|Concerto Grosso in A minor, Op. 3, No. 8||Antonio Vivaldi (1680-1743)|
|II. Larghetto e spiritoso|
Laura Anderson, Drew Murdza, Daniel Tolen, violin soloists
|Three Hungarian Dances||Johannes Brahms (1833-1897)|
|Hungarian Dance No. 5|
|Hungarian Dance No. 11|
|Hungarian Dance No. 6|
|Finlandia (Op. 26, No. 7)||Jean Sibelius (1865-1957)|
Western State College-Community Orchestra
Vivaldi’s Concerto Grosso in A Minor is from a collection of twelve concertos for one, two and four violins. Titled L’Estro Armonico, Op. 3 (Harmonic Inspiration), these concerti grossi, as they are often referred to, reflect the mature concerto-concerto grosso style of the late Baroque. The highly imitative style of this genre is evident throughout the three movement work.
In 1869, Johannes Brahms completed a set of 21 lively dance tunes for piano four-hands largely based on traditional Hungarian tunes. Only numbers 11 (performed this evening), 14 and 16 are original compositions. Brahms later arranged the first 10 dances for solo piano. The dances have proved to be among Brahm’s most popular works and over the years have been arranged for a wide variety of instruments and ensembles. These arrangements for full orchestra portray the original intentions of the music.
The tone poem Finlandia, Op. 26 by Finish composer Jean Sibelius is an example of late 19th century “Nationalism”. Written in 1899 and revised in 1900, Finlandia is the last of 7 pieces written in protest against increasing Russian censorship. The piece has come to represent the heroic striving and national struggle of the Finnish people. Toward the end of the work, the Finlandia Hymn is first heard in the woodwinds. Often cited as a traditional folk melody, the hymn is Sibelius’ own and has since become one of the more important national songs of Finland