Musicians look down on it, critics always complain about it, conductors hate conducting it, orchestral musicians hate playing it, even at its premiere the audience wasn't especially reactive to the work. Perhaps that's because once again Beethoven had dared to do something revolutionary: he had invented a new musical form. It was the first time in music history that a solo piano trio was performed with an orchestra. Happily, there have been some commentators who think all of this criticism of this much maligned piece is totally unfair. And happier still, it continues to be performed fairly regularly. The work in question is Beethoven’s Triple Concerto, which was the major focus of the first session this month.
In its early stages Sibelius’ 2nd symphony wasn’t a symphony. It was a patchwork of musical jottings. Early in 1901, Sibelius is relaxing, enjoying a holiday in Italy. Inspired by his surroundings, Sibelius fantasises about the story of legendary womaniser Don Juan being visited by Death and jots down the musical notes. A short time later, after coming face to face with some of Christianity’s most iconic images in Florence, he drafted another theme above which he wrote the word “Christus.” While we’ll never know if it was his intention, these contrasting musical symbols of death and resurrection form the pillars of this beloved work. At the same time the political situation in Finland was becoming increasingly tense. By the time of the premiere in March 1902, it was inevitable that Sibelius’s new work would be received against the background of the nationalist struggle for independence against Tsarist Russia. It was an overwhelming success. While Sibelius denied any political motive, the second symphony has become connected with Finland’s fight for independence and the birth of an independent nation.
Complementing these two works were shorter works by Beethoven, Mozart and Bruch.
For your reading and listening enjoyment further details and videos of the recordings are posted on the Music Appreciation page on the U3A website.
Bill Squire.
In its early stages Sibelius’ 2nd symphony wasn’t a symphony. It was a patchwork of musical jottings. Early in 1901, Sibelius is relaxing, enjoying a holiday in Italy. Inspired by his surroundings, Sibelius fantasises about the story of legendary womaniser Don Juan being visited by Death and jots down the musical notes. A short time later, after coming face to face with some of Christianity’s most iconic images in Florence, he drafted another theme above which he wrote the word “Christus.” While we’ll never know if it was his intention, these contrasting musical symbols of death and resurrection form the pillars of this beloved work. At the same time the political situation in Finland was becoming increasingly tense. By the time of the premiere in March 1902, it was inevitable that Sibelius’s new work would be received against the background of the nationalist struggle for independence against Tsarist Russia. It was an overwhelming success. While Sibelius denied any political motive, the second symphony has become connected with Finland’s fight for independence and the birth of an independent nation.
Complementing these two works were shorter works by Beethoven, Mozart and Bruch.
For your reading and listening enjoyment further details and videos of the recordings are posted on the Music Appreciation page on the U3A website.
Bill Squire.
