New Bedford Symphony Orchestra

Classical IV “Virtuoso Orchestra”

Saturday, February 11, 2012 8:00pm

Zeiterion Theatre, New Bedford, MA

Free Concert Prelude:  Join Dr. David MacKenzie for an informal talk on the evening’s program at 6:45PM in the theater.

Mexican composer Arturo Márquez gained international attention with his series of Danzones in the early 1990s, based on a dance style from Cuba and Veracruz that could be considered the northern Latin American counterpart of tango–nostalgic melodies, driving rhythm and a smoldering sensuality. Danzón No. 2, the most frequently  performed from the set, begins, as is traditional, with an elegant main theme, stated in a restrained manner by the clarinet, but the underlying sensuality of the style builds throughout the work until erupting into passionate rhythmic urgency at the end.

The idea for Felix Mendelssohn’s Symphony No. 3 “Scottish” (which actually is the fifth symphony he composed) was born during a Scottish vacation in 1829, but its  completion would be delayed until 1842. Evoking recollections of the land—misty, distinctly Northern and earthy, hushed pianissimos give way to soaring pentatonic melodies and lusty warlike passages, only to return to the mists  again. Colleague Robert Schumann commented “…how rich and interesting he can render his details without overloading them or making a display of pedantic learning.”

German composer Paul Hindemith’s Symphony: Mathis der Maler (Matthias the Painter) is his most important work. Based on paintings by Matthias Grünewald, Hindemith’s music soars to the highest levels of artistic craft and sublime expressiveness. Opening with an “Angelic Concert,” drawn from Grünewald’s serene, joyful, and vibrantly colored panel of Mary and the infant Jesus being serenaded by an angelic orchestra, the symphony transforms joy to mourning in the slow movement, “The Entombment,” inspired by Grünewald’s somber panel of Christ being laid in the tomb; then passes, in the last movement, “The Temptation of St. Anthony,” to a depiction of Grünewald’s vision of the saint’s tribulation. The conclusion of the movement delivers us from this vision with triumphant use of the Gregorian chant “Lauda Sion Salvatorem” (“Zion, Praise the Savior”) and a final blazing brass “Alleluia” chorale that declares the saint’s (and our) victory.

Funded in part by the Barbara and Hershel Alpert Music Fund

Sponsored by Gotta Have It! Inc.