Johannes Brahms (1833-1897)
Violin Concerto in D major, Op. 77
I. Allegro non troppo
II. Adagio
III. Allegro giocoso, ma non troppo vivace
(approximately 40 minutes)
Brahms left a distinct impression in each genre he composed, and the Violin Concerto is certainly no exception. Composed in 1878 just before his Piano Concerto No. 2, it was actually only his second concerto regardless of instrument, following a twenty-year gap since his Piano Concerto No. 1. It is not surprising the concerto format was not Brahms' favorite, as he tended to focus on musical matters rather than individual performers. This mentality put him at odds with some of the musical sensibilities of the 19th century, an era full of traveling virtuosi itching to show off their technique. Brahms was lucky then to befriend the great violinist Joseph Joachim, for whom the concerto was written, and in whom he found a champion that was equally comfortable with Brahms's austere style and the "showiness" of the day. The balance of these two ideals make this concerto a centerpiece of the repertoire for modern day violinists, and a beloved listening experience for audiences across the globe.
—Intermission (15 minutes)—
Ludwig van Beethoven (1770-1827)
Symphony No. 3 in E-flat major, Op. 55, “Eroica”
I. Allegro con brio
II. Marcia funebre: Adagio assai
III. Scherzo: Allegro vivace
IV. Allegro molto
(approximately 50 minutes)
The Eroica Symphony came at a time of major turbulence in Beethoven's inner and outer worlds. Two years prior to its composition in 1804, Beethoven retreated to the German countryside in an attempt to heal his growing deafness to no avail. He found himself on the brink of taking his own life only to discover remarkable resolve within himself to continue living, as his passion for his art was too great. At the same time, Napoleon was in the midst of his conquests as a figurehead for the cause of the French Revolution, a cause celebrated by many in Europe, including Beethoven. The Eroica Symphony emerged as a response to these great movements across the continent and the actions of Napoleon. All of these feelings of pride and support for the leader of the revolution fell apart when Napoleon named himself Emperor of France in 1804, after the symphony had been completed. Beethoven, feeling disgusted and betrayed, crossed out his dedication to Napoleon, leaving only the title "Eroica" (Italian for “heroic”). None of this, however, changes the revolutionary nature of the music, which shattered all precedents and pushed orchestral musicians of the time to their limits. Even with his disenchantment with Napoleon, Beethoven expressed very deep feelings in this music, somehow belonging both to himself and to humanity as a whole all at once.
Program notes by Thomas Nickell.
