Saturday, June 2, 2012 - 7:30 p.m.
The orchestra bursts out in dazzling colors for this virtuosic, family-friendly event. Classics by Beethoven and Rimsky-Korsakov are paired alongside thrilling new works by Zhou Tian and Arturo Márquez, and the astonishing talents of our Young Artist Competition winners help bring the season to a powerful close.
Photographs of young artists courtesy of James Ferry Photography.
Zhou Tian - A Thousand Years of Good Prayers
Ludwig van Beethoven - Leonore Overture No. 3
Max Bruch - Concerto in G Minor for Violin, First Movement
Cecile Chaminade - Concertino for Flute
Felix Mendelssohn - Concerto in E Minor for Violin, First Movement
Arturo Márquez - Conga del Fuego Nuevo
Premiered: St. Petersburg, Russia, 1887
In 1863, Midshipman Nikolai Rimsky-Korsakov bought a couple of books of Spanish folksongs when his ship, the Almaz, visited Cadiz. Over twenty years later, a handful of songs from those books would become the Capriccio Espagnol.
The Capriccio was originally conceived as a violin concerto, but pressure to get the piece finished and a desire to concentrate on orchestral color led to the slightly less ambitious work we know now. With its daunting demands on soloists in every section of the orchestra, it would not be unreasonable to call the work the first “concerto for orchestra.” With typical modesty, the composer himself called it “a brilliant composition for the orchestra.”
The opening Alborada (“Dawn”) shows the Spanish morning to be a very lively affair, with prominent appearances by solo violin and clarinet. The second movement features the horns and the low strings before handing off to woodwind solos. The Alborada reappears in a new key; interestingly, the composer left a note detailing how the conductor can overcome miscalculations in the orchestral balance here. The Scene and Gypsy Song is actually a chain of cadenzas for brass, violin, woodwind and harp: listen for the once-infamous passage in which the strings are instructed to be strummed “quasi guitarra.” An (unnamed) triple-meter dance leads to the rousing Fandango and the final, everything-but-the-kitchen-sink statement of the Alborada.
Neither the actual folksongs used in the work nor the books they were in have ever been identified; perhaps Rimsky’s talent for pastiche equaled his orchestration.