World Premiere: Jessie Montgomery with Awadagin Pratt

Violin Concerto in A minor, Op. 53

Antonín Dvořák (1841-1904)

Fritz Simrock, the prominent German publisher, was encouraged by no less a composer than Brahms to take a chance in publishing Dvořák’s music. Eventually, especially after the huge success of the Slavonic Dances for orchestra, Simrock became Dvořák’s primary publisher. In 1879 Dvořák sent him several pieces including the Romance for violin and orchestra. Knowing that there were violinists who admired Dvořák’s music, Simrock suggested to him that he also write a proper concerto.

Although Dvořák was an experienced violist, playing in an orchestra conducted by Bedřich Smetana, he nonetheless decided to consult with the great German virtuoso Joseph Joachim about the concerto. It may not have been the best idea! Joachim was a traditionalist and expected a full statement of the first movement themes by the orchestra before the soloist enters. Instead, Dvořák has the orchestra play a few dramatic measures and then the soloist comes right in with a powerful Slavic melody. This truncated form is similar to that found in the big concertos by Mendelssohn and Bruch. Dvořák also cuts short the standard re-statement of the themes and has the first movement seamlessly connect into the second movement. Although Joachim never specifically complained to Dvořák about this novel approach to the concerto form, neither did he ever publicly perform the concerto. In all fairness, however, the suggestions that Joachim made concerning the solo violin writing were gratefully incorporated by the composer.

The concerto was written and completed in the summer of 1879 when Dvořák was 37 years old. After significant revisions, it was sent to Joachim for his review. The two actually ended up playing it together at Joachim’s home in Berlin, which resulted in a few final tweaks. Although it was warmly dedicated to Joachim, Dvořák asked František Ondříček, a prominent Czech violinist and composer, to give the premier in Prague in October of 1883. As stated, the first movement dramatically opens with the solo violin playing the main melody. Soon there is a pensive contrasting melody in C major, but it never really gets established as one would expect. The themes are repeated a few times, until finally the main theme is played one last time, a fading echo, as the first movement dissolves into the second. The adagio is calm and expansive with wonderful orchestral colors throughout. The third movement is labeled “allegro giocoso” and it is indeed a playful, jocular piece. It is in the style of a furiant, a popular Bohemian dance that features cross-rhythms, making it seem as if it is constantly changing meter. Dvořák had used the same dance style in his popular 8th Slavonic Dance. The movement finishes with the solo violinist playing a wild flurry of octaves and arpeggios, capping off this significant example of a Czech concerto.

Symphony No. 3 in F major, Op. 90

Johannes Brahms (1833-1897)

“I shall never write a symphony! You can’t have any idea what it is like to hear such a giant marching behind you.”

Thus did Brahms write in a letter to a conductor friend in 1872, referring, of course, to Ludwig van Beethoven. In fact, Beethoven was such a towering figure for most composers in the 19th century that it took great effort and willpower to say anything musically new. Yet Brahms eventually did attempt to compose a symphony and finished his first in 1876 and his second a year later. He had finally hit his stride, most likely buoyed by the praise from fellow composers like Hans von Bülow and Richard Strauss. Over the next few years Brahms wrote his second piano concerto, the Academic Festival Overture and the Tragic Overture. In 1883 he completed the third symphony which was premiered by the Vienna Philharmonic on December 2nd.

There is a motive which occurs throughout the symphony, either melodically or in the bass line – F A F – and it has a rather humorous story behind it. In 1853, Joachim had adopted the motto “Frei aber einsam” (“free but lonely”) in reference to being a bachelor. Three of his friends, specifically Brahms, Robert Schumann and Albert Dietrich, used the first letters of that motto – F A E – to create a violin sonata in honor of Joachim. By the time Brahms started writing his 3rd symphony, he declared himself “Frei aber froh” (“free but happy” – a very proud bachelor!) and thus we get F A F. The first movement opens with two grand chords, the first F and A, then the actual melody pours in from the violins, supplying the third F an octave

higher. This first melody cascades and rolls along like a river, which is not surprising considering Brahms composed this symphony while living in Wiesbaden on the banks of the Rhine. In fact, he borrowed this motive from Schumann’s third symphony, the Rhenish. The melody, and indeed the entire first movement, keeps shifting from F major to F minor and back, but the conflict adds color rather than confusion to the work. There is another musical quote, this time from the Siren’s Chorus in Tannhäuser. Wagner had just passed away and Brahms alludes to the music right before the second theme appears in the clarinet.

The second movement leaves the drama of the river and goes into a forest glade, once again the clarinet taking center stage with a folk-like melody. This soon transitions into a second, more melancholy theme which then gives way to some oddly dissonant chords. Fortunately it is just a passing cloud and the opening theme returns with the clarinet extending it over some Wagnerian harmonies.

Brahms again switches character with the third movement, this time featuring a rather dark waltz twinged with sadness. This melody has had an interesting impact on popular culture. The tune has been used in the Katherine Hepburn film Undercurrent and the Ingrid Bergman film Goodbye Again, where it is heard in a nightclub song (“Say No More, It’s Goodbye”) sung by Diahann Carroll. The melody has also been used in several other songs, most notably “Take My Love,” popularized by Frank Sinatra, and “Love of My Life” by Carlos Santana, where the tune is clearly heard in the opening guitar solo but with a slightly different rhythm. For once, Brahms keeps the dark character as he begins the fourth movement with a wandering, uneasy theme in minor. This breaks off into a subdued chorale, then breaks off again into fistpumping anger. There is a brief ray of sunshine as the cellos enter with a noble theme in a major key. These various themes and characters compete for the audience’s attention, but finally we hear the FAF motive and the piece settles into F major. The chorale-like tune takes us out as the symphony fades into serenity.