Brahms' Violin Concerto did for its genre what his symphonies and quintets did for theirs: it cemented Brahms' status as what many now consider the final composer in a stylistic chain beginning with Bach and furthered on by Beethoven: the 3 'B's who form the Patron Saints of Classical Music. Written shortly after his Second Symphony, this concerto is widely considered one of the greatest and more demanding of the violin repertoire. While more technically difficult pieces have been crafted since, Brahms moves far beyond technical prowess as the focal point of this work, insisting on a clarity of emotion throughout the concerto's continually impressing moments. An example of the idea of music taking precedence over virtuosity alone, an outlook that often dooms lesser one-dimensional concerti, is his cadenza of the final movement, where the last dizzying violin passages are accompanied by the orchestra. This unorthodox move (the solo instrument normally alone in the penultimate moments) creates a greater level of excitement and one of the best finales of any Violin Concerto. Janine Jansen will make wonderful work of this joyous piece, so go watch the strings fireworks!
On the other half of the program is 20th Century Soviet composer Shostakovich's 11th Symphony, subtitled "The Year 1905". This piece takes aim at pre-Soviet history, written about the year when the Tzar's bodyguards shot and killed many peaceful working-class protesters in the Imperial Palace Square. Shostakovich wrote this populist piece - to be his most popular since his also political "Leningrad" Symphony - at a curious point in Soviet history: one year after the brutally put down Hungarian Revolution of 1956. As such, some tend to view it as a commentary on that event, drawing a parallel from the Soviet decimation of Hungarian resistance to the government sanctioned killings of protesters in 1905. Or is the piece merely concerned with solemnly reflecting on the tragic turning point in Russian history that was the Bloody Sunday of 1905? The great part of Shostakovich's music is that regardless of political intent - which is oft murky and left to speculation - his music stands just as easily without it. However, his works often often can bend both ways, and determining whether this piece - which is rather transparent - is meant as a work representing the future horrors to be suffered by the subjects of the Soviet Union or a deep and solemn look at a critical moment in Russian history that helped start the clock on the Tzar's rule, remains to you. Enjoy finding out!
Thursday February 25, 2010 8:00 PM
Friday February 26, 2010 2:00 PM
Saturday February 27, 2010 8:00 PM
Sunday February 28, 2010 2:00 PM
--David Gottlieb
Monday, February 15, 2010
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