March 21, 2009 Program Notes

To welcome in the springtime, the Battle Creek Symphony will present an orchestra suite by Bach to celebrate his March 21 birthday, then a masterpiece symphony by the ever young, ever vibrant Mozart, followed by the perennial American favorite, "Appalachian Spring" of Aaron Copland.

Bach's Orchestra Suite Number 1 in C, composed in about 1720, is the first of four such works, each consisting of an overture followed by a series of dance movements. This overture seems particularly French in its elegance, but the dances feel more Italian, resembling various works by Vivaldi and Scarlatti. The dances have a light airy quality, especially when compared with the Brandenberg Concertos which Bach composed at approximately the same time.

Mozart composed his 29th Symphony in A in 1774, when he was just 18 years old. According to British Mozart scholar, Stanley Sadie, this symphony is "a landmark," written in "an intimate, chamber music style with a still fiery and impulsive manner." Listen particularly for the octave drop and the horn passages in the Allegro moderato, or first movement. The Andante second movement has a soft chamber music quality, partly because the strings remain muted throughout. In contrast, the Minuetto third movement is more vigorous and punctuated by staccato notes. And the finale, Allegro con spirito, is even livelier, with frequently echoed passages between the French horns and strings. Notice that the "octave drop" motif is repeated here from the first movement.

Appalachian Spring was originally a ballet score by Aaron Copland composed in 1943-44 at the request of the famous dancer Martha Graham. Though Copland later expanded the work for full orchestra, tonight you will hear the original thirteen-member "pit orchestra"
version as Copland first composed it.

A visual work, "Appalachian Spring" celebrates American farmers of the 19th century. Among the characters Copland brings alive through music are a newlywed couple, their neighbor, a preacher, and some of his followers.

Beginning with a slow introduction to present his characters, Copland soon introduces conflict and action through a vigorous string passage. The next section is tender, portraying the new bride and her husband. Soon the preacher and his followers jump into the drama with more of a folk music feeling. The bride does a fast solo dance, which is followed by a transition to a scene presenting the everyday farm work of the newly married couple, including variations on the beloved Shaker tune, "The Gift to be Simple." Finally, we leave the new husband and wife in their newly established home, in a mood of love but also of calm acceptance of their everyday life on the farm, their place in nature and the universe.

Copland originally called the work simply "Ballet for Martha," but then Graham herself suggested "Appalachian Spring," which immediately "worked." We feel sure that Copland's title will "work" tonight, to celebrate the wonder of youth and the coming of springtime, as heard through the genius of Bach, Mozart and Copland.