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MAY 7 / 9
The Musical Planets
Concert Program:
Wolfgang Amadeus Mozart
Symphony No. 41 in C major, K. 551,
“Jupiter”
I. Allegro vivace
II. Andante cantabile
III. Menuetto: Allegretto
IV. Molto allegro
The Women of the Choral Society
of Greensboro
Intermission
Gustav Holst
The Planets, Op. 32
I. Mars, the Bringer of War
II. Venus, the Bringer of Peace
III. Mercury, the Winged Messenger
IV. Jupiter, the Bringer of Jollity
V. Saturn, the Bringer of Old Age
VI. Uranus, the Magician
VII. Neptune, the Mystic
Preludes
Learn more about this evening’s music and composers with David Nelson (UNCG). Preludes is a series of informative lectures held prior to each Masterworks performance. The presentations begin promptly at 6:45 p.m. Thursday, and 7:00 p.m. Saturday in the upper mezzanine lobby.
Meet the Artists
Join us after the Thursday evening concert for a brief question and answer session held at the front of the stage with our guest artists and Dima.
Radio Broadcast
WFDD will broadcast this concert on Sunday, September 20 at 8:00 p.m
Program Notes
Wolfgang Amadeus Mozart (1756-1791)
Symphony No. 41 in C major, K. 551, “Jupiter”
Much has been made of Mozart’s early success as a child prodigy, both as performer and composer. What is less well known is that he did enjoy some adult success, albeit short-lived. He presented a successful concert series at Vienna’s Burgtheater. However, by the time Mozart wrote his final three symphonies, the economy had turned less favorable in Vienna. Mozart’s world was in decline. This was partly due to his failing health and mounting debt. There was also a growing sense amongst the Viennese elite that his music was dated, and no longer current. Although Mozart planned a new concert to feature his latest works, he sold only one ticket to this concert, to his friend Baron Gottfried von Swieten. Of course, it is well known that this proposed concert never occurred. The composer never heard his last three symphonies performed. Von Swieten’s name may be well known to music lovers. It is he who fell in love with the music of Bach and his contrapuntal brilliance. Indeed, it is he who showed this music to both Mozart and Haydn. Highly contrapuntal writing was quite out of style in the classical period and young composers were not taught its intricacies as part of their musical education. Mozart and Hadyn were deeply inspired by what they saw in Bach’s music, which was new to them both. One only need listen to the stunning fi nale of the Jupiter Symphony (the moniker was not Mozart’s own—its source is not known) to appreciate the affect Von Sweiten had on him. The final movement is alive with contrapuntal inventiveness throughout. Most stunning, however, is the coda, which brings all the ideas into play at once, in a thrilling display of technical mastery.
Gustav Holst (1874-1934)
The Planets, Op. 32
Closing a season of 20th Century Masterpieces, it is difficult to imagine not including Holst’s magnificent suite The Planets. Written for a very large orchestra, the suite took nearly three years for the composer to complete. Another three years would pass before the first public performance at the end of the First World War. Holst designed each of the seven movements to reflect the seven planets (other than the Earth) of the solar system. Much attention has been given to the missing “Pluto” movement (the celestial body known as Pluto was not discovered until 1930). Several composers have even attempted to compose a new movement to complete the cycle. However, the classification of Pluto as dwarf planet, suggests that perhaps Holst had it right the first time. A modern man who dabbled in the mystic, the new age movement, and even astrology, Holst based each movement on the planet’s astrological influence on humankind. The titles of the individual movements suggest their characteristics. Mars suggests the modern battery of a fully equipped and deadly war machine. Famously, this movement and its harmonies were the basis for much of the score to the Star Wars motion pictures and its sequels. For the Venus movement, Holst leaves out the brass instruments entirely. Mercury is a light and deft scherzo. Perhaps the best-known movement of the suite is “Jupiter, the Bringer of Jollity.” Two memorable themes make up this movement. The first is a rhythmically syncopated horn call and the second is a relaxed yet moving melody for the strings. Saturn uses a slow funeral march to suggest the end of life. The tolling chimes and brass chords echo a terror rarely equaled in music. Following is the mischievous Uranus. Although at times a bit scary, mostly, one feels that Uranus is more playful than terrifying. This movement defi nitely suggests Dukas’ playful Sorcerer’s Apprentice. Closing the suite is Neptune’s mysterious shrouds. Although much of this movement suggests the unknown abyss of the ocean, one also feels that Holst illustrated the unknown frontier beyond Neptune. At that time, what lay beyond the planet Neptune was completely mystifying. Quiet and mysterious strains are heard throughout the movement, with a wordless chorus joining in to quietly tempt sailors to the sea. The chorus fades in the oceanic depths … or is it lost in the silence of interstellar space? The listener’s mind is free to imagine.
Quick Notes:
A modern man who dabbled in the mystic, the new age movement, and even Astrology, Holst based each movement on the planet’s astrological influence on humankind. The titles of the individual movements suggest their characteristics.
