Felix Mendelssohn (1809-1847):
Overture: The Hebrides (Fingal's Cave), Op. 26

"Fingal's Cave" is one of the best examples of Mendelssohn’s talent as an impressionist composer. Mendelssohn travelled widely, and he began to write “Fingal's Cave” and the “Scottish” symphony during a visit to Britain in 1829. Despite having been violently ill during a three-day Channel crossing to England, Mendelssohn nevertheless braved a second rough sea passage to the Hebrides, and to reach the black basalt sea cave on the tiny island of Staffa.

Wagner described Mendelssohn as a “first class landscape painter”, who had “brought the perils of the sea into the concert hall”. Anyone who has been fortunate enough to visit the Hebrides (as has this writer) will agree that Mendelssohn has captured their magical atmosphere perfectly. It takes little imagination to see the windswept coasts and barren shores in the mind's eye.

From the very outset, one hears the constant undulation of the ocean swells in a repetitive two-bar motif. Occasional drum rolls provide waves breaking. The pace quickens with a fanfare of horns and trumpets, leading to a full storm. This gives way to a period of quiet and a change of mood, introduced by the strings and a clarinet duo. There is a brief recapitulation and coda, leading to the melody dying away on the flute, as if with the wind itself.

Ludwig van Beethoven (1770-1827):
Symphony in F major, No. 8, Op. 93

I: Allegro vivace e con brio II: Allegretto scherzando
III: Tempo di menuetto IV: Allegro vivace

It has been noted that Beethoven’s even-numbered symphonies are lighter in character than the odd-numbered, and this is particularly true of the Eighth, sandwiched between its expansive neighbours – the Seventh and Ninth (the Choral Symphony). Beethoven often wrote pairs of contrasting works simultaneously, as was the case for the Seventh and Eighth symphonies, first performed in 1812 and 1814 respectively.

The Eighth is generally calm and gentle, with the only moments of power being limited to the outer movements. It is relatively short and constrained, and observes traditions such as are found in Haydn’s compositions. The first movement in particular contains themes that are very reminiscent of 18th century material.

The scherzando replaces the conventional, slow movement usually found at this point. It has a persistent staccato rhythm throughout, giving rise to the legend that Beethoven created it as a tribute to his friend Mälzel, the inventor of the metronome. (Mälzel also invented a mechanical trumpeter and a wind band machine, for which Beethoven composed the piece Wellington’s Victory, subsequently orchestrated to considerable acclaim.)

The stately minuet of the third movement includes a trio (middle section) duet between horns and clarinet. Only in the final movement does Beethoven’s ebullience shine through, sparkling with animation, throwing in the occasional discord, and shaking off the traditions of the past.

Johannes Brahms (1833-1897):
Piano concerto in B flat major, No. 2, Op. 83

I: Allegro non troppo II: Allegro appassionato
III: Andante IV: Allegretto grazioso

This concerto was first performed in 1881. Brahms’s first piano concerto, written some 20 years earlier, had never been popular, and Brahms only attempted another one after he had become well established through the popularity of his early symphonies. What emerged was one of the largest concertos ever written to that date. It includes four movements rather than the conventional three, and it is structurally so extensive that it almost becomes a “symphony” for piano and orchestra. The solo part is technically challenging, but the soloist must also be cognisant to remain a central part of the essential orchestral ensemble.

The long first movement is founded on the opening horn call to the other instruments. The piano awakens with slow arpeggios, and the woodwinds respond, followed by an early solo cadenza. Only then can the main body of the movement progress. There is an extensive development, with repeated reference to the horn call, which is finally reiterated during the movement’s close as a fanfare, with accompanying octave trills for the piano.

The second movement is a scherzo, a rare addition for a concerto. It may have been written for Brahms’s violin concerto and then discarded. In keeping with the rest of the piece, the movement is again “symphonic” in scope and passion.

The third movement andante begins with an expressive cello solo – a melody which is then taken up by the violins, and then the piano. Later there is a brief interlude dialogue between the soloist and clarinets. In the coda, the cello restates his theme, accompanied by trills and arpeggios in the piano.

The finale movement is a rondo, once again on grand scale. Its bright opening theme recurs repeatedly, and eventually rounds off the piece as well. The solo part is brilliant, especially at the final return of the rondo refrain in a faster tempo. The work concludes with yet more piano arpeggios and a big crescendo in the full orchestra.

Notes © by Stephen Walter