SERGIU PLAYS MENDELSSOHN



Franz Joseph Haydn
1732-1809

Franz Joseph Haydn
Symphony No. 22 in E flat major “Der Philosoph ” (The Philosopher)

Franz Joseph Haydn’s nearly 30 years as a liveried servant in the household of the princes Esterházy gave him an unequalled free hand for his creative work. As he wrote to his biographer later in his life: “My employer was satisfied with everything I produced; I received applause and praise; as the Director of the orchestra I was allowed to experiment and observe... i.e. I had the chance to improve, to make additions and cuts, to take risks. I was isolated from the world; there was no one nearby to confuse or irritate me, and so I had no choice but to be original.”

It was an ideal situation for a composer in the eighteenth century, and helped make Haydn one of the most innovative composers of any period. As well as being the virtual creator of the modern string quartet, he was continually seeking ways to counter the expectations of his audience and enliven standard musical forms – especially the symphony – with twists and surprises.

Composed in 1764 for his new Esterházy boss, Prince Nikolaus, the Symphony No. 22 is both old fashioned and aggressively innovative. On the one hand, its form is the dated late-baroque sonata a chiesa (church sonata) sequence of slow-fast-slow-fast movements, a form that was dying out to be replaced by the classical symphony form. On the other hand, Haydn uses prominently two English horns – rather than the customary oboes – an instrument that did not reappear prominently in the symphonic literature until the nineteenth century. In addition, he uses prominently two French horns; considering a string force of fewer than 20 that stood at his disposal, these four wind instruments must have made a powerful impression.

In the opening movement, Adagio, the muted strings are only an accompaniment to the four wind instruments, which present a chorale-like theme, tossing it back and forth between them.

During the course of his long career, Haydn often provided significant solo opportunities for his players, creating symphonies in the concertante style, but this combination of horns and English horns is quite novel. Although the movement is in Classical sonata form, its themes do not really contrast in the customary manner; underlying the entire movement is the plodding "walking bass." The second theme is carried by the upper strings and characterized by long irregular phrases that tease the listener by delaying a resolution.

The movement unfolds like an overture to a majestic drama, or perhaps a slow introduction to the second movement.

The Presto is more conventional in orchestration. The strings are not muted and are the primary carriers of the themes. Also composed in sonata form, it consists of two theme groups, but, as in the first movement, they are also similar in style.

The Menuetto follows the traditional form, the minuet symmetrically flanking the Trio.

Haydn gives this central section to his quartet of winds.

The Presto finale is a mad rush, its theme recalling hunting horns. The entire movement requires virtuoso staccato playing by the horn/English horn quartet.

Haydn gives the symphony a feeling of unity by reemphasizing the contrast of winds and strings for the two themes. The surprising harmonic twist at the end is characteristic of the composer's early style and witnesses his debt to the Empfindsamerstil (emotive style) pioneered by Carl Philip Emmanuel Bach.

The source of the symphony’s sobriquet, Der Philosoph is unknown but has been in use for a long time. Perhaps the symphony earned it because of the somber and thoughtful opening movement.



Felix Mendelssohn
1809-1847

Felix Mendelssohn
Violin Concerto 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, however impressed they may have been with him, 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.

Mendelssohn gives the second part of the theme to the orchestra.

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.

The middle section in the minor mode turns slightly darker.

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,

containing a rhythmic motive that the composer reuses for throughout the movement as part of other themes, 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.

The orchestra answers with a development of the opening fanfare.

The soloist then plays a new, more lyrical melody – also based on the fanfare - in counterpoint with the first theme, now in the orchestra,

Later, their roles are reversed.

Felix Mendelssohn
Symphony No. 3 in a minor, Op. 56, “Scottish”

One of the results of Felix Mendelssohn's financial security was his opportunity to travel extensively in his youth in what was then considered the "civilized" world, Western Europe and Italy. In 1829, Mendelssohn traveled to England and then on to Scotland, where his visit to Fingal's Cave in the Hebrides Islands was the inspiration for The Hebrides Overture. It also produced the ideas that became the Scottish Symphony.

Started in Italy in 1830 but not finished until 1842, the Scottish Symphony was Mendelssohn's last – the numbering of the five symphonies reflecting their order of publication rather than composition. He dedicated the Symphony to the Queen Victoria and Prince Albert, whom he had met and charmed during one of his visits to England (the Queen actually sang while Mendelssohn accompanied her on the piano.)

While the music has an undeniably Scottish flavor, it does not specifically quote any folk tunes, a device which Mendelssohn despised. Writing to his father from Wales, he commented: "...anything but national music! May ten thousand devils take all folklore... a harpist sits in the lobby of every inn of repute playing so-called folk melodies at you – dreadful, vulgar, fake stuff; and simultaneously a hurdy-gurdy is tooting out melodies - it's enough to drive you crazy..." That being said, it's difficult to distinguish Mendelssohn's invented Scottish style melodies from the kind of musical nationalism he so despised.

Right from the introduction and the succeeding Allegro agitato, the Symphony is definitely on the gloomy side, a fact that has given rise to the myth that it was somehow inspired by the tragic life of Mary Queen of Scots.

More likely the Symphony reflects the bleak and stormy weather so prevalent in highlands, lowlands and outlying islands alike. The climax of the first movement is a veritable hurricane, replete with chromatic moaning in the strings.

The second movement provides a little sunshine, its main theme as near to a Scottish folksong – with "Scottish snap" and all – as Mendelssohn could get without actually using one.

The third movement is in A major but comes through as passionate, if not at times anguished.

Its middle section, with somber dotted rhythm, suggests a horn call summons of fate.

Then, it's back to the Sturm und Drang of the final movement.

Mendelssohn ramps up the emotional to a fever pitch and then slowly cools it down in a clarinet solo joined by pianissimo basson and upper strings, conveying nothing so much as melancholic resignation.

But - perhaps with a bow to Beethoven - Mendelssohn ends the Symphony with a shift into A major with a new and optimistic theme to end it.