November 26, 2016 Ottorino Respighi b. Bologna, Italy, 1879 / d.
Rome, Italy, 1936 Trittico Botticelliano (Three Botticelli Pictures) (1927) Best known for his tone poems for (very) large orchestra (The Pines and Fountains of Rome), Respighi also composed numerous works for smaller orchestral forces, including this triptych inspired by three Renaissance paintings by Sandro Botticelli (ca.1445-1510). Primavera (Allegory of Spring) depicts a group of mythical figures in an orange grove. Venus, the goddess of love stands at the center. On one side are Flora, goddess of flowers and Spring, and the nymph Chloris, pursued by Zephyrus, the god of the wind. On the other side three Graces perform a dance of love as Amor, blindfolded, floats overhead shooting his arrows of love.
L’adorazione dei Magi (The Adoration of the Magi) depicts the Biblical story of the Three Wise Men and others coming to worship Christ at the Nativity. La nascita de Venere (The Birth of Venus) the goddess Venus emerges from the sea on a shell as the winds blow gently showering her with roses. A handmaid waits for the goddess to get closer, ready to dress her shy body. Joseph Haydn b.
Rohrau, Austria, 1732 / d. Vienna, Austria, 1809 Trumpet Concerto in E-flat Major, Hob. Vlle: 1 (1796) Haydn was in his mid-60’s when he composed the E-flat trumpet concerto for Anton Weidinger, a trumpeter in the Viennese imperial court.
Weidinger had invented a keyed trumpet that allowed him to produce more pitches, particularly chromatic tones, and more latitude in the instrument’s lower range than had been possible on the natural trumpet. Inspired by the musical possibilities offered, Haydn was the first to explore the potential of the Weidinger trumpet. Keller describes how Haydn creates curiosity by giving the trumpet’s first entrance only a single note. The orchestra responds, the trumpet enters again playing nothing revolutionary. Keller adds: “Only at its third entrance does the new trumpet really show its colors, with a theme that strolls through an entire major scale and beyond, softly and in a relatively low register, before injecting a little descent of six notes.
The effect must have been extraordinary: such a combination of pitches, dynamics, and timbre could not have been heard ever before in history. A compact, firmly constructed sonata-form movement is in the process of unfolding, during which the trumpet is put through its paces in a way that resembles the behavior of other instruments. With this concerto the trumpet enters the modern world.” Allan Gilliland b. Darvel, United Kingdom, 1965 Dreaming of the Masters III: Jazz Concerto for Trumpet and Orchestra (2010) The genesis of Gilliland’s three “Dreaming” concertos was a desire to combine his experience as an orchestral composer with his background as a jazz player.
Each concerto was inspired by the jazz greats of the instrument (clarinet, piano, trumpet), composed for a soloist who was equally comfortable with both classical and jazz idioms, and each concerto includes opportunities for the player to improvise. Dreaming III is, by design, a celebration of the trumpet in popular music rather than a nod to any specific performers. The first movement, 101 Damnations, opens with a slow New Orleans blues that moves into a 1940’s style big band swing. The second movement, Prayer, begins and ends with cadenza like statements from the soloist surrounded by colorful orchestration. In between a slow groove allows the soloist to improvise. The final movement, Lower Neighbours, pays tribute to the Spanish/Latin tradition of the trumpet.
Dreaming of the Masters III was premiered on September 17&18, 2010 with Jens Lindemann as soloist and the Edmonton Symphony Orchestra conducted by Bruce Hangen. Feliz Mendelssohn b. Hamburg, Germany, 1809 /d. Leipzig, Germany, 1847 Symphony No.
4 in A Major, Op. 90 “Italian” The Italian Symphony is a series of impressions—Mediterranean sunshine, religious solemnity, monumental art and architecture, and open countryside. The first movement Allegro vivace opens with an exuberant melody bursting with energy that can be heard as a musical rendition of the Italian blue sky. (Accustomed to the cloud-flecked skies of northern Europe, Mendelssohn described the Italian symphony as “blue sky in A-major.”) The second movement Andante con moto is occasionally dubbed “Pilgrim’s March” because of a similarity to the “Pilgrim’s March” from Berlioz’s Harold in Italy. The walking bassline suggests the tread of those in the procession while the minor mode evokes the solemnity of the occasion. Instead of the expected Scherzo, the third movement ( Con moto moderato) is a minuet that harkens back to Haydn and Mozart from an Italian point of view. The Presto finale is a Saltarello (a leaping Italian folk dance) that eventually incorporates elements of a Tarantella, a devilishly fast dance to be undertaken (so the story goes) after a bite from a tarantula, until the dancer is cured or dies.
Notes by James Hayes.
Ottorino Respighi (1879-1936) Born July 9, 1879 in Bologna. Died April 18, 1936 in Rome. Trittico Botticelliano Composed in 1927.
First Performance: September 27, 1927, at the Konzerthous of Vienna with the composer conducting. Instrumentation: Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, Triangle, Campanelli, Celeste, Harp, Piano, Strings.
Il Trittico Opera
Respighi studied with Luigi Torchi at the Liceo Musicale in Bologna who was the compiler of “L’arte musicale in Italia nei secoli XIV-XVII”. In 1900-01 and again in 1902-03 he visited St. Petersburg, Russia as a violinist in the opera orchestra. While there he studied with Rimsky-Korsakov which had a profound influence on his orchestral scoring. He traveled widely as a violinist and violist between 1903 and 1908. He settled in Rome in 1913 after being appointed professor of composition at the Liceo (later Conservatorio) di Santa Cecilia.
His best known works are his Roman pieces beginning with Fountains of Rome (Fontane di Roma) (1914-16), Pines of Rome (Pini di Roma) (1923-4), and finally the Roman Festivals (Feste Romane) (1928). Respighi began work on the Trittico Botticelliano in March 1927 upon returning from his first tour of the United States. Elizabeth Sprague Coolidge organized the concert for the premiere later that year. The Botticelli Triptych was inspired by three paintings by Florentine painter Sandro Botticelli (1445-1510). All three paintings are now in the Galleria degli Uffizi in Florence. His interest in Gregorian chant, modality and other archaisms are on appropriately on display here.
La Primavera (Spring) was painted around 1482 and is tempera on wood panel which measures 6’8”” x 10’4”. This first movement begins with a sparkling repeated figure in played by the strings while the horns then the trumpets play a leaping motif. The bassoons introduce the first theme. Bassoons The music settles down while the oboes play a simple a simple theme resembling a chant against a syncopated bassoon accompaniment. This theme evolves into another simple but more animated theme. The violins once begin to play the shimmering trills from the opening while these themes are fragmented until the trumpets return the initial bassoon melody followed by the second and third themes. The movement ends as it began with shimmering trills played by the strings.
Adorazione dei magi (Adoration of the Magi), 1475. Veni, Veni Emmanuel is a part of the O Antiphons that are used for Vespers during the week before Christmas.
Trittico Botticelliano Program Notes
These antiphons (responses to psalms) date back to at least the ninth century. The hymn itself was composed in the 12th century in French and the Latin version of the hymn is from the 18th century. The movement begins with a bassoon solo. Opening bassoon solo Example 6.
Flute arabesque Followed by an arabesque played by the flute The famous antiphon is introduced by the flute and bassoon two octaves apart. Veni, flute and bassoon 2 octaves apart A moderato section with a marching theme derived from the antiphon is punctuated by “oriental” clanging interjections from the celeste, triangle piano and harp.
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There is an oboe solo followed by a flute arabesque. A violin solo combines the flute arabesque with ornamented trills recalling the opening of the first movement. Violin solo The Bassoon returns with a new solo. Bassoon solo material is picked up by the oboe while the bassoon plays its opening solo melody underneath.
After a final flute arabesque the opening bassoon solo returns to close the movement quietly. La nascita di Venere (The Birth of Venus) was painted between 1484 and 1486. It is tempera on canvas and measures 5’87/8 ” x 9’17/8″. The final movement opens with the strings very softly playing an undulating theme that recalls waves. At the same time the celeste and harp fragmentally outline what will become the main theme of the movement. To simulate Venus getting closer and closer to the shore on her half shell the movement begins very softly and gradually builds in volume. Waves The woodwinds play short mottos until they pick up the wave theme.
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At this point the strings play the long sustained main theme homophonically in octaves. Strings in octaves The woodwinds eventually join the strings in their main theme leaving only the celeste, harp and piano to continue with the wave motto leading to the movements climax.
A short coda begins with the wave motto again in the strings very softly as in the beginning. A few of the woodwind interjections return as the movement winds down with the waves slowing to a standstill as Venus steps ashore.