Program Notes: October 15, 2000
In a cartoon that appeared late in his life (1890), Brahms stands astop a pedestal dressed in academic garb, while below him the Viennese critic Eduard Hanslick appears as a court jester, paying homage by waving incense. The cartoon refers to Brahmsís honorary doctorate, bestowed on him a decade earlier by the University of Breslau, but it also casts him as an "academic" composer, a touch too learned for his audience. Brahms, however, has had the last laugh, for we now take his essential warmth for granted. And, fittingly, nowhere do we see his "human" side more vividly than in his "Academic Festival" Overture, written in acknowledgment of his Breslau degree, and first performed there in 1881 with the composer conducting. In this overture, Brahms captures perfectly the blend of irreverence and seriousness typical of the university student, taking a handful of school songs and subjecting them to the processes of symphonic composition. Among the tunes that appear are the politically charged "We have built a stately house" (which Mahler would later use to launch his massive Third Symphony), the lyrical "The Father of Our Land," the comic "Freshman" song "Was kommt dort von der Höh," and the traditional Latin hymn Gaudeamus igitur.Beethovenís Fourth Symphony has gotten somewhat short shrift, sandwiched between the massive Eroica (Symphony No. 3) and the heaven-storming Fifth (some of which had already been composed when he took up the Fourth in 1806). Yet, despite its relative neglect in performance, it is in fact a much-lovedóand eminently loveableówork. Schumann called it "a slender Greek maiden between two Norse giants," and indeed it has warm beauties and a sense of lively play well beyond the ken of its too-serious neighbors. Alexander Thayer counted the "placid and serene" Fourth as "the most perfect in form" of all Beethovenís symphonies. Berlioz likened the slow movement to "the song of the Archangel Michael"; like other particularly lovely Beethoven movements, this one has also been connected (by George Grove) to one of Beethovenís many failed love affairs. Of course, none of these pronouncements does full justice to the work, which can be at times quite raucous, ripe with the kind of outbursts we associate especially with the younger Beethoven. The mysterious opening, which sets up the first such outburst, has been much imitated (most obviously by Mahler in his First Symphony). And the perpetual-motion effects of the finale are particularly effective as a foil for a series of dissonant crunches that rival Haydn in their raucous good humor.
Ninnescah, Concerto for Piano and Orchestra (1999) composed by Maria Newman, was written to recognize and honor Kansas, taking its name from a river that runs through the state. Programmatically, Ninnescah weaves a tale about what might have happened a century ago in a waterfront town along the river.
True to the Indian meaning of the word, "clear, very deep, cold, clean water," the Ninnescah River is still considered to be the cleanest, neatest and "best looking" river in Kansas. Although the name does not represent a specific tribe, it is believed to have originated with the Osage tribe. They would travel along a corridor that included the river from Southeast Kansas to the western plains to hunt buffalo.
The Chautauqua, which figure prominently in this work, was a form of entertainment that originally involved extensive oratory about history in general and historic personages in particular. At the turn of the century, these programs became productions involving vaudeville, circus-type acts and lighter entertainment. The Chautauqua Circuit became quite famous during this time in our history, as the Chautauquans moved frequently from town to town throughout the country. Here is a brief movement by movement synopsis of Ninnescah.
I. Gathering at the Town Square
Sometime around the turn of the century, a chime sounds marking the
five o'clock start of the gathering in the Town Square. The Chautauquans
have arrived and their charismatic Master of Ceremonies announces the festivities
to come. A large crowd has gathered amid an air of excitement. There is
food and dancing. An overwhelming feeling of fun prevails! After
celebrating the arrival of these entertaining artists, the crowd follows
the Chautauquans down to the banks of the Ninnescah River where the performances
are to take place. The eager audience settles in for the program to begin.
II. Soliloquy
The Master of Ceremonies solemnly tells the hushed audience the story
of the Chautauquans and their colorful history.
III. The Chautauqua Acrobats
The acrobats thrill the crowd. At times people are completely hypnotized
by the daring skill of the artists. Tension builds as the tightrope walkers
teeter and balance on their ropes high above the heads of the audience.
IV. Slim Jim: Sleight of Hand
A petty thief slips through the audience picking pockets as he goes.
After a time he is spotted. A gun is fired. The thief is taken away and
hangs his head in shame.
V. Catching the Union Pacific
The show is over. The Chautauquans pack up their belongings and head
across the Ninnescah River Bridge to the opposite bank. There at the train
station, they catch the Union Pacific Railroad. The train blows its whistle
and starts its engines as the Chautauquans bid the happy town goodbye.
They are off to bring excitement and wonder to another town on the Chautauqua
Circuit.
-- Raymond Knapp
back
to Santa Monica Symphony page