COFFEE SERIES MASTERWORKS SERIES Coffee Series Masterworks Series
Friday, March 24, 2017 l 11 am Friday & Saturday, March 24 & 25, 2017 l 8 pm Sunday, March 26, 2017 l 3 pm
“Insight” one hour prior to each Masterworks concert
Don Juan, Tone poem after Lenau, Opus 20 (1888)
MENDELSSOHN’S “SCOTTISH” SYMPHONY
It is altogether fitting that Strauss’s Don Juan, an evocation of the greatest erotic subject of all time, should be composed under the influence of his own first passion for Pauline de Ahna, the soprano who was eventually to become his wife.
Nathan Aspinall, conductor Eric Olson, oboe Coffee Series Don Juan, Opus 20
Felix Symphony No. 3 in A minor, Op. 56 “Scottish” MENDELSSOHN I. Andante con moto – Allegro agitato II. Scherzo assai vivace III. Adagio cantabile IV. Allegro guerriero – Finale maestoso
The Coffee Concert is hosted by the Jacksonville Symphony Guild. Coffee and tea are provided by Martin Coffee Company, Inc.
Florida Blue Masterworks Series Richard STRAUSS
Don Juan, Opus 20
Ralph Oboe Concerto in A minor VAUGHAN WILLIAMS I. Rondo Pastorale: Allegro moderato II. Minuet and Musette: Allegro moderato III. Finale (Scherzo): Presto
~ Intermission ~ 20:00 Felix Symphony No. 3 in A minor, Op. 56 “Scottish” MENDELSSOHN I. Andante con moto – Allegro agitato II. Scherzo assai vivace III. Adagio cantabile IV. Allegro guerriero – Finale maestoso
Students at the Symphony is supported in part by: Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.
By Steven Ledbetter
Richard Strauss (1864-1949)
Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
The story of Don Juan has appeared over and over again in European literature and music. Strauss knew Mozart’s Don Giovanni, but he found inspiration rather in the work of Nikolaus Lenau, an Austrian romantic poet who had died in a mental asylum in 1850 leaving unfinished a poetic drama on Don Juan partly inspired by Byron. Lenau’s version was a psychological treatment of a man devoted to an idealistic search for the perfect woman. He glories in the experience of the individual moment above all else, but learns that each successful exploit has led to some great harm, a fact that makes his existence increasingly burdensome. In the end, challenged by the brother of one of the women he has seduced, he throws his sword away at the moment when he has all but conquered because he finds victory “as boring as the whole of life.” His opponent puts an end to his career with a single sword stroke. Strauss’s father restricted his son’s studies to the classics, particularly Mozart and Mendelssohn. But with Don Juan he accepted Wagner and the “music of the future.” In the fall of 1889, Strauss became assistant conductor at the Weimar Opera. There he gave the premiere of his work. From its first tumultuous performance, Strauss—just 25 years old—was recognized as the most important German composer to appear since Wagner. The opening pages present a brilliant array of themes evoking a character of the fullest manly vigor. The first phrases contain a half dozen brief ideas, all of which will be further developed. Strauss shapes this opening like STRAUSS (continued on next page) ENCORE 51
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