A Sample of Our Chamber Orchestra

And Full Symphony Program Notes

Variation on a Theme by Frank Bridge for String Orchestra
by
Benjamin Britten (1913-1976)

Few realize that Benjamin Britten's reputation was not made by Peter Grimes, Billy Budd, Sinfonia da Requiem or A Young Person's Guide to Orchestra famous though they are today. Rather, his first international acclaim came in 1937 with the premiere of the Variations on a Theme by Frank Bridge. At the time Bridge (1879-1941) was widely regarded as one of England's leading composers but his success had been primarily in the field of chamber music. Benjamin Britten had been a student of Frank Bridge and was profoundly influenced by him. He not only admired Bridge's musical ability but held him in high regard personally.

The Variations were meant by Britten as a tribute. Britten toiled long and hard in constructing his Variations largely because he was conscious of the fact that Bridge had an almost Brahmsian reputation as a master of construction. He did not want his music to fall short of his own teacher's excellence. One hearing was enough to show that Britten, too, was not only a master of technical construction but also of emotional evocation. Highly individualistic, there is nothing derivative in this music.

Britten may have chosen to limit himself to a string or chamber orchestra because his teacher's chief success had been in composing for smaller ensembles. But by writing for chamber orchestra rather than a smaller ensemble, Bridge was ensuring that his tribute would be more widely heard.

The Variations cover a great emotional range running the gamut from tragic to humorous. The strong contrast provided by each makes a powerful impression upon listeners. The work begins with a short introduction which presents some fragments of the theme. There are ten variations which follow: Adagio, March, Romance, Aria Italiana, Bourrée Classique, Wiener Walzer, Moto Perpetuo, Funeral March, Chant, Fugue and Finale. As several of the titles suggest, the music is laced with a satiric sense of humor. For example, Britten parodies a coloratura in the Italian Aria, produces a kind of "goose step" in the March and treats the Wiener Walzer in a very off-handed way to say the least. All in all, these variations are an extremely engaging and unforgettable set of which did his teacher proud.

Symphony No.5 in B Flat Major, Op.55

by Alexander Glazunov (1865-1936)

Glazunov burst upon the Russian musical scene in extraordinary fashion. In 1882, after his First Symphony had been premiered in Petersburg, the audience called heartily to see the unknown composer. They were astounded when when a sixteen year old boy was led out onto the stage by his teacher, Rimsky Korsakov, generally regarded as the greatest Russian composer then living. Some years later, writing of the symphony, Korsakov related that though it was youthful in emotion and inspiration, the form and technique were that of a mature composer. People could not believe that a high school student of sixteen had written it and rumors began to spread that the boy had not actually composed it, but that his wealthy parents had placed an order with "you know who" (Korsakov). But the rumors quickly died away as work after excellent work followed. By 1884, no less a personage than Liszt had conducted a Glazunov symphony in Germany. Success followed success and Glazunov rose through the ranks of the Russian music establishment becoming director of the St. Petersburg Conservatory at the age of 40 in 1905. It was a position he was to hold for 23 years and from which he exerted considerable influence upon Russia's musical development.

Though Glazunov's symphonies were popular not only in Russia but in Europe and America at least until the First World War, nowadays one rarely hears them in the West and this evening's performance must be considered a rare treat. The Fifth Symphony was composed in 1895 and published a year later. It was dedicated to his friend and fellow composer, Sergei Taneyev (sometimes Taneiev), who taught at the Moscow Conservatory. Russian critics have called the Symphony, Glazunov's Eroica and the work does bear some similarities with Beethoven's better known symphony of the same name. Both works feature a great expansiveness in their structural writing, lavish orchestration and a heroic quality in their melodic material.

The first movement, Moderato maestoso, allegro opens with music which creates a huge sense of open space, joyous in nature and high-spirited. It is at once powerful and impetuous and written on a large scale. The second movement, Moderato is actually a scherzo, light-hearted, it exhibits tremendous tone color with the expert use of the woodwinds and harp. The second theme is somewhat sharper and each of the two trio sections provide excellent contrast with the introduction of a pastorale and the use of folk music. The third movement, Andante, though slow is not a dirge. Rather, there is a sense of unease, of pensiveness, but though there is this underlying tension which at times becomes passionate, the emotional heights are only briefly visited before there is an ebbing away of emotion. The concluding, Allegro maestoso, begins in a triumphant style, almost bombastically in its heavy, full orchestration. In the middle, there is a humorous section evocative of a dancing bear after which the  music lurches from one powerful episode to another, leaving one gasping and wondering what Glazunov can possibly do to top that for a finale. But Glazunov does not disappoint--he treats us to a finger snapping, toe tapping, foot stomping Danse alla Russe, which brings this marvelous musical smorgasbord to a rip-roaring finish.