Loudoun Symphony Notes

 

Spring 2008      

 

Issue 1

The Sheila C. Johnson Foundation, 2007-2008 Season Sponsor

 

Welcome!


Welcome to the introductory issue of the Loudoun Symphony Notes, the periodic e-newsletter of the Loudoun Symphony.  We hope to enlighten you about the Symphony and make your classical music experience more enjoyable.  We welcome your comments and suggestions and look forward to seeing you at our concerts!  (Vicki Rundquist)


 

Instrumental Instruments


The French Horn...isn't French.  As it slowly developed (arising from traditional instruments made from animal horns), it was called the "French" horn by the English, but the French called it the German. Then again, Wagner, stalwart German he, knew it as a Waldhorn (people there still do). Meanwhile, it's a Vadaszkurk in Hungary, a Trompa in Spain, and, hold on: the French now call it the Cor.

 

No matter.  Its roster of confusing names does nothing to mask this magnificent brass instrument's subtle tonalities, stately power, superb range, and uniquely "softened" sound. Of all the brass family, the French Horn's music, in the hands of a skilled performer such as our guest soloist, Larry Williams, seems to rise above the massed expression of a full orchestra -- or the pointillist accompaniment of a piano. Rise above, yet encompass and enrich the other musical notes with which it blends.

 

From its heritage as a hunter's clarion call, the Horn has become a poignant and powerful solo instrument crafted from 12 feet of spiraled brass tubing ending with a large, flared bell. Horns are played using valves (similar to those on a trumpet), but the true essence of their sound is achieved by the hornist "cushioning" the emerging vibrations by inserting his or her hand into the bell. The technique permits the performer to play notes other than the expected harmonics; filling in spaces between the notes of the familiar harmonic series. This is somewhat akin to how some other brass instruments can alter sound with various mutes -- pads or cones inserted into the bell. However, in this case, the artist can vary the position of the hand to create minute variations unavailable with the more familiar, solid mute.


If you have never heard a work for orchestra and solo Horn, you are in for a significant treat with "The Glass Bead Game". James Beckel's composition is a remarkable opportunity for both performer and audience.   (Don O’Brien)

A few other Horn selections you may enjoy:

  • Beethoven's Sonata for horn & piano in F major (Op. 17)
  • Mozart's Rondo for horn & orchestra in E flat major (K. 371)
  • Camille Saint-Saens' Morceau de Concert in F major (Op. 94)

 


Join the Symphony!


So you say you’ve always wanted to be part of a musical group, but you can’t tell a sharp from a flat?  No matter!  A wide range of non-musical volunteers are instrumental to our efforts to bring fine orchestral music to Loudoun County.  From ushers to fundraising to website administration, we can use your help.  Visit the LSO website and click on “support” and “volunteer” to learn how you can help. (Vicki Rundquist)

 

 

What’s That I Hear? 

Notes on our next concert: March 8-9

 

Tchaikovsky's 6th Symphony is unlike his previous five, at least according to the composer himself. He told his nephew, Vladimir Davidov, to whom the piece is dedicated, "...this time [I have written] a program that shall remain an enigma to all."  He was right. Maybe. The work is alive with a surprising mix of moods -- from deeply subjective melodies and long, lingering themes, to bright and electrifying sections that stir both heart and toes. Indeed, the third movement is so powerful and energetic that audiences have been known to erupt into wild applause at its conclusion -- the dynamism of the section, harking back to some "typical" Tchaikovsky finales, seems to say "we're done!" Not so.  The symphony is inventive, spectacular and, in sum, a wonder.


Imagine this combination (especially in March!): a winding river, a sunny summer's day, a gentle breeze wafting through trees and swaying grasslands -- the perfect spot for a daydream. This particular river, the Moldau, glides through Prague on its way to the Elbe river, just north of the city. The beauty of its many moods inspired Bedrich Smetana to write this romantic tone poem of great heart, one that elicits a sense of peace and tranquility (and many exuberant surprises) in listeners everywhere. "The Moldau" is one of six symphonic poems known collectively as "Ma Vlast," or "My Country".


Never heard of "The Glass Bead Game"? Is it a real game? How will the Loudoun Symphony "play" a game? Well, the answers are a tad complex. First, the German writer Herman Hesse published "The Glass Bead Game," his final novel, in 1943, then won the 1946 Nobel Prize in Literature for it. The book explores the complexity of modern life, but is set in the 23rd century. The "game," at the novel's core, is one which brings together science, music, logic, philosophy -- and more, too -- with Joseph Knecht, the story's protagonist (a gifted intellectual), working to master it. 

The musical "translation" of the book was written by James Beckel, and presents the existential ideas of Hesse's book in lyrical, often powerful themes. The last section is frenetic, dramatic, compelling. Best of all, perhaps, is that "The Glass Bead Game" is one of the world's great showpieces for the French horn.  And, yes, it's an actual game too, as you'll see if you follow the Web link, below.

What's that I hear? It's another fine concert by the Loudoun Symphony.  And, if there are young people in your life, be sure to bring them with you -- kids are free! Or perhaps invite a neighbor to come along. The variety in this concert is an ideal introduction (if that's the right word) to musical experiences that one ought not be allowed to miss.  (Don O'Brien)

Further reading: