Beethoven’s Legacy

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SATURDAY, APRIL 25 ∙ 7:30 PM
FRASER AUDITORIUM

In the history of Western Music, Beethoven was one of the most widely known and influential composers. We honor the great works of Beethoven with his notable piece Symphony no 7. Also included are composers from the Romantic Era, Von Suppe’s Light Calvary and Brahms’ Hungarian Dances.

Emma Pennell, winner of our 2019 Young Performers’ Competition will perform Strauss’ Mein Herr Marquis (From Fledermaus)

Program

F. Von Suppé ………. Overture to Light Cavalry

J. Strauss ………. “Mein Herr Marquis” from Die Fledermaus
Featuring Emma Pennell, 2019 Young Performers’ Competition Winner

J. Brahms (arr. Parlow) ………. Hungarian Dances

No. 5 in G minor
No. 6 in D major

INTERMISSION

L. Beethoven ………. Symphony no. 7 in A major, Op. 92

i. Poco sostenuto; Vivace
ii. Allegretto
iii. Presto; Assai meno presto
iv. Allegro con brio

Franz von Suppé (1819-1895) — Overture to Light Cavalry

Suppé is recognized as a master of the 19th century Viennese operetta. His diverse family background was, one critic put it, “one of those multiethnic tours de force only possible in the polyglot Austro-Hungarian empire.” (Suppé was born in Dalmatia (now Croatia) to a Belgian father and a Czech-Polish mother, and grew up speaking Italian.) He played flute and later was a conductor of theatre orchestras in Vienna, all the while cultivating his light, fluent craft as a composer. Altogether, he wrote over 200 works for the stage. Today he is best known for his overtures, including the Overture to Light Cavalry (1866), where (around the two-minute mark) the trumpets announce a military parade on horseback.

Johann Strauss II (1825-1899)
“Mein Herr Marquis” from Die Fledermaus

Also known as “Adele’s Laughing Song,” this delightful aria from Johann Strauss’s operetta, Die Fledermaus (1874), has become a standard of the vocal repertoire. Adele, a chambermaid who without permission has donned her mistress’s gown to go to a ball, gets recognized by the Marquis. She attempts to convince him that he is wrong by laughing at the suggestion that a glamorous woman like herself could possibly be a lowly chambermaid.

Johannes Brahms (1833-1897) (arr. Parlow)
Hungarian Dances Nos. 5 and 6

By the age of 40, Brahms was regarded as the preeminent composer of the German music tradition, renowned for such works as A German Requiem and Variations on a Theme of Haydn. Like his predecessors (Haydn, Mozart, Beethoven, etc.) he also took up residence in Vienna, which was the music capital of Europe from the late 18th to the early 20th centuries. Yet, Brahms had another side that stemmed from his formative years in the working class districts of the port city of Hamburg (his father was a double bass player in taverns and dance halls). This included his lifetime fascination with style hongrois, a blend of Hungarian musical gestures (distinctive rhythm and drive, tunefulness, and a spicy exoticism) and gypsy performing style. The 21 Hungarian Dances Brahms published between 1869 and 1880 were enormously popular in their day, and remain so. First written for piano, they are staples of every orchestra.

Ludwig van Beethoven (1770-1827)
Symphony No. 7 in A Major, op. 92

i. Poco sostenuto; Vivace
ii. Allegretto
iii. Presto; Assai meno presto
iv. Allegro con brio

Written in the shadow of the Napoleonic wars (notably the Battle of Hanau fought just months before), Beethoven’s Seventh Symphony was a triumphant success at its premiere in Vienna on December 8, 1813 with the composer conducting. The second movement especially made a deep impression. Not only was it encored at the premiere, it went on to become a staple of the 19th century repertoire. In the Seventh Symphony’s first movement, the expansive, slow introduction, gives way to a high-spirited Vivace. The stirring second movement has a processional character where the two principal themes eventually intertwine and overlap in fugal style. The third movement is a rollicking scherzo, punctuated with majestic moments, while the fourth dances with seemingly inexhaustible energy (what Wagner called “the Apotheosis of the Dance”). Overall, Beethoven’s Seventh stands as a powerful affirmation of humanity.

Emma Pennell

Emma Pennell is a student in the Cambrian College Music Performance Program. She graduated with honours at Almaguin Highlands Secondary School in South River, Ontario where she obtained the Almaguin Choral Society Music Leadership Award. Emma has studied with teachers such as Pamela Teed and Susan Urquart-Pandalfo. Emma also attended vocal coaching and masterclasses with Peter Mcgilivray and Kimberly Barber. Emma competed in the Sudbury Kiwanis festival in 2017, 2018 and represented Sudbury for grade 9 voice and successively grade 10 voice at the provincial level. Emma participated in the Opera Gala; Opera for a Cause in Sudbury in 2017 and 2018 as part of their bursary program. Emma also won the Sudbury Symphony Orchestra’s Young Performers Competition in 2019. Emma plans to continue her education in performance in University.