The Knights (6/25/24)

Eric Jacobsen, Conductor

Wolfgang Amadeus Mozart (1756-1791), Le Nozze de Figaro, K.492 (1786)
Overture – in D major, (Presto)

Louise Farrenc* (1804-1875), Symphony No. 3 in G minor, Op. 36 (1847)
Adagio-Allegro, Adagio cantabile, Scherzo. Vivace, Finale. Allegro 

Ludwig van Beethoven (1770-1827), 'Pastoral' Symphony No. 6 in F major, Op.68 (1808)
Allegro ma non troppo, Andante molto mosso, Allegro, Allegro, Allegretto

Full disclosure. As some of you may know/remember, I am not a huge Mozart fan. That said, this well-known chestnut of an overture was just the right touch to begin an open-air concert on a summer evening in New York.

This was my first live exposure to hearing the music of Louise Farrenc. The first movement had solo woodwinds to open – adding strings – then tutti (all of the instruments together). It was fairly jaunty with a bit of drama, and a fiery ending. The second movement was calm and gentle, and indeed song-like, but with its own touches of drama, before leading to a calm and quiet ending. The third movement had intrigue from the get-go. Definitely a journey—but from where to where? Almost, but not quite, perpetual motion; always forward and never static. That sense of intrigue lasted all the way through the movement. The Finale was a little darker (hello, G minor) but still with some lightness and brightness added to the mix. It definitely ended strongly.

Oh my, Beethoven's 'Pastoral' Symphony on a lovely summer evening in Central Park. The first  movement had a gentle opening, but with depth. Some forward movement followed, pleasant and easy to listen to. [Fireflies! firelies! Sorry, I got distracted a little.] The second movement was calm and charming, with a bit of grandeur. The third movement was bright, melodic, and a lot of fun, but then sort of blended in to the fourth and fifth movements, which was not really a bad thing at all. It was nice to just sit there and listen.

*Fun Farrenc facts (shamelessly stolen from Wikipedia). At the age of fifteen, she studied composition ... at the Conservatoire de Paris. However, she was taught through private lessons as women were forbidden to enroll in the traditional composition classes at that time. ... in 1842 she was appointed to the permanent position of Professor of Piano at the Paris Conservatory ... In fact, Farrenc was the only woman to hold the esteemed position and rank at the Paris Conservatory throughout the 19th century. ... Farrenc was paid less than her male counterparts for nearly a decade. ... Only after the triumphant premiere of her nonet ... did she demand and receive equal pay. [CM: You go girl!]

ConcertMeister