style of this symphony can be compared with that of Dvořák’s supporter, Johannes Brahms, who at that time
was renowned as a writer of symphonies. It is possible that through this work Dvořák wanted to become an artistic rival; in
fact, the Symphony No. 7 is noticeably like Brahms in character. It should be added, however, that this work has an even
greater similarity of style to Dvořák’s own “Little” Symphony No. 4 in D minor, which he wrote before Brahms had composed
his first symphony.
The Seventh Symphony was published in Berlin in 1885 and received its premiere performance in London’s St. James Hall
on April 22, 1885, with the London Philharmonic and composer as conductor. It is interesting to note that after the
performance, Dvořák deleted approximately forty measures from the second movement “in order that the work should not
contain a single unnecessary note.” The German conductors who zealously performed the symphony were Hans von Bülow,
Hans Richter and Arthur Nikisch; the latter also conducted it on his American tour.
The first movement, Allegro maestoso, is in the key of D minor. The opening theme is given to the violas and cellos, which
is taken up and varied slightly by the clarinets. The second theme, of an energetic character, follows and is derived from the
Allegro of the Hussite Overture. It is presented by the strings and reaches a climax as the first theme’s restatement begins.
The vigorous development section precedes a compressed recapitulation; unusual in that it begins in an unorthodox key but
returns to the tonic by the time its conclusion is reached. The movement ends with an extended, somewhat tense, coda.
The second movement, Poco adagio, in the relative major key of F major, introduces one of Dvořák’s more inspired
melodies. This is followed by a theme, presented by the horns and clarinet, reminiscent of Tristan und Isolde. After a
passionate dialogue, the movement returns to the principle theme, begun from its middle, providing a most unusual, but
effective device.
The third movement, a Scherzo in vivace tempo in the key of the symphony’s minor tonic and cast in duple time, achieves
some rather piquant rhythmic effects through the use of syncopation. The two themes alternate between various choirs of the
orchestra and maintain the lively, dance-like character of the movement. The Trio section provides contrast to the Scherzo
section not only in its tempo, marked Poco meno mosso, but also in its key of G major and its use of an imitative motif. The
return of the Scherzo is slightly telescoped but has the addition of a charming cadential theme at the close.
The Finale: Allegro, in the key of D minor and in duple time, is rich in thematic material. A march-like theme is the principle
motive and this is presented in numerous guises, alternating with new material. The development section presents the
themes already heard in creative combinations demonstrating a remarkable resourcefulness on Dvořák’s part. A rapid
crescendo brings the movement to its recapitulation. Dvořák, utilizing ten majestic concluding chords in D major, brings the
work to a triumphant resolution.
© 1999 Columbia Artists Management Inc.

Decoding the Program Page
11
The program book (or playbill) contains helpful information about the performance. It lists the pieces the orchestra will play
in the order they will play them. It tells you the name of each piece, the name of the composer, and the movement headings.
If you’re not familiar with a piece, the program will help you keep track of what’s going on and know when the piece is
finished. The program page for the Philharmonic of Poland looks like this:
A MOVEMENT is a section
within a musical piece, like a
chapter in a book. Individual
movements are usually
referred to by the tempo
marking that the composer
has written at the beginning
of the section. During the
concert, there is usually a
brief pause between
movements, during which the
audience should remain silent.
Today’s concert etiquette
dictates that you hold your
applause until the entire piece
is finished.
OPUS NUMBER
(among all of Brahms’
published works)
There are several ways that
works of classical music can
be identified. The system is
not consistent from one
composer to another.
COMPOSER
SOLOIST
• NUMBER - where the piece
falls in the catalogue of the
composer’s works for a
specific musical form (such
as the Ninth Symphony or
the Bassoon Concerto No.
2).
• OPUS NUMBER - where
the piece falls in the entire
catalogue of the composer’s
works, in the order they
were published. The lower
the number, the earlier it
was published (but not
necessarily when it was
written). Opus is a Latin
word meaning “work.”
FUNDING CREDITS
Many arts institutions
(including the State
Theatre) are not-for-profit
organizations;
acknowledging donors
and sponsors is an
important part of staying
in business.
what KEY the
music starts in

Are You Ready?
12
To Clap, or Not to Clap...
People who’ve never attended an orchestra concert are
sometimes apprehensive about applauding at the wrong
time. If you’re one of those people, here are some general
rules to guide you:
• Just before the concert begins, the audience will applaud
the arrival onstage of the concertmaster (the first violinist,
who acts as the leader of the musicians). They’ll applaud
again when the conductor and soloist(s) enter.
• If they’ve liked the performance, the audience will
applaud at the end of each piece of music on the
program. Applauding between the movements or sections
of a piece is generally frowned upon, even if there’s a
long pause. Many people believe that applauding
between movements breaks the spell or momentum of
the piece. If you’re not sure when a piece is finished,
check the program to see how many movements there
are, or applaud only when the conductor turns to the
audience and bows.
Some Additional Tips on
Concert Etiquette
• All it takes is one ringing cell phone, noisy latecomer, or
loudly whispered conversation to spoil a concert for the
entire audience. Be sure to arrive on time and turn off
phones, pagers, beepers, and other electronic devices
before the performance begins. Hold your comments and
conversation until intermission.
• Even if you’re not making or receiving calls, those little
squares of light are a distraction to anyone sitting near
you; please refrain from texting, checking messages, etc.
during the concert.
• Though concertgoers are doing it more and more these
days, it’s generally considered impolite to leave the hall
while the audience is still applauding. And if you leave too
soon, you’ll miss the encore, if the orchestra plays one!
• When a piece has ended, the conductor (and soloist, if
there is one) may leave the stage and then return for
curtain calls, depending on the level of applause.