MSO BRAVO! | Volume 42, Issue 2 | Beethoven's Symphony No. 7

Thank you for joining us for an exciting season of Music for Everyone.

We kick off with an epic work by Berlioz, whose innovative use of massive forces expanded the expressive and sonic possibilities of the orchestra in ways unimagined before his “Symphonie Fantastique.” Our guest artist, Tim Fain, brings his own brilliant violin concerto, “Edge of a Dream,” to complement a program rich with vision and impressions.

This fall, you will be introduced to two wonderful composers who flourished briefly in France in the 19th and 20th centuries and deserve inclusion in the great “classical” music conversation. In October, Lily Boulanger’s “D’un Matin de Printemps” reveals a young composer coming into her own, ready to challenge the primacy of Debussy with a gorgeous, impressionistic evocation of nature.

In November, Louise Farrenc proves that the symphonic form was alive and well in nineteenth-century France with her virtuosic and imaginative “Third Symphony.” Framing Farrenc’s impressive effort are two works that exceeded expectations in their time. Mendelssohn’s programmatic “Melusine Overture” stretches its form beyond storytelling, moving into vivid depictions of the psychic states of its characters. And Beethoven’s beloved “Seventh Symphony” takes the orchestral dance to its highest expression.

We conclude the first half of our season with the best possible homecoming for the holidays: a joyous reunion with our dear friends and colleagues at Hagerstown Choral Arts, an introduction to the youthful voices of North Hagerstown High School Chorus, and a very special guest, Gregory Watkins, whose beautiful and soulful tenor voice has been heard on major stages, including Lincoln Center and the Kennedy Center for the Performing Arts.

Most importantly, the musicians and I thank you for your continued and enthusiastic support. Your presence at our concerts gives true meaning to what we do and keeps great music alive and thriving in our community.

Elizabeth Schulze Music Director & Conductor

Maryland Symphony Orchestra 21 S Potomac Street, Second Floor Hagerstown, Maryland 21740

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The Maryland Symphony Orchestra is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.

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MARYLAND SYMPHONY ORCHESTRA 2023-2024 SEASON ROSTER

ELIZABETH SCHULZE, MUSIC DIRECTOR & CONDUCTOR FIRST VIOLIN Robert Martin Concertmaster MSO Guild Chair Joanna Natalia Owen Associate Concertmaster Lysiane GravelLacombe + Assistant Concertmaster Brent Price + Thomas Marks Chair Kristin Bakkegard H. Lee Brewster Yen-Jung Chen Mauricio Couto Sarah D’Angelo + Megan Gray Catherine Nelson Petr Skopek SECOND VIOLIN Marissa Murphy Principal J. Emmet Burke Chair Ariadna Buonviri Associate Principal Julianna Chitwood Assistant Principal Karin Kelleher Ruth Erbe Teresa L. Gordon Melanie Kuperstein Swiatek Kuznik Kat Whitesides Patricia WnekSchram VIOLA Phyllis Freeman * Principal Alan J. Noia Chair Magaly Rojas Seay + Acting Principal Daphne Benichou * Associate Principal Stephanie Knutsen + Acting Associate Principal Catherine Amoury+ Assistant Principal

VIOLA (CON’T) Sungah Min Rachel Holaday Alice Tung Heidi Remick + Sean Lyons * CELLO Todd Thiel Principal J. Ramsay Farah Chair Katlyn DeGraw Associate Principal Jessica Albrecht Assistant Principal Aneta Otreba Mauricio Betanzo Youbin Jun Alyssa Moquin Jessica Siegel Weaver BASS Adriane Benvenuti Irving Principal Shawn Alger Associate Principal Alec Hiller Kimberly Parillo Brandon Smith FLUTE Laura Kaufman Mowry+ Acting Principal Marjorie M. Hobbs Chair Nicolette Driehuys Oppelt Elena Yakovleva PICCOLO Elena Yakovleva OBOE Fatma Daglar Principal Joel L. Rosenthal Chair Amanda Dusold Rick Basehore

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BEETHOVEN’S SYMPHONY NO. 7 THE MARYLAND THEATRE

Saturday, November 11, 2023 | 7:30pm Sunday, November 12, 2023 | 3:00pm Elizabeth Schulze conductor

FELIX MENDELSSOHN

“Die schöne Melusine” Overture

(1809-1847) 10’

LOUISE FARRENC (1804-1875) 35’

Symphony No. 3 in G minor, Op. 36 I. II. III. IV.

Adagio-Allegro Adagio Cantabile Scherzo (Vivace) Finale (Allegro)

-- INTERMISSION -LUDWIG VAN BEETHOVEN (1770-1827) 36’

Symphony No. 7 in A major, Op. 92 I. II. III. IV.

Poco sostenuto – Vivace Allegretto Presto – Assai meno presto (trio) Allegro con brio

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PROGRAM NOTES Die schöne Melisine (The Fair Melusine), Op. 32, Overture Felix Mendelssohn Born February 3, 1809, in Hamburg, Germany. Died November 4, 1847, in Leipzig, Germany This work was first performed in 1834 by the Philharmonic Society of London conducted by Ignaz Moscheles. It is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, with added timpani and the customary strings.

Felix Mendelssohn’s musical style is quite conservative when judged alongside other works written in the same period. For instance, 1833 was the year that Mendelssohn composed his Italian Symphony, a work familiar to most concertgoers. The same year Wagner composed his first opera (The Fairies). Chopin was active writing imaginative piano works. Berlioz had composed his outlandish Symphonie fantastique three years before. Borodin and Brahms were born in 1833, and Beethoven had already been dead for six years.

Compared to his colleagues, Mendelssohn was not a visionary or an iconoclast, but he pushed the boundaries in his own way by being the most complete musician of his day. He was known as a conductor, teacher, and composer, but was also active as a man of letters and festival administrator. His domestic life was free from marital or financial troubles.

Fortune granted him the favor of being the happily married son of a highly successful banker.

Mendelssohn’s amazing childhood is often overlooked by historians. Much attention is given to the remarkably young age at which Mozart composed

his earliest works, overshadowing the equally amazing talents of this Berlin prodigy a few generations later.

Mozart was forced to tour Europe as a young child, playing for kings, popes, and princes. Mendelssohn showed his talent at a similarly young age, so his wealthy father invested in the best music teachers available for Felix and his musically gifted sister Fanny (who composed even after she was married, despite the social expectations of the time). Young Felix regularly heard his music performed by the private orchestra that played in the Mendelssohn’s Berlin home every Sunday. This invaluable advantage allowed the composer to develop musical identity and adeptness for orchestration.

Mendelssohn’s overture The Fair Melusine dates from 1834 when it was written as a birthday gift for Fanny.

He had heard an opera on the story

by Conradin Kreutzer and found the overture distasteful. To Mendelssohn’s chagrin, the audience demanded an encore. Although he found the overture terrible, he was captivated by the story. Melusine is a water sprite who is allowed to live on land and marry a knight. However, she must not permit him to enter her bedchamber on Saturdays, as that is the day of the week that she shows her true form with her lower half taking on the shape of a fish; some versions of the story say that she is a snake below the waist. Of course, his curiosity cannot be contained.

The overture begins with rippling arpeggios that represent Melusine’s watery domain. Before long, Mendelssohn introduces a stormy section in triple meter that features the full orchestra, but the tension soon subsides. A lyrical theme emerges in the strings, but hints of

tumult creep back in as a delightful accompaniment. Woodwinds reintroduce the rippling theme from the beginning, but a songful oboe solo emerges from the tide. In the brief and masterful development section, all the themes get an effective treatment and pass through a variety of keys.

The recapitulation begins with an interrupted restatement of the ripples, which ends the overture with a stroke of pastoral genius.

Symphony No. 3 in G minor, Op. 36 Louise Farrenc Born May 31, 1804, in Paris, France Died September 15, 1875, in Paris, France This work was premiered in April of 1849 at a concerto of the Société des Concerts in Paris. It is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, timpani, and strings.

Louise Farrenc, born Jeanne-Louise Dumont, was part of Parisian cultural society for her entire life. As the daughter of the court sculptor who was the fourth in his family in that position, she was privy to the newest artistic developments in the French capital. Louise’s brother, Auguste, continued the family tradition as a Prix du Rome winner. His work is displayed throughout France. As the daughter, Louise was given the usual musical education of piano lessons, but her parents saw her unique talent and provided further instruction. She studied with one of Clementi’s pupils and continued lessons with Ignaz Moscheles and Johann Nepomuk Hummel, two of the most important teachers in Europe. At age 15 she expanded her studies to include

composition and counterpoint under Anton Reicha.

At the age of 17, Louise married Aristide Farrenc, a flautist from Marseille who would go on to teach at the Paris Conservatoire. The newlyweds travelled for about three years and finally settled back in Paris.

Louise resumed lessons with Reicha.

In 1824 they started a publishing business that would eventually grow to become one of the most important European houses during its 40year run. Just one year after it was founded, Éditions Farrenc printed a French/German score of Beethoven’s only opera, Fidelio, which helped establish the new company. By 1840 Editions Farrenc had published Louise’s piano works, which led to her acceptance in Parisian cultural circles and praise from Robert Schumann and Franz Liszt. These works would remain in print for over 75 years.

In 1842 she was hired by the Paris Conservatoire as Professor of Piano.

She remained there for 30 years, but her tenure was not without controversy. She discovered that her male counterparts made much more money for equal or even lesser duties. As a professor whose students regularly won the most awards, she decided to challenge the issue. The administration raised her pay to equal that of her colleagues. After she left the Conservatoire in 1872, she began intense study of early music.

Farrenc was unique in that she would not allow herself to be relegated to composing only salon works as was expected of women in her day. She had great interest in chamber music and orchestral pieces. Known in her lifetime for her chamber music, she also composed three symphonies, which was without precedent. The

third of these was widely celebrated.

One critic wrote that the work, “without scholastic pedantry, reveals— alone among her sex throughout musical Europe—genuine learning united with grace and taste.”

Farrenc’s first movement opens with a slow introduction but gives way to a spirited allegro that unfolds with relentless energy. Her slow movement opens with a soulful clarinet solo and expands in a manner that shows Farrenc’s great skill as a composer and orchestrator. The scherzo is mercurial, almost Mendelssohnian in character, but original in every way.

But the finale is the showpiece of this symphony with its unison opening and blazing figurations. In a surprise gesture, Farrenc ends the symphony with a minor-key coda.

Symphony No. 7 in A Major, Op. 92 Ludwig van Beethoven Born December 16, 1770, in Bonn, Germany. Died March 26, 1827, in Vienna, Austria This work was first performed on December 8, 1813, in the Hall of the University of Vienna. It is scored for pairs of woodwinds, horns, and trumpets, with timpani and strings.

Ludwig van Beethoven’s works are grouped into three periods. The Early Period ends about 1802 and includes the works from his hometown of Bonn, where Beethoven lived until 1792, and all of his music from his first decade in Vienna (1792-1802). Music from the Early Period is largely classical in structure – much like the later works of Haydn and Mozart. The Heroic Period (1802-1812) includes most of his symphonies, all of the concerti, and his opera Fidelio. This music features bold contrasts and often deals with revolutionary subjects.

Largely coinciding with his thirties, this is the period that saw Beethoven’s reputation grow and his hearing almost completely disappear. The Late Period (1812-1827) produced fewer works, but the ones Beethoven did compose were of the most profound nature and were often misunderstood by his public. Perhaps most notable of these were the Missa Solemnis and the Ninth Symphony. Beethoven faced many personal demons in the Late Period, especially his long battle to gain guardianship of his nephew and his increasingly reclusive lifestyle.

The nine symphonies of Beethoven are for many the cornerstone of the Western symphonic tradition. Written three full years after the Pastoral Symphony, the Symphony No. 7, composed in 1811-12, is one of the last major works of the Heroic Period. Its premiere took place on December 8, 1813, at a benefit concert for Austrian and Bavarian soldiers wounded in the Battle of Hanau while fighting against Napoleon. Interestingly, the Symphony No. 7 received a less enthusiastic ovation at its premiere than did another work on the program – Beethoven’s Battle Symphony Wellington’s Victory, a work revived only occasionally today as a historical curiosity. The Seventh Symphony is now universally regarded as one of Beethoven’s most significant works.

This symphony is in four movements, beginning with a slow introduction.

The opening is quite extensive, with a famous oboe solo and an extended transition to the quicker main section of the movement. Beethoven, showing one of his trademark gestures, sets up anticipation for the fast section ten measures before it actually occurs.

When it finally arrives, the lively theme, featuring sprightly dotted rhythms, is presented by the flute and oboe.

The slow dirge-like beginning of the

second movement, set in variation form, begins with one of Beethoven’s most skillful gestures. The listener struggles to find the melody, but it is elusive. The repeated monotone acts as a kind of anti-melody. The result is one of the most electrifying moments in Beethoven’s output.

Beethoven’s Scherzo, marked Presto, is an example of the composer’s fondness for unsophisticated humor with its lumbering opening theme contrasting with the response in the high woodwinds. There are abrupt shifts in the harmony that add an almost boorish effect. An elegant trio interrupts the festivities, only to be overpowered by a return of the main theme of the Scherzo.

The finale uses a traditional sonata form with a coda but is progressive

in its shifting of emphasis to the second beat of the measure to end the symphony with an overwhelming burst of energy. ©2023 Orpheus Music Prose & Craig Doolin | www.orpheusnotes.com

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