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Hastings Philharmonic Orchestra | Etchingham Music Festival
June 28, 2023 @ 7:30 pm - 9:00 pm
£18 – £30We are delighted to be back in Etchingham, by kind invitation of the Etchingham Music Festival, as part of our declared aim to ‘take to the road’ to share our high-quality offering with local towns and villages.
Our violin soloist for this concert is HPO’s distinguished concert master Emil Chakalov.
The Holberg Suite Edvard Grieg (1843-1907)
The suite was initially composed for piano, but a year after it was written, Grieg changed his mind and orchestrated it for string orchestra. Grieg aimed to echo as much of the music that was popular in Holberg’s time, making it an early attempt at neoclassicism.
Holberg had put Scandinavia on the map in the theatrical circle. His comedic theatre works were dubbed ‘the Molière of the North.’ Norway, too, wanted to ride on Holberg’s success, as for some time the dramatist had lived in Bergen – Grieg’s hometown. So, when the bicentenary of Holberg’s birth had come around, the city of Bergen wanted to celebrate. Despite the dark and stormy winter, a festival was put on in December of that year. Grieg, who at this point was one of Europe’s most popular composers – was enlisted from the beginning to write a cantata for male voices to be performed outdoors around the new Holberg monument that was being erected in the central marketplace. Grieg was also asked to write another work to be performed in the concert hall. The cantata, which was performed in terrible weather, was soon forgotten. However, the dance suite became popular.
Originally entitled ‘From Holberg’s Time’, the Baroque-inspired dance suite became one of the composer’s most popular works. Grieg initially dismissed the piece, calling it ‘a perruque piece’ – after the 18th century powdered wigs. Despite this, the string orchestra version we know today is still widely performed around the world.
The movements of the suite are I. Praeludium – Allegro vivace; II. Sarabande – Andante; III. Gavotte – Allegretto; IV. Air – Andante religioso; V. Rigaudon – Allegro con brio.
The music
The Holberg Suite is a work of playfulness, gentility and historically informed practices. As with all Baroque suites, the work begins with a Praeludium – its Prelude.
I. Praeludium
In a toccata style, the flow of the opening prelude is exciting and joyous in character. The rushing scales cascade through the spritely opening and energetic figures flow throughout the movement.
II – Sarabande
Known as a slow and stately dance in 3/4 the Sarabande is gentle in character. The gentility woven throughout this slow and flowing movement highlights Grieg’s effective melodic writing. As the texture begins to thicken and become more sonorous, Grieg writes a glorious counter melody for the cellos.
III – Gavotte
A moderate-tempo dance, the Gavotte is charming in character. Originating from France, the contrasting dance – the musette, was originally danced with a bagpipe accompaniment. Although there are no bagpipes present, Grieg does try to emulate the characteristics of the instrument by employing drones in the lower strings to create that effect.
IV – Air
The fourth movement is not a dance, but an elegiac song. Echoing past works such as J. S. Bach’s Air on the G String, this fourth movement is sorrowful, but intensely beautiful. The only movement to be in a minor key, the poignant lyricism from Grieg shines through the tonality.
V – Rigaudon
The vivacious character of this dance makes for an ideal finale. Featuring soloists around the orchestra, the cheerful character of this movement is joyful, but polished in style. This movement encapsulates Grieg’s love for folk tunes and rustic composition, yet all within the polished elements of a baroque dance.
The Four Seasons Antonio Vivaldi (1678-1741)
The Four Seasons are a series of four violin concertos possibly composed between 1718-1720 when Vivaldi was the court chapel master in Mantua. Inspired by landscape paintings by Italian artist Marco Ricci, they were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters’ and the prey’s point of view, frozen landscapes, and warm winter fires.
The Four Seasons are a series of four violin concertos possibly composed between 1718-1720 when Vivaldi was the court chapel master in Mantua. Inspired by landscape paintings by Italian artist Marco Ricci, they were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters’ and the prey’s point of view, frozen landscapes, and warm winter fires.
Unusual for the period, Vivaldi published the concerti with twelve accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called programme music – music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines directly into the music on the page.
Spring (La primavera)
I. Allegro II. Largo e pianissimo sempre III. Allegro pastorale
Spring starts with the clarity and crispness of a typical spring day, accompanied by the choirs of birds and streams. It is invaded by a sudden thunderstorm, but the singing birds soon regain dominance. The movement ends with a lively country dance, with inhabitants celebrating the return of fauna and flora after a harsh winter.
Summer (L’estate).
Summer offers a slow start, portraying the weather as too hot for any movement. The air is almost at a standstill, the birds chirping away lazily until a breeze gathers up, whipping the warning of an imminent storm. The most striking moment is served in the third movement, as a hailstorm mercilessly rains down, offering a perfect contrast.
Autumn (L’autunno)
I. Allegro II. Adagio molto III. Allegro
Autumn makes a return to the clarity of Spring, with similar musical themes in the first movement. The country- folk rejoice once again, celebrating the harvest by drinking wine. The tempo drops significantly, in parallel to the peaceful sleep that engulfs the people. The final movement illustrates a ‘hunt,’ taking us back to a 14th-century Italian genre, ‘Caccia’ – where songs were used to glorify hunts using counterpoint.
Winter (L’inverno)
I. Allegro non molto II. Largo III. Allegro
The opening movement resembles a shivering person, stamping his feet in rhythm to stay warm. The middle movement portrays the pleasure of getting warm inside in front of a crackling fire. The final movement suggests people outdoors walking down icy paths, while those inside feel the chill finding its way inside.