Concert II Program Notes

by Robert Hurwitz

Pietro Locatelli was one of the leading Italian violinists and composers of his time. He was often called the "Paganini of the eighteenth century" because of the technical demands posed by his 12 concertos and his 24 caprices for violin. Although he was known primarily as a performer, his abilities as a composer were considerable.

Locatelli's musical style conformed in part to that of the composers of the Roman school, including Corelli, but he incorporated many progressive elements into his music as well, including influences from Vivaldi.

The Opus 1 concerti grossi, following the model of Corelli's Opus 6, are divided into eight da chiesa (slow-fast-slow-fast) and four da camera (fast-slow-fast) concertos. They are distinguished by the vitality of their counterpoint, going beyond the Corelli model in the inclusion of fugatos, fugues and double fugues. Their density of texture is further intensified by the use of a viola in the concertino group, an innovation employed for the first time in Locatelli's concerti.

In all of Vivaldi's huge output of concertos for solo instruments and for various combinations of instruments, the disposition of three solo violins with orchestra is rare. In fact, only one concerto exists written specifically for three violins, strings and continuo, the present F major concerto. (Another includes three solo violins along with various other soloists.)

The reason for the paucity of works for this instrumental combination is difficult to ascertain. When one experiences the F major concerto's lightness and naturalness, it is impossible to consider that Vivaldi might have had difficulty in writing for this particular combination of instruments, and therefore had limited his production to a single specimen. The concerto is in most respects typical of Vivaldi's work; its three-movement structure follows the pattern of fast-slow-fast found in hundreds of his other works in the genre; the musical material is parceled out to the soloists at times in turns, at other times simultaneously; there is the expected alternation of tutti and solo passages. Indeed, one of the only unusual features of the concerto is the simple fact that it is for three violins.

The two outer movements, both Allegros, provide intricate and demanding music for the soloists. The First and Second violins often play similar material in parallel motion, while the Third Violin is given motives and figures which contrast with that of the other soloists, both melodically and rhythmically.

In the slow movement, marked Andante, Vivaldi presents a very special texture: The First Violin, which is muted, plays rapid, circular arpeggios while the Second Violin plays slower arpeggios pizzicato. The limelight is taken by the Third Violin, which plays a soulful melody to the simple accompaniment of the string orchestra.

The Opus 3 concerti grossi of George Frederick Handel are frequently called the "oboe concerti" to distinguish them from the Opus 6 collection, which, after the fashion of Corelli, employs only strings. The term is somewhat misleading, however, since, as the eighteenth-century historian Charles Burney remarked: "The set, though called Hautbois Concertos, has very few solo parts for that instrument; most of the divisions [rapid notes] and difficult passages being assigned to the principal Violin."

The concerto Op. 3, No. 3, however, is indeed an "Hautbois" concerto, featuring prominent solo roles for both the oboe and violin. After a stately introduction, a vigorous allegro incorporates virtuosic passages for both solo instruments. The brief second movement features the solo oboe, with simple accompaniment in the strings. The final movement begins with a fugato, and maintains a thoroughly contrapuntal texture throughout. The solo violin joins the rest of the strings, and the solo oboe, while still playing an independent part, is nevertheless treated as a member of the orchestra rather than a soloist.

Ich habe genug was written in Leipzig for the Feast of the Purification on February 2, 1727. The Purification commemorates the following incident, recorded in the Gospel of Luke.

Mary and Joseph took the baby Jesus to the Temple in Jerusalem forty days after his birth to complete Mary's ritual purification after childbirth, and to perform the redemption of the firstborn, in obedience to the Law of Moses (Leviticus 12, Exodus 13:12-15, etc.). This ceremony is still practiced by Orthodox and Conservative Jews and is called a Pidyon HaBen.

Upon bringing Jesus into the temple, they came upon the Elderly Simeon. Luke records that Simeon had been promised "he should not experience death before he had seen the Lord's Christ" (Luke 2:26). Following this meeting, Simeon prayed the prayer that would become known as the Nunc Dimittis, or Canticle of Simeon, which prophesied the redemption of the world by Jesus:

Lord, you now have set your servant free to go in peace as you have promised; for my eyes have seen the Savior whom you have prepared for all the world to see, a light to enlighten the nations, and the glory of your people Israel.

The piece is written in five movements for oboe, strings, basso continuo and bass soloist.

The opening movement features an extended and glorious solo melody for the oboe. After a recitative comes a second special aria, a lullaby for the world-weary, full of comfort and reassurance. Following a second recitative is the final movement, a song of praise for the release that death affords. Here is an English translation:

1. Aria
I have enough.
I have my Savior, the hope of the faithful enfolded in my longing embrace;
I have enough! On him have I gazed, My faith now hath Jesus impressed upon my heart; I would now, even today, with gladness take my departure.

2. Recitative
I have enough.
My hope is this alone, that Jesus might belong to me and I to him.
In faith I hold to him, for I, too, see with Simeon the gladness of that life beyond.
Let us join in his burden!
Ah! Would that from the bondage of my body the Lord might free me.
Ah! Would that my departure, were here.
With joy I would say to you, O world:
I have enough.

3. Aria
Slumber now, these weary eyes; fall in soft and calm repose! World, I dwell no longer here, since I have no share in you that could offer comfort to my soul. Here I must deal with sorrow, but there I shall witness sweet repose and quiet rest.

4. Recitative
My God! When comes that blessed "Now!" when I shall forever walk in peace in the cool sand and rest within your bosom?
My parting is achieved,
O world, good night!

5. Aria (B)
Rejoicing do I greet my death.
Ah, would that it had come already. I will then escape all the woe that confines me here in the world.