| Don Giovanni Overture in D, K. 527 - Wolfgang Amadeus Mozart (1756 - 1791) |
| The second of three operas written by Mozart to libretti by Lorenzo Da Ponte, ‘Don Giovanni’ was premiered in Prague in 1787. The titular rake and seducer leaves a trail of devastation behind him until he is finally confronted by the ghost of the father of one of his attempted conquests and consigned to Hell. Unusually for that time, Mozart starts the overture with music which is to be heard later in the opera, the menacing phrases which accompany the arrival of the ghost. This slow introduction is followed by an allegro section which perhaps depicts the protagonist’s energy. In the opera the overture leads straight into the first scene without a break, so for concert purposes there is a final coda to round things off. |
| Cello Concerto in A Minor, Op. 129 - Robert Schumann (1810 - 1856) |
|
This work was composed in 1850, but Schumann never heard it played, and it was finally premiered four years after his death. Originally Schumann wanted to call it a ‘Konzertstuck’ or Concert Piece, suggesting that he did not have a conventional concerto in mind. Indeed the work runs straight through without a break, and although the different movements are clear enough, the changeover between them tends to be somewhat fluid. There is a short orchestral introduction after which the soloist enters with the main theme; in line with Schumann’s first thoughts on the piece, although the first movement keeps to sonata form, there is a distinct similarity to the various themes, in line with the fantasia element. The change to the second movement brings an intensely melodic section, which includes the soloist actually duetting with the orchestra’s principal cellist, a highly unusual feature. The short second movement is followed in turn by the Finale, again in Sonata form, which is dominated by a march-like motive which feeds into the other themes. Another highly unusual feature is an accompanied cadenza towards the end, which serves to lead from the previously dominant A Minor tonality into the Major key. Throughout the work, the solo instrument has been exploited to the full, but not for virtuoso display, something which Schumann previously declared that he was unable to do, simply because it was not what he was aiming for. |
| Symphony No. 104 in D Major (London) - Joseph Haydn (1732 - 1809) |
|
This symphony is one of the six composed for Haydn’s second stay in London- it was written when he was already in the city and premiered in 1795; most of the so-called London symphonies were premiered at the concerts of the impresario Salomon, who had invited Haydn for his first visit, but this was one of three composed for Viotti. The first movement opens with a grand, slow introduction in D Minor before the allegro section is launched; though the movement is in sonata form, it is monothematic, since the second subject is simply the first transposed. After the development, when the subjects are recapitulated, decoration on the woodwind is sufficient to vary the theme. The second movement is loosely in variation form, a favourite of Haydn’s when writing symphonic slow movements. The theme is stated at the outset and repeated, as is a second section which essentially reveals the melody to have two halves. Haydn then takes the various parts of the melody through various keys and differing moods before finally ending with peaceful contentment, horns moving up and down. The third movement, as usual, is a minuet and trio, though in the former’s first section, Haydn writes out a second statement and requires it to be played piano. The second section moves into minor keys before returning to the main theme. The trio is quiet, almost pastoral by contrast and, instead of an abrupt return to the minuet, there is a linking passage providing a more gradual transition. The finale opens with a drone bass, over which the violins play what is likely to have been a Croatian folk tune. The whole movement, though it is in sonata form, is centred around this theme though in the second subject group there is a more restful motive which is also given play in the development section. When this reappears in the recapitulation it is given a countermelody on the flute before the folk tune takes over to bring the symphony to a rousing end. |
