Evening on the Rhine - Concert Notes

Overture to L’Italiana in Algeri (The Italian Girl in Algiers) (1813)
Gioachino Rossini (1792-1868)

Overture to L'Italiana in Algeri  by GIOACCHINO ROSSINI

The Italian Girl in Algiers (L’Italiana in Algeri) was Gioacchino Rossini’s first opera in the comedic style and his tenth composed opera. According to published reports Rossini composed the opera in 27 days, however he claimed it only took him 18 days. Rossini composed a total of 39 operas in less than twenty years making him one of the most prolific composers of his time.

The Italian Girl in Algiers was the third opera Rossini opened in Venice in 1813 and was an instant success. The romantic farce tells the story of a young Italian Isabella who comes to Algiers to rescue her fiancé Lindoro. The Algerian nobleman Mustafa sets his sights on the beautiful Isabella, enlisting his wife to marry the fiancé. The wife, wanting to retain her husband Mustafa’s affections, arranges for Isabella and Lindoro to escape, thus recapturing the love of her powerful husband.

The overture is known for its distinct opening of slow pizzicato strings, followed by the oboe setting the oriental mood. The music gathers momentum and continues to crescendo in the typical form that Rossini uses in all of his comic operas. Rossini’s colorful scoring never fails to excite with sheer delight.  The overture features several solo passages and a delightful conclusion.

Piano Concerto No. 3 in c minor, Op. 37(1796-1803)
Ludwig van Beethoven (1770-1827)

Piano Concerto no.3 in c minor, op.37  by LUDWIG VAN BEETHOVEN (featuring Norman Krieger, piano)

Piano Concerto No. 3 in c minor was composed during an extremely well documented period of Ludwig van Beethoven’s life. However, pinning down the circumstances of its composition is murky at best. The early musical sketches for this concerto are dated 1796 and contain the first movement and notes for the second. Beethoven had intended to premier the c minor concerto in 1800 at his first benefit concert (benefit concerts in those days were for the benefit of the composer.) During this same time period Beethoven was also working on his First Symphony, the Septet and the continuing work on his two year project, the six string quartets of Opus 18. When he realized that he would never have the time to finish his c minor concerto, Beethoven pulled out Piano Concerto No. 1 and gave it a quick polish for his benefit. Another benefit was scheduled two years later, so he pulled out the c minor to finish, however the date fell through, so he put it aside again. Finally in late 1802 a firm date for a benefit was set for the following April and Beethoven took up the concerto again determined to finish it. Since he had just been hired as the “house composer” for the Theater an der Wien, Beethoven was obligated to compose an opera. After completing his piano concerto, Beethoven decided to stretch his operatic legs and compose an oratorio for the benefit. He composed Christ on the Mount of Olives in less than a month to meet the deadline. Neither piece was well received at the benefit. Only later performances provided the acclaim that both the oratorio and the piano concerto deserved.

Beethoven’s first three piano concertos were inspired by Mozart’s piano concertos, but were composed with an effort to surpass them. It was only with the Third concerto that Beethoven finally succeeded. With Beethoven’s c minor concerto, he achieved something remarkable; he writes music that pays tribute to Mozart’s c minor piano concerto in a complimentary spirit, not a competitive spirit.

The opening movement (Allegro con Brio) is aggressive and emotional. The strings are answered by the woodwinds who are in turn answered by whole orchestra. The gracious second principal theme leads forward as if a symphony was in progress. The piano finally enters with an ornamental scale pattern that leads to the piano stating the main theme and the concerto is truly alive. Following the cadenza, the piano continues into a coda sparkling with expressive arpeggios with the orchestra merely accompanying and finally the piano circles around to the octave scales that marked its entrance.

The second movement (Largo) begins with the piano alone, supported by the orchestra. After a short cadenza the movement gradually dies away. But Beethoven surprises his audience with one final fortissimo exclamation.
The Final movement (Rondo: Allegro) opens with a solo piano. This movement is full of contrasting interludes that combines rondo and sonata principles. The movement ends in a speeding coda with a bright, jubilant air that remains with the audience long after the concert is over.

Symphony No. 3 in E-flat Major, Op. 97 (Rhenish) (1850)
Robert Schumann (1810-1856)

Symphony no.3 in E-Flat Major, op.97, 'Rhenish'  by ROBERT SCHUMANN

Robert Schumann’s Symphony No. 3 in E-flat Major was the last symphony he composed but not the last symphony he published. This symphony was written during the last truly contented time in his life, just after he arrived in Dusseldorf to become Principal Music Director. He was so taken with the welcoming arms and the good-natured outlook of the people of Dusseldorf that he determined to write a symphony that would be full of local color and appeal to the people along the Rhine. Schumann did not name the symphony Rhenish (that came from the people themselves), but he did not discourage it. His good feelings about the new position soon diminished, when he found that he was unable to keep up the demand for performance and composition. Schumann was asked to resign in September 1952, barely a year and a half into his tenure.  He convinced the community that he could answer the call, but only one year later he conducted his last concert in Dusseldorf and in February 1854, he threw himself into the Rhine. Schumann was rescued and committed to a sanitarium where he died two years later.

Robert Schumann is regarded as the best example of a true Romantic composer. His music is known by its lyric flowing movements, its inspiration and its self-expression. His work almost always contained personal memories or special events in his life. Many of these memories were made with his wife Clara Schumann who was one of the most famous female pianists of her time.

The first movement of the Symphony No. 3 in E-flat Major (Lebhaft) follows the model of a large scale sonata form. It opens with full orchestra in a powerful, glorious theme that seems to be pushing the music along. The emotion of the movement is characterized by its relaxed and minimal contrast. Only at the very end of the movement does Schumann introduce any new material theme.

The second movement (Scherzo: sehr massig) is based on a typical German folk dance. The tempo slows down with the full orchestra playing the rustic theme but thins out as the movement comes to a soft pizzicato ending. The third movement (Nicht Schnell) creates a moment of calm in the middle of the symphony. The music is constantly being pushed along by ascending sixteenth notes interspersed with long beautiful melodies.
The fourth movement (Feierlich) begins with a sforzando chord that fades immediately into a pianissimo. This is one of the more notorious spots in the symphony for the low brass since they have not played at all up to this point. The movement is Schumann’s homage to the Cologne Cathedral which was the largest Gothic Building in northern Europe.

The final movement (Lebhaft) begins in a joyous, happy tone which gradually translates into a completion of the cathedral section. As the symphony comes to its close, Schumann references the opening movement with the rustic dance theme played by full orchestra. The symphony concludes with optimism and triumph fulfilling Schumann’s desire to honor his new city.

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