Fourth Concert of the 80th Season

Vaňhal was born in Bohemia, but spent most of his life in Vienna. He was extremely prolific, having written between 75 and 100 symphonies, depending upon one's source, and there are at least 700 of his works in print. His music was respected enough that Mozart performed his violin concerto in B-flat at Augsburg, and Haydn performed one of his symphonies at Eszterhàza a year later.

This work is in three movements, the first of which is almost as long as the other two combined. All three are in sonata form, that is, in three sections: exposition, development, and recapitulation. The theme or themes are presented in the exposition, then they are developed, and finally any key changes used are reconciled in the recapitulation. That is a loose description of "sonata form" and well-describes this work.

Sonata form was customarily used during the Classical period for sonatas, symphonies, and concertos. In a concerto, it is usual for the orchestra to rest for a bit to allow the soloist to improvise. Often this "improvisation" is actually the work of the composer, but, in such cases, the music has the character of improvisation. There is such a moment at about eleven minutes into the first movement.

The three movements are designated as Allegro moderato, Andante grazioso, and Finale. If this music appeals to you, it should be pointed out that the composer's name appears in several different ways, so you must be careful in purchasing a recording. He is known as "van Hal," "Vanhall," "Wanhal," and his given names are similarly varied.

Così fan tutte is a "modern" opera as far as plot is concerned. It deals with the question of infidelity. Rumor has it that the plot was suggested by Mozart's patron, the Emperor Joseph II. Viennese society considered the plot "indelicate," to say the least, and it was not a very popular opera in its time. It had a champion, however, in Richard Strauss, and, since his revival of it, it has gained a solid place in the modern Mozart repertoire.

The title is often translated as "Everyone does it." However, "tutte" is feminine, meaning "Thus do all women." Or, as I would translate it, "Women are like that."

The sisters, Fiodiligi and Dorabella are madly in love with two young men. Ferrando and Guglielmo, who are about to go off to do their military service. The men are satisfied with the devotion of their fiancées, but are challenged by the old cynic, Don Alfonso, who believes that while the cat's away, the mice will play. Don Alfonso bets that the women will not be able to remain faithful.

Alfonso enlists the aid of the maid, Despina, and hatches the following plot: the two men will return, disguised as Albanians, and try to seduce the two women. Initially this fails, to the delight of the two men. But Alfonso insists that the bet is not yet finished. At his suggestion, the two men pretend to be poisoned, and only through the efforts of the maid do they recover and ask for a kiss of welcome from the two women. Again they refuse.

Space does not permit the unfolding of the complete story. Suffice it to say that the women finally succumb to the charms of the "strangers." Of course, they are the same charms to which the women had succumbed in the first place, so the test proves nothing, as the young men finally decide, and the quartet is married. Most productions leave the audience to decide who marries whom, but it is pretty obvious that Mozart, da Ponte (the librettist), and th Emperor all intended the original couples to remain together.

Beaumarchais' play, Le Barbier de Seville, spawned several operas, including this one and Mozart's The Marriage of Figaro, to name only two.

The aria "Una voce poco fa..." was written for mezzo-soprano, as we hear it now. Many recordings have it a step higher to accommodate higher voices. This is the original version. In the past, soloists have often embellished the music, adding frills of their own. On one occasion, Rossini was in the audience as the featured soprano offered her own frills. Rossini mused dryly, "A very pretty air. Whose is it?" Certain liberties are expected to be taken in such cases, but sometimes a singer goes too far.

This area begins Act II. Rossina is reading a note from her love, Lindoro. There are a number of ways the text has been translated to English, but the one that seems closest to the original Italian, but still rymes, is as follows in part:

"Once a song at break of day in my heart did light a flame. He that sang was young and gay, and Lindoro was his name. And Lindoro shall be mind; yes, I swear it, I'll win the game."

She goes on to sing:

"I know my proper place. I know what's expected. I know my guardian must be respected. I'm quite affectionate as long as I can have my way; But if I may not do just what I want to do, then I'll have something else to say."

The 1812 Overture is not an overture in the true meaning of the word, "introduction." It is not followed by the main course. It stands alone. It is a very popular work by Tchaikovsky, although it is not much loved by critics, among whom Tchaikovsky, himself, was the most critical. It was described as "very loud and noisy and completely without artistic merit, obviously written without warmth or love." That assessment was written by Tchaikovsky, himself. He hated it.

However, it remains a very popular concert piece, and a showcase for orchestral effects. It describes, of course, Napoleon's ill-fated invasion of Russia. The full title is The Year 1812 Solemn Overture, festival overture in Eb Major, Op. 49.

We hear the Czarist National Anthem, and the opposing Marseillaise of the French. We also hear snatches of folk tunes, suggesting the support of the Cossacks. As the French take Moscow, the Marseillaise is heard in triumph. But as Moscow burns, the cathedral bell rings, the Russians begin to push Napoleon's army back, and Mother Russia reigns supreme.