Semester 2 Recital Program

Felix Mendelssohn (1809 – 1847) was considered by many of his time to be a prodigy comparable only to the young Wolfgang Amadeus Mozart. Besides being a brilliant piano virtuoso, his composition took a firm step forward in musical development. 

In the period when this concerto was composed (from 1821 to 1823 while aged 12 to 14) Mendelssohn composed twelve string symphonies. At the age of eleven, he had written a trio for strings, a violin and piano sonata, two piano sonatas and the beginning of a third, three more for four hands, four for organ, three songs (lieder), and a cantata.

Mendelssohn wrote this violin concerto for Eduard Rietz (eldest brother of Julius Rietz), a beloved friend and teacher who later served as concertmaster for Mendelssohn's legendary performance of Johann Sebastian Bach's St Matthew Passion, which has been thought to have resurrected Bach in the public image.

When Mendelssohn died, his widow gave the manuscript of the long forgotten concerto to Ferdinand David, another close friend of Mendelssohn's and a leading violinist of the period, who in fact had premiered his Violin Concerto in E minor.

Edvard Hagerup Grieg, 15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use of Norwegian folk music in his own compositions brought the music of Norway to fame, as well as helping to develop a national identity.

The Holberg Suite was originally composed for the piano, but a year later was adapted by Grieg himself for string orchestra. The suite consists of an introduction and a set of dances. It is an early essay in neoclassicism, an attempt to echo as much as was known in Grieg's time of the music of Holberg's era.

 The Four Seasons is the best known of Vivaldi's works. The inspiration for the concertos are the countryside around Mantua  where Vivaldi was living at the time, which could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718.

They were a revolution in musical conception: Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterised), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.

Unusually for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music —in other words, music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections.