BRISTOL ORCHESTRAL PLAYERS

Notes from Julian Dale about our Autumn 2024 Programme

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As always, most of this year's programme is made up of pieces requested by members of the orchestra.  

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Beethoven Symphony no. 3 in Eb, Op. 55, 'Eroica' (1804)

Goethe called Beethoven 'an utterly untamed personality, not altogether in the wrong in holding the world to be detestable'. He wrote some pretty or jolly things to make money or please particular patrons, but most of the time he followed his own path without compromise. A radically original work, sometimes considered to be the first Romantic symphony, the 3rd was a much larger work than his earlier two or indeed than any symphony yet written. Full of striking ideas, it still has a unique place in the repertoire. It is in the usual four movements, the slow 'funeral march' placed second.

 

Dvorak Symphony no. 9 in E minor, Op. 95, 'From the New World' (1893)

Always remembering his humble origins, Dvorak wrote of himself, 'I am just an ordinary Czech musician', but posterity hasn't accepted that view. He was very successful in the USA and composed this symphony during his time as director of the National Conservatory of Music in New York. Some of the themes were inspired by music he heard in America, especially songs of the recently-emancipated African Americans, but he didn't borrow any actual tunes. It was soon performed to acclaim around the world.  Still a great favourite with players and audiences, this was the first symphony to find its way, on tape, to the moon, courtesy of Neil Armstrong. It is in the usual four-movement form, the slow movement second.

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Notes from our Music Director, Nicola Ashton, about our 2025 Programme

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Schubert Rosamunde: Overture and Entr’actes

 

Music written in haste, for a play that closed after only two performances – and not even the overture that Schubert originally intended. The play Rosamunde, Princess of Cyprus certainly hasn’t stood the test of time – but fortunately, Schubert’s incidental music has.

 

Perhaps due to the tight deadline (the music was written in just a few short weeks), Schubert chose to ‘borrow’ an existing overture from an earlier opera: Alfonso and Estrella. When the collected music was finally published, some years after Schubert’s death, the publishers chose to make a swap. The finished suite was published along with Schubert’s overture to another earlier opera: Die Zauberharfe (The Magic Harp). We don’t know why – but this is the overture now firmly linked with Rosamunde, and the version we will play.

 

As for the Entr’actes  - to add a final note of mystery to proceedings, could Entr’acte 1 have originally been destined as the final movement to Schubert’s Unfinished Symphony? There’s a theory that it may have been - but of course, only Schubert knows!

 

Beethoven Coriolan Overture

 

Less mired in mystery, but bringing musical drama instead, a stormy and powerful overture written in 1807.  

 

Beethoven’s Coriolan Overture has also fared much better than the play it was written for:  a now obscure work by Heinrich Joseph von Collin (not the Shakesperean tragedy by the same name).

 

Through the two main themes of the overture, Beethoven portrays Coriolan’s dramatic attempt to seek revenge on Rome and his mother’s plea for him to turn back. The overture concludes with a weak and fragmented version of Coriolan’s stormy opening theme, reflecting his tragic and fated demise.

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More notes on the rest of our year's programme to follow shortly......

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