This page features program notes for current programs.
PROGRAM NOTES - 'FANDANGO' – DEC. 7, 2024 (VC ORCHESTRAS)
String Quartet No. 7 in E-flat Major, K. 160: Wolfgang Amadeus Mozart
By the time Mozart wrote his String Quartet No. 7 in 1773, he had already made his mark as a virtuoso performer and composer. His time in Salzburg, working for the Archbishop Colloredo, was marked by a series of symphonic, chamber, and operatic compositions. Although his position was not always ideal, it allowed him a certain degree of financial stability, which he would later lose as his relationship with the Archbishop soured.
Mozart composed several string quartets in 1773, many of which were influenced by his exposure to the quartets of Joseph Haydn. His increasing knowledge of the string quartet form allowed him to experiment with more complex textures and emotional depth. String Quartet No. 7 in E-flat Major, K. 160 reflects his characteristic balance of grace and innovation—qualities that would define his legacy in chamber music.
- I. Allegro – This first movement introduces the lively, buoyant themes typical of Mozart’s style, with the interplay between the instruments showing his skill in texture and harmonic progression.
- II. Un poco Adagio – This lyrical movement features a tenderness that hints at Mozart’s growing emotional range as a composer, which would become more evident in his later works.
- III. Presto – A vigorous and lively conclusion, demonstrating Mozart’s talent for combining energetic movement with elegant structures.
"Limerence" (World Premiere) from The Better Left Unsaid Suite by Geraldine Cabanban
‘Limerence’ is based on a poem Geraldine Mae G. Cabanban wrote in the middle of 2024 after reflecting on personal experiences. Originally standing as its own piece, it has been added to Cabanban’s suite in the works titled, “The Better Left Unsaid Suite” including Love, Lust, Language, Limerence, and Lukewarm (in that order). Said to embody the feelings associated with limerence, this single movement takes listeners on the overwhelming nature of the mind and its yearning through swirling passages, contrasts in character, the use of motifs, and the role of dissonance.
Quintet No. 4 for Guitar & Strings in D Major, G. 448: Luigi Boccherini
Luigi Boccherini, an Italian composer and cellist, spent much of his career in Spain, where he was influenced by the local folk music and dances, which often appear in his works. His time in Madrid was crucial to his development as a composer, as he received patronage from both Spanish royalty and the aristocracy.
The Quintet for Guitar and Strings in D Major (G. 448) was composed in this period, reflecting the vibrant Spanish musical culture that was so influential on Boccherini’s output. Boccherini was a gifted cellist and a pioneer in the development of string quintets, often pairing the string quartet with a second cello or a guitar. His relationship with the guitar, which was gaining popularity in Spain during the 18th century, led to a number of works that showcased its lyrical and virtuosic potential. The Quintet No. 4 is one of his most famous, particularly for its energetic and rhythmic final movement.
- IV. Fandango – The fandango, a passionate Spanish dance with distinct rhythmic patterns, takes center stage in this movement, giving the guitar a chance to shine. The piece is a brilliant display of virtuosity, with the guitar and strings engaging in a lively, almost conversational exchange.
El Sombrero de Tres Picos: Manuel de Falla
Manuel de Falla, one of Spain’s most important composers, is known for his deep connection to Spanish folk music and his ability to blend folk traditions with sophisticated orchestral techniques. El Sombrero de Tres Picos (The Three-Cornered Hat) was composed in 1917 and based on a play by Pedro Antonio de Alarcón. The work was commissioned by the Ballets Russes, a Paris-based ballet company, and premiered in 1919.
De Falla’s score is rich with vivid Spanish rhythms, colors, and dances, drawing inspiration from the Andalusian region’s folk traditions. The ballet tells the comedic tale of a miller, his wife, and a lecherous magistrate, and Falla’s music captures the dramatic and humorous elements of the story. The score is a blend of lively rhythms, colorful orchestrations, and evocative depictions of rural Spain.
The opening movement, Les Voisins (“The neighbors”) sets the tone of village life, filled with playful energy and local flavor. Danse de Meunier (“The miller’s dance”) is robust and earthy, full of rhythmic vigor. Danse Finale is a rousing and energetic conclusion, packed with rhythmic excitement and the joy of dance.
Carmen Suites Nos. 1 & 2: Georges Bizet
Georges Bizet's Carmen was first performed in 1875, and although it initially received a lukewarm reception, it has since become one of the most beloved operas in the world. Bizet's decision to set the opera in Spain, with its rich folk traditions and fiery passions, was groundbreaking at the time. His portrayal of the independent, free-spirited Carmen and the tragic consequences of her relationships was bold and controversial.
Bizet’s suite for orchestra distills the essence of the opera, focusing on some of its most iconic moments. The orchestra vibrantly conveys the drama, passion, and tension of the opera's characters, from the seductive Carmen to the tormented Don José and the flamboyant bullfighter Escamillo. While Suite No. 1 features the opera’s lighter and more dramatic moments, Suite No. 2 delves into some of the opera’s more intense and emotionally charged sections.
This suite was first performed after Bizet’s death, and helped to solidify Carmen as one of the most performed operas in the world. Bizet’s orchestration remains vibrant and evocative, with lush textures that convey the heat and danger of the opera's setting.
SUITE 1
- I. Prélude – The rebellious tone of the exotic Spanish-tinged Prelude to Act I opens the opera. It introduces the Toreador theme which is interrupted by Carmen’s theme.
- II. Aragonaise – A lively Entr’acte to Act IV is based on the “Aragonaise,” a triple-meter Spanish dance that uses castanets. It begins with a vigorous flourish, but soon subsides into bottled quietness with a sultry oboe solo. After a brassy climax, the section ends quietly.
- III. Intermezzo – A nocturne based on Micaela’s later aria where she will vow to be fearless as she traverses a mountain pass to deliver a message to Don José. It begins with solo flute and harp, which are soon joined by strings and other woodwinds to create a gentle and tender mood.
- IV. Séguedille – Bizet’s spicy “Seguidilla” is the fourth movement. Featuring a solo viola, this barnburner evokes the wild abandon of a Flamenco celebration.
- V. Les Dragons d'Alcala – From the opera’s entr’acte before Act II. The word “dragon” here means “dragoon,” or “soldier.”
- VI. Les Toréadors – A rousing fanfare celebrating the entrance of the bullfighters into the arena, this movement has a loud, festive, and distinctly Iberian flavor.
SUITE 2
- I. Marche des Contrebandiers – A rhythmic, almost martial opening that evokes the clandestine world of smugglers.
- II. Habañera – Carmen’s famous entrance aria, full of Carmen’s free-spirited, dangerous charm.
- III. Chanson du Toréador – A triumphal, energetic tune that introduces the bullfighter Escamillo
- IV. La Garde Montante – The changing of the guard, where we first meet Don José
- V. Chanson Bohème – Carmen and her Romani compatriots celebrate their life of freedom.