Sunday, June 25 – Second of three B’s “BRAHMS”

A Night of Romance.

Richard Strauss          Till Eulenspiegel, Einmal Anders! (arr. Franz Hasenöhrl)

Gabriela Pena Violin, Patrick Graham Clarinet, Mary Beth Orr French Horn, Anthony Anurca Bassoon, Paul Strasshofer Bass

Dohnányi, Ernő                Sextet in C major. Op. 37

I. Allegro appassionato
II. Intermezzo. Adagio
III. Allegro con sentiment
IV. Finale. Allegro vivace, giocoso

Yukino Miyake Piano, Aurica Duca Violin, Jorge Pena Viola, Jin Kim Cello,

Patrick Graham Clarinet, Mathew Monroe, French Horn

Intermission

Johannes Brahms       Serenade No. 1 in D, Op. 11 (Arr. by Jorge Rotter)

I. Allegro molto
II. Scherzo. Allegro non troppo – Trio. Poco più moto
III. Adagio non troppo
IV. Minuetto
V. Scherzo. Allegro
VI. Rondo. Allegro

Gabriela Pena-Kim Violin, Jorge Pena Viola, Jin Kim Cello, Paul Strasshofer Bass, Les Roettges Flute, Patrick Graham, Dunia Andreu Clarinet, Anthony Anurca Bassoon, Mary Beth Orr French Horn

PROGRAM NOTES

Richard Strauss (1864-1949) arr. Franz Hasenohrl
Till Eulenspiegel, Einmal anders! (1895 arr. 1954)

Richard Strauss’ ‘Till Eulenspiegel’ is a dynamic tone poem that brings to life the mischievous and comedic exploits of the titular trickster, a popular character in German folk literature. Its whimsical, vibrant scoring and spirited melodies capture perfectly the essence of the character and his penchant for pranks, play and (often serious) mischief. The bright, playful scoring and dynamic interplay of catchy themes that characterize this piece immediately captured audience’s attention, and it has remained one of Strauss’ most frequently performed works for the concert hall.

Franz Hasenohrl’s 1954 arrangement of Till Eulenspiegel, which carries the subtitle ‘Einmal anders!’ (another way!), distills Strauss’ orchestral score to a quintet of violin, bass, clarinet, bassoon and horn. Although the ensemble is greatly reduced, Hasenohrl manages to capture the raw essence of Strauss’ original score – preserving the dynamic interplay and narrative structure of the original.

Ernő Dohnányi (1877 – 1960) Sextet in C major, Op. 37

I. Allegro appassionato
II. Intermezzo: Adagio
III. Allegro con sentiment
IV. Finale: Allegro vivace

Ernő Dohnányi was a Hungarian composer, conductor, and pianist. Composer-in-residence at FSU from 1949 until his death in 1960.

He was a prominent figure in early 20th-century music and a leading representative of Hungarian Romanticism. Dohnányi’s compositions encompassed various genres, including symphonies, concertos, chamber music, and solo piano works. He is best known for his brilliant and virtuosic piano compositions and his innovative approach to orchestration. Dohnányi’s music reflects a unique blend of Romantic and modernist elements, showcasing his exceptional technical skill and expressive depth. The Sextet in C major emerges as a true gem of the chamber music repertoire, embodying the composer’s characteristic fusion of tradition and innovation. Written in 1935, this work showcases Dohnányi’s craftsmanship and ability to harness the expressive potential of a small ensemble, in this case the unusual combination of piano, string trio, clarinet and horn. The Sextet’s melodic inventiveness, rich harmonies, and lush textures guide the listener through a sonic tapestry that is at once nostalgic and forward-looking.

Johannes Brahms (1833 – 1897)
Serenade No. 1 in D, Op. 11

I. Allegro molto
II. Allegro non troppo
III. Adagio non troppo
IV. Menuetto I & II – Coda
V. Scherzo
VI. Rondo – Allegro

Johannes Brahms was a German composer and pianist who was one of the leading figures of the Romantic era. Brahms’s compositions encompassed a wide range of musical genres and styles, including symphonies, concertos, chamber music, and solo piano works. He was known for his meticulous craftsmanship, complex harmonic language, and emotional depth, creating works of great beauty and power.

The Serenade No. 1 in D, Op. 11 stands as a testament to the composer’s prodigious talent and emerging voice in the Romantic era. Written at the tender age of 25, this early orchestral work showcases Brahms’s advanced mastery of orchestration and his ability to balance grandeur and intimacy. The serenade unfolds with a sense of serene beauty, its elegant melodies and rich harmonies intertwining with delicate precision. From the majestic opening theme to the lively, folk-inspired Scherzo, Brahms weaves a compelling musical journey, exploring aspects of light-heartedness and introspection. Brahms makes the most of his relatively small ensemble in this work, and manages to create a true orchestral experience that foreshadow the huge advancements he would make in his 4 Symphonies.