Abilene Philharmonic Playbill: October 26, 1976 Page: 4
8 p. : ill. ; 26 cm.View a full description of this pamphlet.
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THE ABILENE PHILHARMONIC ASSOCIATION
Twenty-Seventh Season First Subscription Concert Tuesday, October 26, 1976
WALTER OLIVARES, Violinist
P R O G R A M
OVERTURE to Der Schauspieldirektor (The Impressario)
-----.-...__ _Wolfgang Amadeus Mozart (1756-1791)
In 1786 Austrian Emperor Joseph II held a reception for officials of the Netherlands at
Schoenbrunn. For the occasion the Emperor had commissioned a one-act farce from
Mozart and another light dramatic work from Mozart's rival, Salieri. Mozart produced his
Impresario to a text by Gottlieb Stephanie. It was primarily the singspiel type - a lot of
inane dialogue interspersed with some incidental music. Of this music the overture, two
arias and two trios were masterfully done. The story deals with the trials of an opera pro-
ducer with prima donnas. Since the occasion involved both the German and Italian
troupes of the Emperors theater, Mozart injected some witty jabs at his Italian rival and
prefaced the work with an Italian style overture, as though mocking Salieri, who was the
Emperor's favorite.
CONCERTO for Violin and Orchestra in D major, Op. 77
-- -------------------------- Johannes Brahms (1833-1897)
1. Allegro ma non troppo
II. Adagio
Ill. Allegro giocoso, ma non troppo vivace
The great Violin Concerto of Brahms is inextracably linked with his good friend, the
great Hungarian violinist, Joseph Joachim. Viennese critic Eduard Hanslick referred to
the concerto as "the ripe fruit of the friendship between Joachim and Brahms." The com-
poser was accustomed to visiting the resort, Poertschach-am-See, near the Italian border,
during the summer months. It was here that Brahms began the composition of his B Flat
Piano Concerto and the D Major Violin Concerto, probably in the summer of 1878. Joachim
was consulted constantly, and the violinist made numerous changes, marked the bowing
and fingering, and then furnished a cadenza. Even after the publication Joachim made
some changes. The two presented the concerto at a Gewandhaus concert in Leipzig on
New Year's Day of 1879, Joachim as soloist and Brahms conducting. Kalbeck, the bio-
grapher of Brahms, reported that it was received without great enthusiasm as "it seemed
that Joachim had not sufficiently studied the concerto (!) - and Brahms conducted with
visible excitement." The latter was possible occasioned by the composer's late arrival at
the concert, where he appeared on the podium in his gray street trousers, and not only
that, the portly composer had forgotten to fasten his suspenders and his shirt showed. On
the following May Brahms and Joachim again presented the concerto at a memorial concert
to their friend, Robert Schumann, in Bonn.
It has been suggested that folk material plays some importance in the thematic material
of the second movement and the Hungarian-like rhythms of the last movement. Brahms
adheres to the traditional classic three movement design, although the content places it as
one of the more important statements of romanticism. As with his predecessors, Beethoven
and Mendelssohn, Brahms chose to produce only one violin concerto, although the single
examples from each composer remain some of the most important in the literature.
The Brahms Violin Concerto was first performed in the United States at a concert of
the Boston Symphony in 1889, with Franz Kneisel as soloist and Arthur Nikisch conducting.IN T E R M I S S IO N
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Abilene Philharmonic. Abilene Philharmonic Playbill: October 26, 1976, pamphlet, October 1976; Abilene, Texas. (https://texashistory.unt.edu/ark:/67531/metapth623050/m1/4/?q=Lamar+University: accessed June 9, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Abilene Philharmonic.