Alexander Shelley

Sebastian Knauer

Italy occupied a unique place in the psyches of many 19th century composers, artists and writers. The physical beauty of its architecture and countryside, as well as Italy’s own ancient and rich traditions of art, music and thought inspired many. Strauss embarked on his own journey in early 1886 and was overwhelmed by what he saw. As he travelled, he jotted down musical ideas for what became Aus Italien, including assigning specific keys to correspond with particular places he visited – the warm, lemon-scented Amalfi coast, the Renaissance Villa d’Este at Tivoli, the colourful bustle of Naples and the ancient ruins of Rome.

Travel became a tonic for Elgar and Italy was his preferred refuge after 1903, visiting at least five times over the next decade. It was in the coastal city of Alassio that he found inspiration for In The South. Although called an overture, it is more of a tone poem in its design and impact. Comparisons to Strauss are obvious in this regard, not only for the similarity of the source, but also for the athletic, boisterous opening bars that bringDon Juan to mind. Elgar said the music came to him “in a flash” while walking by an ancient Roman road and that all that remained was to “simply write it down.” Like Strauss, Elgar’s tonal imagery is notable for its easy shifting of mood and colourful orchestration. The delicacy and lightness so typical of Mendelssohn pervades his Second Piano Concerto. A quiet, almost menacing, dialogue between the soloist and orchestra soon gives way to a lively, almost rhapsodic lyricism.

Programme:

Elgar In the South
Mendelssohn Piano Concerto No.2
R Strauss Aus Italien Symphonic Fantasy

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