later completely disappeared from his music. Yet Prokofiev was a writer of melodies even during the experimental phase of his ca reer. Expansive lyrical melodies abound in the Third Symphony, though their “environment” is unusual. The first theme of the first movement (which follows the raising of the “curtain”) is a good example. It is played by the violins and the horns in unison, to a highly complex accompani ment in the rest of the orchestra. It is presented four times in a row, each time in a different key. The orchestration gets thinner and thinner — by the last time, the theme is played by a single instrument (oboe). Now Prokofiev moves on to a new section, based on two new themes — a lyrical idea for strings and a more martial melody for brass (the two themes are actually related in their melodic shapes). Starting slow and soft, this section gradu ally reaches a fortissimo climax, at which point the first theme and the brass melody return simultaneously. After this moment, the movement gradually unwinds. We hear the first theme in yet another form, played by the flutes and piccolo to a very subtle or chestral accompaniment (harps and cello harmonics). The move ment ends with a pianissimo return of the “curtain” motif, fading
The Museum of Diversity & Tolerance
WORLD PREMIERE EXHIBITION Opening October 8, 2013
Political scandal is brought to life as visitors examine the famous case that sent Jewish officer Alfred Dreyfus to life imprisonment on Devil’s Island.
You’ll be transported to 1890s Paris “The Beautiful Era” and the dark realities of anti-Semitism and government corruption. Could it, DOES it happen today? Come see for yourself. In collaboration with the University of Pennsylvania’s Lorraine Beitler Collection of the Dreyfus Affair. MALTZ MUSEUM OF JEWISH HERITAGE
2929 Richmond Road • Beachwood, Ohio 44122 216.539.0575 • mmjh.org SIGNATURE SPONSORS
Audrey & Albert Ratner
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BENEFACTOR SPONSORS
Donna Yanowitz Ronald B. Cohen
About the Music
The Cleveland Orchestra