Friday September 18, 2009

Monika Vischer talks with CSO soloist Chris Thile, who demonstrates themes from his Mandolin Concerto.
Johann Sebastian Bach: "Corrente" (2nd movement) from Solo Violin Partita No. 2 in D minor, BWV 1004
Chris Thile, mandolin
KVOD Performance Studio 9/17/09 MS
Colorado Music Festival Orchestra
Michael Christie, conductor
Ludwig van Beethoven: Symphony No. 4 in B flat major, Op.60 35:19 (7/10/08)
Also, Charley talks with CSO timpanist and composer William Hill.
William Hill: Four Moments Musical
Colorado Symphony Brass & Percussion Ensemble/ William Hill
NCA 11:05


Ludwig van Beethoven (1770-1827): Symphony No. 4 in B flat major, Opus 60
I. Adagio; Allegro vivace
II. Adagio
III. Allegro vivace
IV. Allegro ma non troppo

Beethoven had already begun his C minor Symphony (No. 5) when he and his patron, Prince Franz Lichnowsky, visited Count Franz von Oppersdorf at his castle in Silesia. The Count's private orchestra played Beethoven's Second Symphony for the guests. The host then commissioned a new symphony from the composer.
Setting aside the Fifth, Beethoven started a new symphony in B flat major. Most of the work was done in the autumn of 1806. By November, the Symphony--now known as the Fourth--was finished. Beethoven wrote to his publishers: ``I cannot give you the promised symphony yet--because a gentleman of quality has taken it from me.'' In fact, Beethoven never sent the score to Count Oppersdorf. All he ever received was the dedication to the published edition.
The first performance of the Fourth Symphony probably took place at the Viennese palace of another Beethoven patron, Prince Franz Joseph Lobkowitz. Two all-Beethoven concerts were given there during March of 1807. The programs included the first four symphonies, the Coriolan Overture, excerpts from Fidelio and a piano concerto. One review noted that ``richness of ideas, bold originality and fullness of power, which are the particular merits of Beethoven's muse, were very much in evidence to everyone at these concerts; yet many found fault with the lack of a noble simplicity and the all too fruitful accumulation of ideas which on account of their number were not always adequately worked out and blended, thereby creating the effect more often of rough diamonds.'' Another critic noted the new Beethoven symphony ``which has pleased, at most his fanatical admirers.''
Carl Maria von Weber, then a rash twenty-year-old, wrote an article on Beethoven's Fourth Symphony that he would later regret. In it, he portrayed the violin complaining of having to ``caper about like a wild goat'' in order to ``execute the no-ideas of Mr. Composer.''
Referring to its place between the mighty Eroica (No. 3) and Fifth Symphonies, Robert Schumann called the Fourth ``a slender Greek maiden between two Norse giants.'' Hector Berlioz found the Fourth ``generally lively, nimble, joyous, or of a heavenly sweetness.''
Berlioz loved this symphony. After the seminal slow introduction, he writes, ``the first movement is almost entirely given up to joyfulness....As far as the Adagio--it escapes analysis. It is so pure in form, the melodic expression is so angelic and of such irresistible tenderness, that the prodigious art of the workmanship disappears completely.''
Sir Donald Francis Tovey found great fun in the last two movements. Towards the end of the third, he says, ``the two horns blow the whole movement away.'' The last movement contains what he calls ``The Great Bassoon Joke,'' when the solo bassoon clowns the return of the main theme.
The Symphony is scored for flute, 2 oboes, 2 clarinets, 2 horns, 2 trumpets, timpani and strings.