Rotterdam Student Orchestra | A Romantic Journey

Programme:

• Richard Wagner: Prelude ‘Die Meistersinger von Nürnberg’
• Ludwig van Beethoven: Triple Concerto in C major – Soloists: Trio d’Encore
• Johannes Brahms: Symphony no. 2

Soloists: Trio d’Encore
Conductor: Coen Huisman

After the end of the Classical period in the strict sense – the music of the First Viennese School –, musical styles and ideas became more varied. More ‘progressive’ composers like Franz Liszt, Richard Wagner or Hector Berlioz introduced new musical genres, carried innovations in harmonic language and orchestral technique, and explored new paths in composition. Wagner’s writings played an essential role in defining this ‘New German School’. At the time, however, this progressive movement encountered staunch opposition by more ‘traditionalist’ theorists and composers like Johannes Brahms. Above all, the traditionalists were strong believers in ‘absolute’ music and disliked the New German concept of programmatic music. In the second half of the 19th century, the diverging ideas of these schools led to the so-called ‘War of the Romantics’, a lengthy and polemic public debate which was later echoed in many discussions on musical aesthetics long into the 20th century.

Richard Wagner (1813–1883) revolutionised opera during his lifetime and became a cornerstone of the New German School. Die Meistersinger von Nürnberg is one of his most popular operas. It was first performed in 1868 and tells the original story (written by Wagner himself) of a singing competition held by the guild of master-singers in Nuremberg during the 16th century, with many historic references and an emphasis on the ‘German spirit’ of art. While the plot about a young knight hoping to be able to marry his lover by winning the singing competition was rather traditional, Wagner combined it with a modern take on the meaning of true artistry. The prelude was first performed in 1962 and introduces many elements of the story: the dignity (and self-importance) of the master-singers is celebrated, but we also get a better understanding of the guild overall, as well as a first taste of the theme of the Prize Song that is set to ultimately win the competition.

Ludwig van Beethoven (1770–1827), the most ‘modern’ exponent of the Classical period, was a point of reference for the New German School, but also revered by its opponents. He wrote the Triple Concerto in C major around 1804 and its first performance took place in 1808. While Beethoven wrote several concerti for solo instruments, the Triple Concerto is his only concerto for multiple solo instruments: violin, cello and piano. This scoring, combining a typical piano trio from chamber music with an orchestra, is rather unique, but utilised in a colourful and layered way. Interestingly, the cello – an instrument for which Beethoven had never written a concerto – takes the lead. The concerto starts with a grand, melodic theme in a marching rhythm. In the slow second movement, a romantic theme is presented through an expressive, poetic chant of the soloists, which transitions directly into a characteristic dance ‘alla polacca’ (polonaise) in the finale.

Johannes Brahms (1833–1897) was one of the most influential composers of the High Romantic period. He was strongly influenced by the Classical tradition, and while he certainly was innovative in his own way – especially in his symphonies –, he rejected most of the ‘progressive’ ideas of the New German School. Brahms wrote his Symphony no. 2 in 1877, which was also the year of its first performance. Considered more easily accessible than Brahms’s first symphony, it was a great success with critics and the audience. It is cheerful and ‘pastoral’ in its overall atmosphere, likely inspired by the idyllic environment of Brahms’s summer home at the Wörthersee, where he wrote parts of the symphony. Its themes even show hints of folk music. After a joyous first movement, the symphony reveals its more melancholic side in the second movement. Throughout the third and fourth movement, this feeling quickly evolves, until it culminates in a downright euphoric finale.

More information about the Trio d’Encore:

The Trio d’Encore was founded in 2016 by three young musicians who met at the Amsterdam Conservatoire. More information: http://triodencore.com

More information about the RSO:

The RSO is a symphonic orchestra for students and young professionals from Rotterdam and its vicinity. More information: https://www.nu-rso.nl