Category Archives: Program notes

Symphony no. 3, Rhenish, by Robert Schumann

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Dusseldorf, Rhine

Düsseldorf and the Rhine / between 1890 and 1905, via Wikimedia Commons

In all, Robert Schumann composed and published four symphonies. The last of them in order of composition is what is known as the Third Symphony, or Rhenish Symphony. His publisher had declined to accept the second of his symphonies. Schumann revised it in 1851 and so it was published as his Fourth Symphony.

The Rhenish Symphony acquired its nickname from letters to his publisher and some friends. In them, Schumann spoke of the Rhine River as his inspiration. Continue reading →

Symphony no. 6, Pastoral, by Ludwig van Beethoven

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Beethoven. Sixth Symphony

Beethoven in 1804, / Detail of a portrait by W. J. Mähler

Beethoven’s odd numbered symphonies have the reputation of being stormy and dramatic, while the even numbered symphonies seem more gentle and easy-going. For that reason, perhaps, the even numbered ones are less popular. Symphony no. 6, Pastoral, is easily the best known and most performed of the even numbered symphonies.

Beethoven worked on his Fourth, Fifth, and Sixth symphonies, among other major works, between 1806 and 1808. The latter two are the first of Beethoven’s symphonies with trombone parts.

Many symphonies and chamber works are known by nicknames that, more often than not, the composer never thought of. Beethoven himself supplied names for the Third Symphony (Eroica) and the Sixth (Pastoral Symphony, or Recollections of Country Life).

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Symphonie fantastique by Hector Berlioz

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psychedelic art

Metaphysical Avangardism / Rivandori via Wikimedia Commons 

Ordinarily, we know symphonies as symphony number whatever in whatever key. If we know them by a nickname, such as “Bear” or “Jupiter,” the composer seldom supplied it. Hector Berlioz’ Symphonie fantastique broke all kinds of molds. For one thing, it is the first of four of his symphonies, but not a one bears a number, and only two have the word “symphony” in the title at all. How did he become such a bull in a china shop? Continue reading →

Polovtsian Dances from Prince Igor, by Alexander Borodin

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Plenty of people have composed music as a hobby, but none more successfully than Alexander Borodin, a chemist by profession. As a hobbyist, he did not produce a lot of music, but his works include symphonies, chamber music, and an opera—some of the loveliest music in the repertoire. The opera, Prince Igor, includes the ever-popular “Polovtsian Dances,” which formed the tune of the Broadway hit “Stranger in Paradise.” Its success is remarkable, because he never finished the opera. Continue reading →

Symphony no. 2, Lobgesang, by Felix Mendelssohn Bartholdy

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Mendelssohn portrait. Lobgesang

Felix Mendelssohn Bartholdy / lithograph by Friedrich Jentzen for Allgemeine Musikalische Zeitung 39 (1837), after a painting by Theodor Hildebrandt via Wikimedia Commons 

Very often, when a symphony acquires a nickname, the composer has nothing to do with it. Think Mozart’s Jupiter or Tchaikovsky’s Little Russian, for example. On the other hand, Felix Mendelssohn Bartholdy composed Lobgesang (Song of Praise), and it became known as his Symphony no. 2 only after his death. He himself called it a symphony-cantata.

Lobgesang was among Mendelssohn’s most popular works during his lifetime. Although hardly neglected today, it remains one of his less-known major works. The duet “Ich harrete des Herrn” (I Waited for the Lord) for two sopranos and chorus, however, became a well-known standalone piece frequently performed by many church choirs.

After his death, his reputation plunged. Wagner’s screed “Judaism in Music,” with its assumption that Jews were incapable of true artistic understanding, led the attack. Mendelssohn was born Jewish, and it didn’t matter to antisemites that he was a devout Christian and proud German. Many critics, antisemitic and otherwise, saw Lobgesang only as a pale imitation of Beethoven’s Ninth Symphony.

Understanding Lobgesang, then, requires understanding of Mendelssohn as a religious person and what models he had in mind as he conceived the work. Continue reading →

Symphonic Metamorphosis by Paul Hindemith

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Day and Night by M.C. Escher. metamorphosis

Day and Night (1938) by M.C. Escher / Photo by Pedro Ribeiro Simões via Flickr

Symphonic Metamorphosis on Themes by Carl Maria von Weber ranks among the most popular orchestral pieces by Paul Hindemith. The dry, academic, and perhaps even pretentious title belongs to an entertaining piece with unfailing good cheer.

As popular as it is, critics and scholars appear not to consider it a great work. For example, the biography of Hindemith in The New Grove Dictionary of Music and Musicians does not mention the piece. Nor does it appear in Alex Ross’ The Rest is Noise.

Hindemith himself seems to be regarded among a multitude of composers who wrote some wonderful music but did not achieve greatness. Continue reading →