November–December 2012 - Baltimore magazine

{ Program notes
heroic windup, accented by triumphantly
trilling woodwinds.
The “tiny wisp of a scherzo” in D minor
forms the pianist-killer second movement,
a fierce Allegro appassionato. Brahms’ friends
asked him why he had added this extra
component to the customary three-fold
concerto formula; he replied—in another
fit of ironic understatement—that he felt
it was necessary because the first and third
movements were so “harmless.” The pianist
hurls out a boldly rhythmic first theme, and
the strings contribute a contrasting sighing
melody that the piano elaborates soulfully.
This music is repeated, then rolls into a
development section. But in this formal
hybrid—part scherzo dance, part sonata
form—the music suddenly shifts into a radiant
tolling-bells episode in D major, which
is the trio section. Note the piano’s ardently
rhapsodic passage here.
After two movements of almost unremitting
intensity, Brahms at last provides
repose with perhaps the most beautiful slow
movement he ever composed. The pianist
takes a needed rest while the solo cello sings
a melody of heartbreaking loveliness; a solo
oboe soon joins in, intensifying the poignancy.
As in the slow movement of Brahms’
Violin Concerto, the soloist never sings this
eloquent theme, but instead weaves marvelous
variants on it. The movement’s most
haunting moment occurs midway through
when the piano—now stranded in the distant
key of F-sharp major and accompanied
by two clarinets—seems to float in some
timeless, otherworldly realm. The cello’s
reappearance with its glorious melody seems
no intrusion.
While some commentators have criticized
the finale, Brahms showed sure instincts
when he chose to crown his three imposing
movements with a relaxing finale of
light-hearted melodiousness. Beginning with
the piano’s buoyantly skipping theme, he
concocts a beguiling succession of melodies
in the genial spirit of his Hungarian Dances.
Notable among them is the lushly swaying
Viennese dance shared by piano and strings.
Throughout, the pianist’s virtuoso figurations
sparkle like diamonds, especially in
Brahms’ vivacious sped-up conclusion.
Instrumentation: Two flutes, piccolo, two oboes,
two clarinets, two bassoons, four horns, two
trumpets, timpani and strings.
Notes by Janet E. Bedell, Copyright ©2012
22 Overture | WWW.bSomuSIc.org
The Canadian Tenors
Joseph Meyerhoff Symphony Hall
BaltiMOre SyMPhOny OrcheStra
Marin alSOP
music Director • Harvey m. and lyn P. meyerhoff chair
The Canadian Tenors
friday, november 23, 2012 — 8 p.m.
Saturday, november 24, 2012 — 8 p.m.
Sunday, november 25, 2012 — 3 p.m.
Series Presenting Sponsor:
the canadian tenors, Vocalists
Victor Micallef
clifton Murray
remigio Pereira
Fraser Walters
Michael rossi, conductor
Baltimore Symphony Orchestra
Program will be announced from the stage.