Alexander conducts Dvořák

Thursday, October 24, 2024
7:30 PM 9:30 PM

The Hult Center One Eugene Center Eugene Oregon (map)

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Program:
Night on Bald Mountain Modest Mussorgsky (1839-1881)

Piano Concerto No. 1 Ludwig van Beethoven (1770-1827)
Ying Li, piano

Andante Moderato Florence Price (1887-1953)

Symphony No. 8 Antonín Dvořák (1841-1904)

Alexander conducts Dvořák

Inspired by Russian legends of nocturnal revels, Night on Bald Mountain depicts a fiery witches' sabbath that inspired Walt Disney's 1940 animated film Fantasia. Antonín Dvořák's Symphony No. 8 dwells in a sunny, pastoral world filled with Bohemian folk melodies, rustic peasant dances, and lamenting nostalgia. Ying Li brings her many strengths to Ludwig van Beethoven's youthfully brilliant Piano Concerto, before the orchestra performs Florence Price's Andante Moderato.
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The Artists

Conductor Alexander Prior — **Alexander Prior**
*Conductor*
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Piano Soloist Ying Li — **Ying Li**
*Piano Soloist*
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Composer Antonín Dvořák — **Antonín Dvořák**
*Composer*

Listen and Learn

Program notes:

Modest Mussorgsky (1839-1881)
Duration: Approximately 12 minutes.
Mussorgsky’s Night on Bald Mountain is a thrilling orchestral tone poem that conjures the supernatural chaos of a witches’ sabbath on St. John’s Eve, a night of demonic revelry drawn from Russian folklore. Originally composed in 1867, it was reworked by Nikolai Rimsky-Korsakov after Mussorgsky’s death, transforming it into the concert favorite we know today. The music is dark, intense, and brimming with vivid, almost cinematic energy. Mussorgsky takes listeners on a wild journey, as his music weaves the frenzy of the witches’ gathering with the eventual calm brought by the tolling of church bells at dawn.
Night on Bald Mountain begins with a foreboding theme that sets a sinister tone, growing increasingly intense as the night’s dark creatures come to life. The middle section brims with a fiery, chaotic energy as the witches and demons dance in a frenzied celebration. Just when the music reaches its wildest point, a sudden break occurs, and the church bells toll, dispersing the evil spirits as the sun rises.
This piece remains a popular concert staple, especially thanks to its use in Disney’s Fantasia, which introduced the work to generations of new listeners. Rimsky-Korsakov’s reorchestration gave the piece a new life, blending Mussorgsky’s raw intensity with greater orchestral clarity, ensuring its lasting appeal in the orchestral canon.
Three things to listen for:
1. The eerie, creeping opening motif that sets the dark and mystical atmosphere.
2. The explosive, swirling dance of the witches, filled with rapid, agitated strings and powerful brass.
3. The dramatic shift to the calm and peaceful conclusion, marked by the tolling of the church bells.
Ludwig van Beethoven (1770-1827)
DURATION: Approximately 36 minutes.
Beethoven’s Piano Concerto No. 1 showcases the young composer’s dazzling abilities as both a pianist and a creator. Written between 1796 and 1797, it is still rooted in the classical traditions of Haydn and Mozart, but Beethoven’s emerging genius and unique style are unmistakable. At the time, Beethoven was known primarily as a virtuoso pianist, and this concerto was written to show off his prowess at the keyboard.
The concerto opens with an energetic orchestral introduction, followed by the piano’s entrance, which immediately asserts its presence with virtuosity and charm. The first movement is lively and bright, with playful dialogues between the piano and orchestra. The second movement, Largo, contrasts this with a slow, lyrical melody that highlights Beethoven’s gift for expressive, emotional depth. The finale, a rollicking Rondo, is full of playful humor, quick turns of phrase, and a joyful conclusion that leaves listeners feeling exhilarated.
While still grounded in Classical conventions, this concerto already hints at the more dramatic, revolutionary direction Beethoven’s later works would take. The piano part is virtuosic but never overbearing, blending lyricism and bravado in equal measure. It’s a work that not only dazzles but also offers a glimpse of the bold, inventive composer Beethoven was destined to become.
Three things to listen for:
1. The playful dialogue between piano and orchestra, especially in the first movement.
2. The serene, lyrical beauty of the Largo movement, which gives the piano room to sing expressively.
3. The spirited and virtuosic flourishes in the final Rondo movement, which captures Beethoven’s sense of humor and flair.
Florence Price (1887-1953)
DURATION: Approximately 7 minutes.
Florence Price’s Andante Moderato is a heartfelt, lyrical piece that exemplifies her ability to blend European classical traditions with Black musical heritage. Known for her pioneering role as the first Black woman to have her symphony performed by a major orchestra, Price’s music speaks to both personal and cultural narratives. The Andante Moderato unfolds gently, with rich harmonies and a flowing melody that evokes a sense of peace and introspection.
The piece begins with a calm, expansive theme, supported by lush orchestration. Price’s writing blends classical forms with influences from spirituals and folk music, creating a sound that is deeply emotional yet refined. The music moves with grace, with each section flowing naturally into the next, reflecting Price’s mastery of orchestration and melodic development.
Price’s work has enjoyed a well-deserved revival in recent years, as more audiences and performers have rediscovered her music. The Andante Moderato is a testament to her gift for creating works that are both technically masterful and deeply moving, embodying her belief in the power of music to communicate across time and experience. The blend of European and Black influences in this piece gives it a unique voice, one that is both graceful and powerful.
Three things to listen for:
1. The expansive, lyrical main theme that provides a sense of warmth and comfort.
2. The subtle use of syncopation and rhythm, hinting at the influence of Black spirituals.
3. The delicate interplay between strings and winds, which creates a serene, almost pastoral quality.
Antonín Dvořák (1841-1904)
DURATION: Approximately 36 minutes.
Dvořák’s Symphony No. 8 is a celebration of life and nature, filled with buoyant melodies and the influence of Czech folk music. Composed in 1889, it stands apart from the more dramatic symphonies of his contemporaries by reveling in a spirit of joy and optimism. Dvořák uses bright orchestration and folk-inspired rhythms to create a symphony that radiates warmth and cheer.
The first movement begins with a calm pastoral theme, which gives way to more energetic material as Dvořák introduces dance-like rhythms and playful exchanges between the orchestra. The second movement offers a peaceful contrast, with a song-like melody that evokes the beauty of the Bohemian countryside. The lively third movement recalls a waltz, while the finale bursts with exuberance, led by triumphant brass fanfares.
Dvořák’s imaginative orchestration makes Symphony No. 8 particularly distinctive, treating each instrument group as an integral voice in the unfolding narrative. He often gives prominence to winds and brass, allowing them to introduce key thematic material, rather than relying solely on the strings. This gives the symphony a rich variety of colors and textures, highlighting Dvořák’s deep understanding of orchestral sound. Throughout the symphony, he expertly balances moments of exuberance with gentler, more reflective passages, creating a work that feels both deeply personal and universally joyful.
Despite its relative simplicity compared to some of Dvořák’s later works, Symphony No. 8 is beloved for its melodic beauty and its ability to evoke the landscapes and spirit of Bohemia. It represents Dvořák at his most joyful and unpretentious, offering audiences a refreshing and uplifting symphonic experience.
Three things to listen for:
1. The charming, folk-inspired melodies that permeate the first and final movements.
2. The lyrical, almost song-like quality of the second movement, which provides a sense of tranquility.
3. The triumphant brass fanfare in the finale, a joyous and exhilarating conclusion to the symphony.