A new day is dawning – FVSO
Sunday October 17, 2021, 3:00 p.m.
Hoffman Auditorium, Athénée Bruyette,
1678 Asylum Avenue, West Hartford, Connecticut
Advance: $ 15-18
At the door: $ 20
TAKEMITSU: Signaux du ciel, two antiphonic fanfares: I. Signal du jour
COLERIDGE-TAYLOR: Ballad, op. 33
DVORAK: Symphony No.9 in E minor, Op. 95
Adagio – Allegro molto
Scherzo: Perennial Molto
Final: Allegro con fuoco
Tōru Takemitsu (1930 – 1996) Japanese
Signaux du ciel, two antiphonic fanfares: I. Day Signal (1987)
Commissioned by Koinuma Music Co., Ltd. on the occasion of the 10th anniversary of the Select Live Under the Sky Jazz Festival.
First performance: Les Chevaliers Brass Ensemble conducted by Chikara Imamura at Select Live Under the Sky ’87 in Tokyo on July 25, 1987.
This ethereal work by Takemitsu features two small brass ensembles separated from each other to give an antiphonic effect. Much of Takemtisu’s music has been influenced by the sounds, sights, and nature of his native Japan, which is especially evident in this antiphonic fanfare. Although there is a perceived coldness in Day signal, it can also be interpreted as an awakening, rebirth and renewal after the dark of night.
Samuel Coleridge-Taylor (1875–1912) African-British
Ballad, op. 33 (1898)
First performance: September 12, 1898, Shire Hall, Gloucester, UK,
Three Choirs Festival Orchestra, Samuel Coleridge-Taylor, conductor
British composer Samuel Coleridge-Taylor was born in London to an English mother and a Sierra Leonean father. It was unbelievably unheard of in 19th century England for a child to be born into a multiracial family. and single parents, but by all accounts Coleridge-Taylor was supported by the music community from a young age and his talent encouraged by some of the most prominent musicians of the time. Indeed, it was composer Edward Elgar and publisher and critic August Jaeger who defended the young composer by ensuring that his works made it to the concert stage and appeared in the publication (Jaeger being the head of edition at Novello Music).
Antonin Dvorak (1841 – 1904) Czech
Symphony No.9 in E minor, Op. 95 “From the New World” (1893)
First performance: December 16, 1893, Carnegie Hall, New York City,
New York Philharmonic (commission), Anton Seidl, conductor
No other work by Dvorak best expresses the composer’s ingenuity, sensitivity and symphonic grandeur than the 9th. The play was a resounding triumph during its premiere and received critical acclaim. When asked what “tunes” and melodies had he interpolated, Dvorak said “(I) tried to write in the spirit of popular American melodies”. Christian Rudolf Ridel would write later: “The symphony thus reveals its true nature as a masterpiece by a Czech composer who was inspired by America. Moreover, reflecting the style and spirit of Schubert, Brahms and Wagner, it is an important step in the development of independent Czech national music and an important contribution to the genre of the late Romantic Symphony.