Overture from Poet and Peasant
Franz von Suppé (1819-1895)
Premiere: August 24, 1846, Theater an der Wien, Vienna
A master of light opera, Franz von Suppé is often considered the Viennese counterpart to composers such as Jacques Offenbach and Gilbert and Sullivan. Born to parents of Austrian descent in what is now Croatia (at the time part of the Austrian Empire), von Suppé studied law but had demonstrated an early talent and interest in music. He later moved to Vienna where he studied music with Simon Sechter and Ignaz von Seyfried. (Notably, another one of Simon Sechter’s pupils was Anton Bruckner, featured later in today’s program.) Von Suppé established himself as a successful composer and conductor in Vienna. He wrote nearly 50 operettas and was skilled at blending catchy melodies with theatrical flair.
While his operettas are not as well-known today, their overtures—brimming with drama, lyricism, and exuberance—have secured a lasting place in the concert repertoire. Among these, Poet and Peasant (Dichter und Bauer), composed in 1846 as the introduction to his operetta of the same name, is one of his most frequently performed works. The overture has also appeared in popular culture, including many times over in classic Looney Toons cartoons and as the “Spinach Overture” in the cartoon Popeye the Sailor – only after a can of spinach, though, to give Popeye the strength to conduct this vibrant piece!
Unlike the often more serious nature of operas, operettas tend to be lighthearted, playful, and comical. Poet and Peasant tells the story of a broken-hearted poet as he vacations in the countryside – a city person among country folk. The overture mirrors the operetta’s central theme: the contrast between lofty artistic ideals and the lively rhythms of everyday life. The opening from the brass leads into a noble and expressive cello solo with harp accompaniment. This reflective introduction soon gives way to an enthusiastic, march-like theme and dance, bursting with vitality, that then leads into a waltz. The overture shifts between these expressive and animated passages, eventually building toward its spirited finale.
– Jennifer Reid
Concerto for Flute and Orchestra
Jacques Ibert (1890-1962)
Jacques Ibert was an early 20th century French composer who resisted musical labels, and is sometimes referred to as an eclectic. He took elements from earlier classical music traditions and combined them with modern styles in his quest for musical freedom of expression: “I want to be free — independent of the prejudices which arbitrarily divide the defenders of a certain tradition, and the partisans of a certain avant garde.” He only agreed to write music that he enjoyed listening to himself, and was known for his compositions for orchestra, opera, ballet and chamber music, as well as incidental music for plays and movies.
Ibert’s flute concerto was written for and premiered in 1934 by the great French flutist and most famous flute teacher of the Paris Conservatory, Marcel Moyse. While the orchestra is a reduced size, the harmonies and textures are intricate, with considerable technical demands on the solo flutist. The three short movements allow for a wide range of expression, and are also very fun to play. Listen for the many moments when the flute is in a conversation or a duet with other solo instruments or sections of the orchestra.
The opening movement is a lively and elegant neo-classical romp, highlighting the virtuosity enabled by the modern flute. The middle movement is a remarkable contrast — a journey from quiet reverie, through intense lyrical outpouring, returning to serenity. The last movement is clearly influenced by jazz, with syncopated rhythms and playful musical language. A calmer middle section allows the flute to float above the steady pulse of the orchestra, before all return to the fun and games and reworks!
– Marisa D’Silva
Symphony No. 4 in E-flat Major – Romantic
Anton Bruckner (1824-1896)
Premiere: 1881, Vienna Philharmonic, Hans Richter conducting
“Bruckner’s symphonic forms are infused with devout piety, Austrian heritage, and love of landscape. The modes of musical expression are unique, the broad arching sequential gestures, the powerful repetitions, the orchestra as a sum of various choirs, string, wind and brass. It is far-reaching chamber music, though the chamber is now a cathedral.” -Bryan Gilliam, Ph.D., Professor Emeritus of Music, Duke University
Anton Bruckner’s Symphony No. 4 in E-flat major—subtitled “Romantic”—stands as one of his most frequently performed and widely admired works. First completed in 1874, the symphony would become the subject of extensive revisions over the following years. Bruckner reworked it substantially in 1878, replacing the original final two movements, and revised the finale again in 1880. The version most often heard today is the 1888 revision, prepared with input from Bruckner’s students and published in 1890, reflecting the composer’s final intentions, though questions about editorial influence continue to surround the work.
I. Bewegt, nicht zu schnell (Lively, not too fast)
The symphony opens with a nebulous tremolo in the strings, revealing the soft light of dawn. The solo horn emerges with a noble, hunting-style theme. Bruckner described the opening as follows: “…medieval city – dawn – from the castle towers sound the early morning calls – the gates open – the knights ride forth on their proud mounts – the magic of the forest receives them, with forest sounds and bird calls…” This opening passage, one of Bruckner’s most famous, sets a pastoral yet heroic tone. The music gradually builds and crescendos to a powerful statement from the brass: the knights riding out of the city gates. After a breath, a lyrical theme appears in the strings depicting the magic of nature. This second theme is labeled by Bruckner as the “Gesangs-Periode” (lyrical or song phase) and changes the mood from one of monumentality to more subdued lyricism, or “forest murmurs.” The first movement goes between these two contrasting themes —one lyrical and flowing, the other more forceful—before leading to a powerful climax. Bruckner’s characteristic use of space, silence, and monumental orchestral swells is evident in this movement.
II. Andante, quasi allegretto
The second movement is a solemn, reflective piece, often interpreted as a funeral march or a nostalgic love song. Bruckner’s own remarks, however, suggest that this movement is a “song, prayer, serenade,” and that “in the second movement an infatuated youth wants to climb through his sweetheart’s window, but isn’t allowed in.” There is a sense of searching and longing, loneliness even, in this movement.
III. Scherzo: Bewegt – Trio: Nicht zu schnell (Lively – Trio: Not too fast)
Bruckner’s third movements are often dynamic, and this scherzo is no exception. It returns to the imagery of hunting horns, galloping rhythms, and rustic celebration. The energetic main theme, played by the horns, evokes a lively hunting scene, while the trio section introduces a more graceful, dance-like contrast.
IV. Finale: Bewegt, doch nicht zu schnell
The finale is a vast, dramatic summation of the symphony’s themes and emotions. It opens mysteriously before building into a triumphant and heroic conclusion. Bruckner’s use of bold orchestration, counterpoint, and shifting harmonic landscapes creates a sense of epic grandeur, leading to a powerful and resolute ending.
– Jennifer Reid