Programme notes 

Johannes Brahms (1833-1897) Tragic Overture, Op. 81

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In 1880, Johannes Brahms composed two overtures that have become standards of the orchestral repertoire. One was the Academic Festival Overture, Op. 80, which is an upbeat mash-up of student drinking songs. The other was the Tragic Overture, Op. 81, which couldn’t be more different. Its foreboding minor key theme and dramatic jagged rising lines encapsulate a truly epic depiction of tragic despair. Don’t worry though, the concert gets cheerier from here.

 

Antonín Dvořák (1841-1904) Symphonic Variations, Op. 78

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Variations have long been a way to show off, whether that’s musicians getting to show off amazing virtuosic techniques, or composers getting to show off their ability to use the orchestra to create a multitude of different sounds and textures. Having a single tune allows composers to focus on exploring how they can combine different musical techniques and instrumentations.

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For this set of symphonic variations, Dvořák used one of his songs as the base material. The tune itself is a quirky one, which makes it even easier for listeners to track the tune through the different variations. The tune is taken through 27 variations, which include waltzes, marches, folk-dances; moments of grandeur and moments of stillness; shadings of dark, light, and everything in between. Finally, we reach the finale, which is a technically brilliant fugue that builds to a couple of fake-out endings before ending with an uproarious race to the finish.

 

Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Op. 68

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At the start of the nineteenth century, the symphony was the vehicle for composers. Beethoven, Schubert, Schumann – all composed symphonies that have stood the test of time. However, in the middle of the century, the form of the symphony started being seen as old-fashioned – compositional exercises that budding composers had to write to graduate from their conservatoires, but that no-one actually enjoyed. There was also dramatic fighting between different musical ‘factions’, with published manifestos and editorials and a surprising amount of drama. Then along came Brahms.

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Brahms was closely linked with Robert and Clara Schumann, not just as a pupil but as a close family friend. After Brahms got involved in some of the public fighting previously mentioned, and didn’t come out too well, Clara Schumann wrote to him to encourage him to keep going. She wrote, “A fine stormy sky can pass into a symphony.” And wouldn’t you know it, this was right around the time that he was writing the first movement of his First Symphony – a work that would catapult the symphonic form back into relevance.

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It wasn’t an easy journey. It took Brahms over 14 years to compose it. Beethoven’s legacy loomed large for Brahms: he wrote, “You have no idea how it feels to one of us when he continually hears behind him such a giant.” This work overcomes that by paying direct homage to Beethoven, as well as other musical heroes in Brahms’s life. It’s in C minor – the key of Beethoven’s Fifth. It’s a depiction of struggle over victory – a key element of Beethoven’s major works. And in the finale, there’s a direct riff on Beethoven’s ‘Ode to Joy.’ Don’t worry, though – Brahms makes it entirely his own.

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1. Un poco sostenuto – Allegro

From the very opening, this music is full of tension. The opening melody is a rising chromatic scale, harmonised with crunchy chords that just built on top of each other rather than resolving. After the introduction, we get into the allegro proper, which starts with yet more dissonance and tension. The second theme is more flowing and calm, and the two themes battle it out. Listen out for a rhythm in the strings and timpani which is the same rhythm as the opening of Beethoven’s Fifth Symphony.

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2. Andante sostenuto

A very welcome moment of reflection and introspection. There are a couple of stand-out solos in this movement, from the oboe, horn, and violin.

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3. Un poco allegretto e grazioso

In earlier symphonies, third movements were often opportunities for composers to have a bit of fun with a more ‘rustic’ or ‘pastoral’ vibe, and that’s exactly what happens here. We have a delicate opening section that’s followed by a bouncy country dance. The two then get combined, with some cool polyrhythms (groups of three notes against groups of two notes).

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4. Adagio – Più andante – Allegro non troppo, ma con brio

Here we are at the epic conclusion. We start with a return to the drama of the opening of the symphony. Changes in tempo, unresolved dissonances, dramatic louds and softs, all combine to make us worry that we’re descending back into drama and doom. But then – the horns come to the rescue with a melody known as the ‘Alphorn’ theme. They bring the brass on board for a solemn chorale, paving the way for the main theme, which is Brahms’s version of ‘Ode to Joy.’ (When this was suggested to Brahms, he said, “any ass can see that.” Stay classy, Brahms.) The rest of the movement plays with all of these gorgeous melodies, building to a thrilling end that will leave you feeling as though the blazing sun has blasted away any lingering storm clouds. What a perfect ending to our summer concert.

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Programme notes by Vanessa Williams