Symphony

Copland’s “Short Symphony”: Bounding into Rhythmic Adventure

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From its opening bars, Aaron Copland’s Short Symphony erupts with an infectious exuberance. This music unleashes bright, playful conversations between instrumental voices. Its frolicking “characters” take us on a musical joyride filled with unending rhythmic adventure. Completed in 1933, the Short Symphony (technically Copland’s Second) is scored for a spare, classical orchestra. Its tantalizingly abstract harmonic language flirts with polytonality and serialism. Underlying all of this is a sizzling Mexican vitality. While working on the score, Copland …

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Prokofiev’s Fifth Symphony: “Glorifying the Grandeur of the Human Spirit”

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The January 13, 1945 premiere of Sergei Prokofiev’s Symphony No. 5 in B-flat Major marked a momentous occasion. Fourteen years had elapsed since the completion of the composer’s Fourth Symphony. An expectant audience filled the Moscow Conservatory’s Great Hall. As Prokofiev raised his baton before the USSR State Symphony Orchestra in anticipation of the first movement’s opening bars, a barrage of celebratory artillery fire rang out through the city. The gunfire was a signal …

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Bruckner’s Fourth Symphony: Nature and the Call of the Horn

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The Fourth is the only symphony to which Anton Bruckner added a subtitle, “Romantic.” The word might bring to mind the mythical operas of Wagner and the triumph of the individual in a world filled with struggle and pathos. Yet, Bruckner’s “Romantic” Symphony inhabits territory which is more cosmic and elemental. It is the world of nature, punctuated by the mystical call of the horn, with its ancient hunting connotations. Many years after …

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Mozart’s Symphony No. 40 in G Minor: Opening the Door to the Romantic World

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The summer of 1788 was a low point for Wolfgang Amadeus Mozart, both personally and professionally. In Vienna, Mozart’s popularity was in decline as the city’s notoriously fickle audiences turned their attention elsewhere. Funding from aristocratic patrons evaporated with the outbreak of the  Austro-Turkish War. As income dried up and creditors pounded at the door, Mozart and his family relocated from central Vienna to the suburb of Alsergrund. In June of 1788, Mozart’s …

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Schubert’s Fifth Symphony: In Search of “Magic Tones”

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On June 13, 1816 the 19-year-old Franz Schubert wrote in his diary, This day will haunt me for the rest of my life as a bright, clear, and lovely one. Gently, and as from a distance, the magic tones of Mozart’s music sound in my ears. With what alternate force and tenderness, with what masterly power did Schlesinger’s playing of that music impress it deep, deep in my heart! Thus do these …

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Saint-Saëns’ Third Symphony, “With Organ”: Scaling the Summit

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Following the completion of his Third Symphony in 1886, Camille Saint-Saëns made the following statement: I gave everything to it I was able to give. What I have here accomplished, I will never achieve again. Indeed, Symphony No. 3 in C minor takes us on an extraordinary dramatic journey which scales a mighty summit. It augments the sound world of the traditional orchestra with the addition of piano (four hands) and organ. …

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Berlioz’ “Roméo et Juliette”: Scène d’amour

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In 1827, Hector Berlioz witnessed a performance of Shakespeare’s Romeo and Juliet at Paris’ Odéon Theatre. The cast included Harriet Smithson, the Irish actress who became Berlioz’ first wife and creative muse, as well as the inspiration behind Symphonie fantastique. Shakespeare’s tragedy had a visceral effect on the composer, who did not understand English but was affected by the pure sound of the poetry and the power of the acting. In his Memoirs he wrote, …

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