Join the virtuosic Fidelio Trio and internationally-acclaimed flautist Fiona Kelly and clarinettist Francesco Paulo Scola for the festival’s opening concert, 'Symphony in Miniature', in the intimate Belvedere House Library. Revel in the wonderful sounds of Mozart's much-loved Symphony No. 40, Chabrier's evocative 'España', and Schoenberg's well-known Chamber Symphony No 1.
Friday, November 25, 2022
7:30 PM–9:30 PM
Belvedere House (map)
Programme
Emmanuel Chabrier: ‘España’ arr. Alder
Wolfgang Amadeus Mozart: Symphony No 40 in G Minor arr. Clementi (Fl, vn, vc, pno)
Arnold Schoenberg: Chamber Symphony No 1 Op 9 arr. Webern
Performers: Darragh Morgan (violin) | Mary Dullea (piano) | Tim Gill (cello) | Fiona Kelly (flute) | Francesco Paolo Scola (clarinet)
Programme Notes
Emmanuel Chabrier: ‘España’ arr. Alder
Emmanuel Chabrier’s (1841-1894) España is a rhapsody for orchestra that began as a piano duet, drawing on the exciting rhythms of many regional dance forms Chabrier came across on his travels. He subsequently developed this into a full orchestral work and he also made two transcriptions of the work for soprano and piano. The opening melody of España can be heard in a number of films and is also the basis for the 1956 American popular song Hot Diggity by Al Hoffman and Dick Manning.
In today’s arrangement, the American composer Samuel Alder (1928 -) skilfully adapts Chabrier's "España" for a chamber ensemble, allowing the inherent Spanish flair to shine through in a more intimate setting. This is a vibrant reimagining of the original orchestral masterpiece, that preserves the infectious energy of "España" while providing a unique chamber music experience. Maintaining the rhythmic zest and colourful orchestration that characterise Chabrier's composition.
The choice of instruments in the smaller ensemble adds clarity to the intricate textures and showcases the adaptability of Chabrier's spirited melodies. Alder's arrangement invites listeners to embark on a musical journey that captures the essence of Spanish exuberance, demonstrating how a well-crafted adaptation can breathe new life into a beloved orchestral classic.
W.A. Mozart: Symphony no 40 in G minor arr Clementi
Muzio Clementi's (1752-1832) arrangement of Mozart's Symphony No. 40 in G minor for flute, violin, cello, and piano is a captivating reinterpretation that breathes new life into a classic masterpiece. Mozart’s original symphony is often known as the ‘Great G minor’ to distinguish it from an earlier symphony, and the only other minor key symphony by Mozart, the ‘Little G minor’ K25. The driving energy of the opening of this symphony will be familiar to many as it features in a number of well-known films. By transcribing the orchestral richness of Mozart's symphony into a chamber setting, Clementi introduces an intimate dimension while preserving the essence of the original composition.
Molto allegro
Andante
Menuetto. Allegretto – Trio
Finale. Allegro assai
The instrumentation, of flute, violin, cello, and piano, creates a dynamic interplay of voices, allowing each instrument to shine individually while seamlessly blending in a harmonious ensemble. The flute adds a light and airy quality, the violin contributes expressive melodies, the cello provides a warm and resonant foundation, and the piano enriches the texture with its versatility.
Clementi's arrangement not only showcases his skilful adaptation of orchestral colours to a smaller ensemble but also highlights the enduring brilliance of Mozart's thematic material. The transformation of the symphony into this chamber format brings out intricate details and allows listeners to experience the work in a more personal and nuanced way. We are invited to rediscover Mozart's Symphony No. 40 through the lens of Clementi's thoughtful arrangement, providing a fresh perspective on a timeless masterpiece while celebrating the artistry of both composers.
Arnold Schoenberg, Chamber Symphony op 9 no 1 arr. Webern
Anton Webern's (1883-1945) arrangement of Arnold Schoenberg's (1874-1951) Chamber Symphony No. 1, Op. 9 represents a fascinating convergence of two influential figures in the world of 20th-century music. Schoenberg, a trailblazer in atonality and expressionism, composed this seminal work for a larger ensemble. Anton Webern, a key figure of the Second Viennese School, took on the task of transcribing this orchestral piece into a more intimate chamber setting.
Webern's arrangement distils the Chamber Symphony's complexity into a smaller ensemble, often highlighting individual instrumental voices with crystalline clarity. This adaptation allows listeners to discern intricate details within Schoenberg's innovative harmonic language while experiencing the work's emotional intensity on a more personal scale. The reduction retains the original's structural integrity, as a single movement work in five sections, emphasising the genius of both composers in reshaping classical forms.
Webern's arrangement of Schoenberg's Chamber Symphony No. 1 serves as a testament to the innovative spirit of early 20th-century Viennese composers and offers audiences a unique perspective on a pivotal work in the development of modern classical music.