Divertimento No

Dobson High School

Department of Performing Arts

Presents

An Instrumental Evening

Chamber Orchestra

Divertimento No. 1 (1772) by W A Mozart

I. Allegra, II. Adante, III. Presto

Mozart's Divertimenti in D Major is the first of a group of works collectively known as the "Salzburg" symphonies. These works stands apart from Mozart's remaining symphonies, in that they are set for strings atone, rather than for the otherwise customary mixed instrumentation including winds. A further point which separates these compositions from Mozart's others in the symphonic genre, is that they are comprised of just three, rather than four individual movements, each lacking the usual Minuet. Mozart's Divertimento seems indeed to closely mirror the style of the Italian concertos for strings, which he must certainly have encountered during his several visits to Italy. The work consists of a lively opening Allegro, in simple sonata form; a charming central Andante; and a brilliant concluding Presto.

Adagio for Strings (1836) by Samuel Barber

This piece readily flows between all sections of the string orchestra. The initial theme, for example, begins with the first violins, but is brought to a close by the viola section, who then begin a variation of the theme before the cellos once again return to the primary melody.

Time Piece (2000) by Sloven Amundsen

Time Piece is a tune written to demonstrate the importance of rhythm and meter in a composition. Amundson makes an effort to change single, specific components of the music in order to generate new themes throughout the piece. This style is a useful tool, which keeps players focused on the conductor in order to maintain a consistent beat throughout the orchestra.

Symphony Orchestra

Overture to Nabucco (1842) by Busenpu Verdi

A fanciful retelling of the famous story of Jewish exile in Babylon under King Nebuchadnezzar, the opera, Nabucco, spoke to those in favor of the Risorgimento. The popular chorus "Va pensiero" attained literal overnight fame, being sung on the streets the day after the opera's premiere. Verdi's overture opens with a stirring chorale (representing the Hebrews) heard in the low brass. Before long the mood becomes dramatic and intense. Throughout, there are snippets of themes from within the opera combined and adapted to set the tone for the drama to come.

Marche Slav (1876) by Peter Illyich Tchaikovsky

The march is highly programmatic in its form and organisation. The first section describes the oppression of the Serbians by the Turkish. It uses two Serbian folk songs. The first "Come my dearest, why so sad this morning?" is played at the outset, as Tchaikovsky directs, "at the speed of a funeral march". The second folk song is more optimistic in character. An episode follows, describing the atrocities in the Balkans, in which Tchaikovsky uses his mastery of the orchestra to build a tremendous climax, at the height of which the first folk song returns, fortissimo on the trumpets like a plangent cry for help. The tempestuous mood subsides giving way to the second section in the relative major key, which describes the Russians rallying to help the Serbs. This is based on a simple melody with the character of a rustic dance which is passed around the orchestra until finally it gives way to a solemn statement of the Russian national anthem "God Save the Tsar". The third section of the piece is a repeat of Tchaikovsky's furious orchestral climax, reiterating the Serbian cry for help. The final section describes the Russian volunteers marching to assist the Serbians. It uses a Russian tune, this time in the tonic major key and includes another blazing rendition of "God Save the Tsar" prophesying the triumph of the Slavonic people over tyranny. The overture finishes with a virtuoso coda for the full orchestra.