Our November 2 program will link symphonic repertoire with mischievous sounds and stories. Celebrating 19th century Austrian composer Johann Strauss’s 200th birthday (October 25, 1825), we’ll begin with the Overture to “Die Fledermaus” (Revenge of the Bat), Strauss’s only opera premiered in 1874.  A party atmosphere is heard instantaneously, appropriate for an opera in which a royal ball is the central scene of action.  The many farces and plot twists all have to do with one of the main characters seeking revenge for having been left drunk and dressed in a bat costume by his friend after a masquerade.  Enjoy the swirl of delightful melodies and quintessential Strauss waltzes.

 

Our second piece is another collection of melodies, by the late Renaissance/early Baroque composer, Francesca Caccini.  Caccini’s life and career were primarily in service to the renowned Medici family of Florence, Italy. She was a full-fledged career woman, prolific in compositional output and a celebrated singer and instrumentalist (played keyboard and all stringed instruments).  Caccini was the first woman to compose a fully staged opera (another anniversary today, as it was premiered in 1625!).  Works chosen for our arrangement, "Songs by Francesca Caccini for Orchestra" include a Ciaccona, a prayer for mercy, a song about unrequited love, and a sassy & mischievous song, dismissing romance.  (“To whoever wants to know what love is, I’ll say it’s nothing if not fever, suffering, dread, fury.  I’ll say that my fire is all burned out to whoever asks if I’m in love.”)

 

The first half of our program concludes with 20th century American composer Samuel Barber’s overture to “The School for Scandal”, a concert overture referencing a 1777 play by British playwright Richard Sheridan.  Mischief abounds in the play, with a plot involving the manipulations of young lovers’ relationships, gambling, jockeying for the inheritance of a wealthy uncle and numerous parties.  Barber’s 1933 overture begins with mischievous, dissonant trills that dissolve into an impish, unpredictable theme in a minor key of quick compound triple meter.  Barber’s orchestration features brilliant writing for high woodwinds and bombastic brass contrasted with romantic string colors.  The most mischievous moment happens about two thirds of the way through the piece with an extended bouncy string section, answered by “laughing” winds, followed by a short-lived lyric moment before a decisive conclusion.

 

In 1774, 18-year-old Wolfgang Amadeus Mozart composed four symphonies and a serenade, a double concerto for two violins, a bassoon concerto, five piano sonatas and began composing his opera La finta giardiniera.  This prolific year was during a period of employment by his hometown Prince-Archbishop of Salzburg.  It’s hard to fathom the speed at which Mozart’s mind was moving, in conjuring so many tunes, phrases, moods, and orchestral colors.  While 1774 was a year of stability for Mozart and his family, mischief abounds in the music itself.  The main theme of the first movement of Symphony No. 29 features a descending octave leap followed by impish half steps.  The contrasting theme features four unison notes followed by an arpeggio- a true contrast to the first theme.  The sweeter second movement is made a bit mischievous by its dotted rhythms and countermelodies.  Other contrasts in this movement are duple vs triplet accompaniment pulses.  The sassy dotted rhythm idea continues in the jolly third movement Minuet.  The finale of the symphony couldn’t be more rambunctious, in 6/8 time with galloping trills and descending runs.  Mozart mischievously provides ascending runs seeming to leap out of nowhere, in between sections.  The symphony is scored for strings and, simply, a pair of oboes and horns.  The contrasting wind timbres provide tonal clarity and character throughout.

 

Canadian composer Howard Shore won three Academy awards for his film scores for the epic Lord of the Rings trilogy.  John Whitney’s arrangement opens with the “Fellowship Theme” in quick triple meter, a soaring trumpet melody.  This plunges into a turbulent and uneven fanfare which ultimately gives way to the mysterious “Prophesy” theme.  A more mischievous section follows, “Concerning Hobbits”, with a child-like tune performed by woodwinds and solo violin.  After a multi-themed transition, a scary section ensues in which one might envision an invasion of the Orcs.  The turbulent /uneven theme (“A Knife in the Dark”: music of the “Uruk Hai” for those of you in-the-know) follows before more noble brass chords.  The final song of the medley is “In Dreams”. Today our boy soprano soloist sings this theme with text by Fran Welsh, providing wistful thoughts about seasons, destiny, and hope.