First Concert of the 31st Season

William Boyce wrote a group of pieces he labeled "symphonies" in the middle of teh eighteenth century, a time when that term was not necessarily associated with the form as used by Haydn and Mozart.

The first movement of Symphony No. 8 is in the style of French opera overtures -- a pompous opening with characteristic long-short rhythms, and a rapid fugal section. In power and breadth it is more akin to a Handel concerto grosso than to other mid-eighteenth century symphonies. In the second movement sustained emotional motives in the two upper voices, in the manner of an operatic duet, alternate with a recurring broken-chord motive in the bass line. The Gavotta (third movement) is a stylized version of a French dance that has been extended with a variation in the bass line and a second variation with a triplet figure played by violins.

Written in 1797, this concerto is among the finest of Haydn's most mature works. The first movement is tightly organized around the opening theme stated by the orchestra. The effect of a second theme is achieved by moving to a new tonal center and extending the opening motive into a new idea. There follows a development of motives extracted from the main thematic material, with a progression through varied tonal centers. The first movement draws to a close as the trumpet restates the opening theme; there are brilliant flourishes covering the entire range of the trumpet, a solo cadenza, and a brief reminder of the second part of the opening theme. The second movement is an expressive song, with interest intensified by moving the tonal center from A-flat to C-flat and returning to A-flat. The third movement is a typical buoyant Haydn finale in which the opening theme reappears three times in alternation with contrasting ideas.

Haydn wrote the Concerto for Trumpet for an unorthodox instrument. The common trumpet of Haydn's time was the natural instrument consisting of a single tube capable of producing only a single series of pitches. Some twenty years after the concerto was written, the development of valve systems made possible the modern trumpet on which the tube length can be constantly altered to provide all possible combinations of pitches. In an attempt to produce notes that were not available on the natural trumpet, Anton Weidinger, a Vienna court trumpeter, applied to his instrument the mechanical system that was in use for woodwind instruments. That is, the performer could shorten the vibrating air column by opening holes in the tubing. These holes were covered by pads that were operated by a key mechanism. It was for the keyed trumpet that Haydn wrote the concerto, and he took advantage of the key technique by writing chromatic notes that were not possible on the natural trumpet. Virtuoso demands of the concerto attest to Weidinger's performance ability. The keyed trumpet never supplanted the natural instrument -- composers continued to use the natural trumpet in orchestra music, including the orchestra parts of this concerto -- and the keyed trumpet subsequently was made obsolete by valve systems.

Paul Hindemith wrote two organ concertos. Opus 46, Number 2, for a small orchestra of winds, two violoncelli, and contrabass, was composed in 1929, five years before he was forced to flee Nazi Germany. Hindemith achieved international fame as a composer in the early 1920s and that fame increased throughout his lifetime. After leaving Germany he resided in the United States and taught at Yale University.

The opening movement of the concerto is in sonata form. The first theme is marked with rhythmic drive, and is followed by a second theme constructed with octave skips. The flamboyant force of the themes subsides only in the closing measures of the movement when tension is resolved with a final open fifth that harkens back to music of earlier centuries.

The second movement is a canon that begins in the organ over a descending pedal line, and increases in complexity as individual instruments and groups enter in turn. After reaching a climax the counterpoint unravels itself to a relaxed cadence on a conventional major chord.

A trumpet flourish heralds the finale, and that motive is taken up contrapuntally by successive instruments, culminating in the organ entry. Contrast comes with a broad melody reminiscent of German chorales, and the two themes are developed with increasing intensity to the end of the piece.

Aaron Copland is widely regarded as the dean of American composers. Letter from Home was written in 1944 on commission from Paul Whiteman and the American Broadcasting Company, and was revised to its present version in 1962. The piece evokes the nostalgia, excitement and comfort that might be experienced by a combat soldier upon receiving a letter from home.

Promenade is a brief, ebullient piece in the harmonic style that is frequently described as "American." The opening theme dominates the structure, with two short sections of contrasting material.