Violin Concerto in D major, Op.61
Allegro non troppo
Larghetto
Rondo (Allegro)
Beethoven, Ludwig van
Symphony No.1, Op.68
Un poco sostenuto - Allegro
Andante sostenuto
Un poco allegretto e grazioso
Adagio - Più andante - Allegro non troppo ma con brio
Brahms, Johannes
BY JENNIFER GREGORY
Although Brahms had already composed several orchestral works, the thought of following in Beethoven’s symphonic footsteps weighted heavily on him, leading to a late start to complete his first symphony at the age of 43 Symphony No 1 in C minor, Op 68 premiered in 1876 to mixed reactions with critic remarks ranging from ‘musically flat’ to ‘the greatest thing Brahms had created’. The work marked the beginning of Brahm’s unique voice and significant contribution to the symphonic genre
The symphony opens somberly with a throbbing intensity. There are some passing moments of relief with the horn and winds colourations. Throughout Brahms masterfully balances long, sweeping phrases with moments of intense energy, building toward a powerful climax. The second movement (Andante sostenuto) has the strings and woodwinds engage in a gentle dialogue, creating a warm and intimate atmosphere. There are moments of tension and passion, and finally the movement ends with a mood of quiet introspection. The third movement (Un poco allegretto e grazioso) acts as a symphonic scherzo with a gentle dance-like character. Brahms alternates between playful themes and more lyrical passages. While the mood is light and charming, Brahms maintains a sense of refinement, balancing charm with structural complexity The movement ends unresolved which prepares the listener for the final movement.
The fourth movement starts with dramatic slow introduction (Adagio) which brings back the tension of the opening, and the timpani again plays a prominent role. The movement becomes more lyrical (Più andante) which features a C major horn call and trombone chorale Finally, we hear what has been called Brahms’ version of Beethoven’s Ode to Joy theme. It features a chain of falling intervals which becomes a series of falling thirds (which is part of Brahms’ musical idiom) The piece drives to a full orchestra climax with the return of the trombone chorale to conclude with a final affirmation of C major.
It is hard to believe that Beethoven’s Violin Concerto in D major, Op 61, was not an immediate success. Composed and premiered in 1806, the critics deemed the solo violin part too virtuosic and unplayable. The piece finally found success after its revival in 1844 and has since become one of the most revered and iconic works in the violin repertoire The concerto is loved for its sophistication and lyrical beauty that demonstrates an extraordinary balance between orchestral grandeur and the violin’s expressive capabilities.
The work opens (Allegro ma non troppo) with five soft beats played by the timpani setting a contemplative, almost mysterious tone. The theme unfolds in the orchestra, and when the violin finally enters, it is with lyrical grace with an expansive contrasting melody. The first movement is notable for the conversational style between the violin and the orchestra, unlike many other contemporary concertos where the soloist is more dominant
The second movement (Larghetto) offers a moment of calm introspection. It is structured as a theme and variation in the orchestra. The violin enters with delicate, serene lines that float over the orchestra contributing to the movement’s tranquil atmosphere
The final movement (Rondo: Allegro) is lively and serves as a joyful conclusion to the concerto. The theme is introduced by the soloist with playful and buoyant character. The traditional rondo form, alternates between the recurring main theme and contrasting episodes that showcase the soloist’s technical agility Beethoven creates the joyful quality through unexpected shifts in
Frank Ho, Concertmaster
Allan Nelson
Arwen Bylsma
Raymond Leung*
Caitlyn Loewen
Saara Belliveau
Jared Mosher
VIOLIN II
Svitlana Remniakova
Harold Steinbrenner
Helen Emeny
Linnea Barisoff
Song Gee
Owen McMeill
Lucas Chiu
Anna Lodewyk
VIOLA
Anna Schultz
Alan Dunn
Darrell Soetaert
Joe Dupuis
John Fedor
Ryan Hoffman
Julia Darby
Sharon Toronchuk
Katarina Loutas
Frances Elgaard
BASS
Dante Wright*
FLUTE
Rock Larochelle
Jennifer Gregory
OBOE
Stephanie Wong*
Rianna Burgess
CLARINET
Amber Campbell
Cindy Richardson
BASSOON
Douglas Ridgway
Drew Dempsey
HORN
Martin Grasdal
Caralie Heinrichs
Alicia Krips
Catherine Labbe
TRUMPET
Nancy Stepney
Scott Watson
TROMBONE
Joanna Macdonald
Ken Burns
Raymond Basaraba
TIMPANI
Jia Lopez
*CUE student
Angelica Moreno Barbosa*, CSO marketing assistant
Rock Larochelle, CSO Flute, Manager/Communications/Librarian
Petar Dundjerski is a fierce advocate for music education. He received his Master’s degree in Orchestral Conducting from the University of Toronto and continued his studies at the American Academy of Conducting in Aspen, Colorado, and the College-Conservatory of Music at the University of Cincinnati.
Petar was the Assistant Conductor-inResidence of the Edmonton Symphony Orchestra 2006/08, under the mentorship of Music Director William Eddins. He currently serves as the conductor for the University of Alberta Symphony and Concordia University Orchestras.
Saturday, March 22
Time: 7 PM
Location: Tegler Student Centre
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