January 30-31, 2010 Concert

Lithuanian-born violinist Edita Orlinyte has performed throughout most European countries and Japan. Since coming to the U.S. in 1996, she has played regularly with the Greenwich Symphony and has continued her solo career with recitals in New York, Chicago and Boston. In 2008, she made her Carnegie Hall debut. In addition to chamber music and solo works, Ms. Orlinyte's repertoire includes over 20 violin concertos.

''Orlinyte's interpretation brought both passion and
intelligence to the table.''
– New York Concert Review

Program Notes

Symphony No. 8 in B minor, ''Unfinished''
Franz Schubert (1797-1828)

Franz Schubert’s Symphony No. 8 has attained an esteemed position in the repertoire, and yet it is unfinished, with only two movements. Why it was never completed with the standard four movements is one of the unsolved mysteries in the classical music world. There have been, of course, various explanations. The highly regarded music critic and analyst Sir Donald Tovey (1875-1940) wrote that ''the remainder (referring to two final movements) did not drive Schubert to the labor of writing it down.'' Schubert scholar Martin Chusid suggests that Schubert left many works unfinished during the period (circa 1822) that he composed this symphony. Teacher and critic Michael Steinberg wrote, ''The most convincing explanation is that he was at a loss how to go on.'' Considering that the critical Tovey referred to the two completed movements as ''the most perfect of Schubert’s large instrumental works,'' Steinberg’s argument deserves consideration.

The first movement is a masterful example of the use of contrasting themes. Schubert was a supreme composer of melody, as evidenced by his large number of beloved art songs and chamber pieces. His melodies are unmatched in their dramatic effectiveness. As a symphonist, however, and particularly in this symphony, his melodies are not only memorable and affecting but they are also constructed in such a way as to provide smaller elements derived from them, and these elements are used throughout the first movement. This provides a foundation of unity and flow, and at the same time, the ear is refreshed by the variety and contrasting treatments of the melodic elements.

In particular, the themes in the first movement offer a contrast between pathos and beauty, and this provides the dramatic basis for the entire movement. The pathos is heard in the slow opening lower string passage, quickly followed by a keening melody in clarinet and oboe. This first theme is cast in B minor, which lends the music its dark, somber character. Soon, however, after an emphatic finish and a long note in horns, Schubert introduces the second theme with a harmonic change to the brightness of G major, and a melody, so well known, of great beauty, played by cellos. This is the contrast between pathos and beauty, and these subjects are heard in various treatments throughout the development and recapitulation. The opening statement is played once again in a coda, which ends with strong, accented chords.

The second movement, Andante con moto, offers respite from the more frequent emotional climaxes occurring in the first. Tranquil, quiet passages of exquisite beauty come forth in two themes, the first of which is played by high strings after a gentle two measure introduction with descending plucked lower strings. The transition to the second theme is an ethereal, otherworldly sound that leads to solo clarinet, then oboe, singing a melody of plaintive beauty over an accompaniment of quiet syncopation. All is not quiet, however, as stormy passages interrupt the serenity, but the earlier mood returns with both melodies played in the gentleness of the quiet conclusion.

Violin Concerto No. 5 in A minor, ''Grétry,'' Op. 37
Henry Vieuxtemps (1820-1881)

Born in Belgium, violinist Henry Vieuxtemps was a child prodigy who became one of the great 19th-century virtuosos, a group fostered by the phenomenal master of the violin, Niccolò Paganini (1782-1840). Virtuoso concertos of this era, for both violin and piano, were inspired by Paganini’s incredible technique and musicianship. Succeeding him, Vieuxtemps, along with Viotti, Spohr, Wieniawski, Bruch, Joachim, Sarasate and Lalo, composed and performed significant 19th-century violin concertos that have remained in the repertoire. Vieuxtemps’s seven concertos are particularly valued for adding new dimensions of dignity, richness and musicality to the technical display heard in these pieces.

The Concerto No. 5 has three movements that are musically joined into one extended piece. The first movement begins with an orchestral exposition of melodies, followed by the soloist’s entrance with a lovely ascending passage, leading to more themes characterized by lyricism and virtuosity. The development explores many of the melodies and more technical display, and an inventive cadenza follows. The second movement Adagio presents beautiful, eloquent, flowing themes, one of which Vieuxtemps borrowed from an opera by A.E.M. Grétry (1741-1813), thus giving the concerto its name. A brief third movement, Allegro con fuoco, concludes the concerto with spirit and virtuosic flair.

Symphony No. 8 in G Major, Op. 88
Antonín Dvořák (1841-1904)

The warm, lyrical and nationalistic quality of Dvořák’s Symphony No. 8 is striking, and for good reason. Dvořák was an optimist, and success with his career had reached a high level. The symphony was composed in three months in the fall of 1889, a time when his music was in demand in Europe, Britain and the United States, and he was enjoying a nice income. In particular during that beautiful fall season, he was happy, living in his country cottage in Vosaká, surrounded by his six children, and walking in his beloved Bohemian countryside, away from the stress of the city. It was a setting that inspired his rich melodic creativity and greatly influenced the character of this symphony. The first performance took place in February, 1890, in Prague, with the composer conducting the Prague National Theater Orchestra.

Much of the style of Dvořák’s music can be explained by his upbringing in Bohemia and his exposure to the music that played such an important role in the lives of the people. He was captivated by the essence of the folk melodies, rhythms and harmonies he played and heard, and the result was that his own music was imbued with those qualities. It is important to note, however, that Dvořák did not use direct quotes from folk music, but rather captured the spirit and the flavor of it with his own creative writing. But capture it he surely did, and this accounts for the appeal so much of his music has throughout the world.

It is known that at this time Dvořák was not content with following usual sonata form rules; with this symphony, he used different devices. He begins his G major symphony with a well formed melody, not in G major, but in the parallel G minor. (parallels share the same letter name; relative major and minor keys share the same key signature). After a full treatment of this opening music, he ends it with a sunny G major chord, and we are now in the home key with flutes playing a bucolic, birdlike first main theme, followed by violas and cellos. A second group of themes recalling the composer’s Slavonic Dances follows with more harmonic excursions, and the exposition comes to a close. Once again we hear the G minor opening music, anticipating that the exposition is to be repeated. Not so, however, for what follows instead is the development, another surprise, and it builds to a grand climax with a brilliant brass statement. English horn then plays the bucolic first theme to end this section. The recapitulation offers much variety, and the movement ends with power and still another G minor suggestion.

With the second movement Adagio, Dvořák composed an extraordinary set of variations on the radiant, warm and quite beautiful opening melody. The melody offers rich opportunity for various contrasting treatments, some with great strength. The final variation, with a coda, brings the movement to a quiet close.

A charming, lilting waltz opens the third movement, Allegretto grazioso, in a departure from the usual vigorous third movement scherzo. The three-part form has a middle section that employs a melody of delightful charm with its peasant-like, simple loveliness.

The spirited final movement, Allegro ma non troppo, begins with a bright trumpet fanfare, which is followed by the main theme, a folk-like dance warmly played by cellos. This is another theme with a set of variations, all of which offer delightful contrasts in tempo and brilliant, colorful orchestration. After a final return of the original gentle melody in cellos, the movement ends in a blaze of full orchestral power.

– Richard Wolter