Trittico Botticelliano Program Notes Photo

The VSO offers a five-concert Saturday Masterworks series at the Flynn Center in Burlington. All concerts begin at 8:00 p.m. And are preceded at 7:00 p.m. By Musically Speaking, a free pre-concert discussion that provides entertaining insight into the evening’s program. Anthony Princiotti conducts our second concert in the series, to be performed Saturday, December 5, at the Flynn Center in Burlington. Click 'Keep reading!' To peruse the program notes.

Features the oboe in each piece on the program. Trittico Botticelliano. To peruse the program notes. Trittico Botticelliano. Program notes: December 5 Masterworks Series. Click 'Keep reading!' To peruse the program notes. Trittico Botticelliano Ottorino Respighi (1879-1936).

Trittico Botticelliano Ottorino Respighi (1879-1936) In 1900 Respighi left his job as an orchestral violinist in Bologna, Italy to travel to St. There he was to play first viola for the Russian Imperial Theater's season of Italian opera. More important, the move brought him within striking distance of his goal to receive instruction in composition and orchestration from his idol, Rimsky-Korsakov. At his earliest opportunity, Respighi called on the Russian master and found a throng of like-minded admirers.

After glancing at one of Respighi's scores, Rimsky-Korsakov announced, 'I can see nobody else today!' And closeted himself with his young pupil, becoming his instructor for the five remaining months of Respighi's Russian stay. Encouraged by his early teacher in Bologna to recognize that music other than opera deserved to be written (revolutionary thinking in Italy!), Respighi became the great Italian orchestral composer of his time. Involved in scholarly interests as well, he revered the Italian legacy of Renaissance music and art. Trittico Botticelliano (Three Botticelli Pictures) is the composer’s musical impression of three paintings by the Renaissance artist Sandro Botticelli. An evocative blend of the classical and romantic, the work was commissioned by Washington arts philanthropist Elizabeth Sprague Coolidge in 1926 following a tour of the United States by Respighi as pianist/conductor.

La Primavera - 'Spring.” The painting is a sylvan scene including shepherds, nymphs, the goddess Flora and the three Graces. In the tradition of Vivaldi, Respighi heralds spring with bird calls and a rustic dance melody. L'Adorazione dei Magi - 'The Adoration of the Kings. I Pilastri Della Terra Pdf Reader here. ” This small painting is overwhelming in its visual offerings of richly-dressed pilgrims descending from fine horses to worship the Mother and infant Christ child.

The music opens with a moving Siciliana, and the contrapuntal melodic line includes wisps of Gregorian chant. La Nascita di Venere - 'The Birth of Venus.” This famous painting depicts the nude Venus, born of the sea, standing in the middle of a scallop shell above the life-giving waters. The music evokes the play of the waves that Debussy captured in La Mer. The long and sensuous melody that represents Venus grows to an eloquent crescendo, then fades to a close. --Hilary Hatch Symphony No.

3 in F Major, Op. 90 Johannes Brahms (1833-1897). Brahms kept his audience waiting for six years between his second and third symphonies. He did the bulk of the work on this piece in the summer of 1883 in Wiesbaden, where his new young love, contralto Hermine Spiess, lived. As different from the first two as they are from each other, the Third reflects a more personal and intimate side of the composer.

Eduard Hanslick, oft-quoted reviewer of the period, promptly nicknamed the symphony “Eroica,” although he pointed out that the only heroic parts were the opening and closing movements, which frame movements that “quiver with the romantic twilight of Schumann and Mendelssohn.” The Third is the least frequently performed of Brahms’ four symphonies, possibly because it is the only one which does not have a rousing, triumphant ending. It is undeniably a masterpiece, however: a product of the mature artist at the height of his powers, a work that fairly bursts with vitality and strength. Karl Geiringer’s biography of Brahms has this to say about the symphony: Like the first two symphonies, the Third is introduced by a brief motto; this not only provides the bass for the grandiose principal subject of the first movement, but dominates the whole symphony. It assumes a particularly important role in the first movement, before the beginning of the recapitulation. After the passionate development, the waves of excitement calm down, and the horn announces the motto, in a mystic Eb Major, as a herald of heavenly peace.