Romanticism is the theme for this second concert in the JSO’s season celebrating The Expressive and Colorful World of Music.

Even though the term Romanticism is most closely associated with the music of the nineteenth century, the age of familiar masters like Liszt, Berlioz, Wagner and Brahms, it is certainly possible to find music in every era that expresses passionate emotions. Musical styles and techniques evolved over time, but the power of music to touch the human heart never changes.

It is difficult to imagine any music more balanced and beautifully designed than that of Mozart. Critics in every age have been awed by the intricacy and genius in his polished, elegant phrases, yet few composers of any era have written music that resonates as perfectly with the human spirit.

Mozart’s operatic Marriage of Figaro, written in 1785, is an adaptation of a popular satirical play written in 1778 by Pierre Augustin Caron de Beaumarchais (1732-1799). The play was a bitingly humorous treatment of the serous friction between the classes as the French Revolution approached. Napoleon later recognized the play’s success as a significant factor leading to the explosion that rocked France in the 1790s.

Lorenzo da Ponte (1749-1838), who worked with Mozart to adapt the play into an operatic libretto, made clear that he and Mozart intended "to paint faithfully and in full color the divers passions." The overture’s wit, sparkle and inventiveness have made it a favorite on symphonic programs.

Following Mozart’s effervescent overture will be a haunting lament by the English composer Henry Purcell (ca. 1659-1695). Purcell lived during the Baroque period, almost exactly 100 years before Mozart. English music enjoyed a long, fertile period leading up to Purcell’s time. Purcell was a gifted musician and held posts as a singer and organist as well as composer. His prolific output includes large scale religious anthems, odes honoring royalty, patriotic songs and a unique opera that many Britons consider the finest English opera.

Dido and Aeneas was written for "Mr. Josias Priest’s Boarding School at Chelsy" and performed in 1689 by the "young Gentlewomen" who studied and lived there.

The story is based, with a few liberties, on the characters from Virgil’s Aenead. After narrowly escaping the flaming city of Troy, and facing many challenges, Aeneas and his band land exhausted in Carthage, a city on the coast of Libya. Aeneas relates his adventures to the queen of the city, Dido, and they fall deeply in love.

When Aeneas is reminded that the gods want him to continue on his journey, the heartbroken Dido says that she will die of sorrow and has a funeral pyre prepared. As Aeneas reluctantly sails off she sings of her passion and grief in this famous lament: "When I am laid in Earth, remember me! But, ah, forget my fate!"

Many 20^th-century composers continued to write in the Romantic style, despite the cacophony of new techniques and approaches that attracted many other writers.

One of the finest American composers of the mid 20^th-century was Howard Hanson (1896-1981), who graduated from college in his home town at the age of fifteen, studied at the Institute of Musical Art (later to become the Juilliard School) in New York, and began teaching at Northwestern University when he was eighteen years old. He won the Prix de Rome when he was 25, and at the age of 27 he was invited to become the director of the newly-created Eastman School of Music where he remained for forty years. During that time Eastman became one of the world’s finest schools and a great center supporting and promoting American music.

Hanson’s second symphony, known as "The Romantic," was one of several works commissioned in 1931 by Serge Koussevitzky to celebrate the 50th anniversary of the Boston Symphony.

As the nickname implies, Hanson intended the symphony to be unabashedly beautiful and emotional. "I do not believe that music is primarily a matter of intellect," he said, "but rather a manifestation of the emotions. I have, therefore, aimed in the Symphony to create a work that was young in spirit, lyrical and romantic in temperament, and simple and direct in expression... definitely warm-blooded music."

Many of Hanson’s summers were spent at the world-famous National Music Camp at Interlochen, Michigan, where the theme to this Romantic symphony has been performed as a signature tune at the end of countless symphony concerts.

The second half of the program will turn to unmistakable Romantics, two of the giants of the nineteenth century. Giuseppe Verdi (1803-1901) was not only one of the most beloved opera composers of all time, he was a national hero in Italy. His operas touched a deep chord in the Italian spirit, and he became an important symbol in the fight for Italian independence. Passages from his operas became rallying cries known throughout the country, and when he died at the age of 87 Italy became a country in mourning.

Verdi’s genius only seemed to improve with age. Two of his greatest works were written at the twilight of his long life: Otello, written when he was 73, and Falstaff, completed just before he turned 80.

La Traviata (The Lost One), written near the middle of his career in 1853, was adapted from a play by the younger Alexandre Dumas called La Dame aux camelias (The Lady of the Camellias). The opera’s heroine, Violetta, and a young gentleman Alfredo fall in love. Violetta is a courtesan, the lover of a wealthy baron, and she fears allowing herself to feel genuine love. Alfredo’s father disapproves bitterly of their relationship, and succeeds in breaking them up. The lovers are reunited, but only briefly, before Violetta dies of consumption.

Tchaikovsky’s Piano Concerto #1 in B-flat minor is one of the most well known and beloved pieces in the repertoire. Interestingly enough, it was first performed in the United States! The premiere took place in 1875, with pianist Hans von Buelow and the Boston Symphony Orchestra.

The concerto’s enormous popularity makes it hard to imagine that it was rejected at first, but when Tchaikovsky first played it for his friend and mentor Nikolay Rubinstein, the director of the Moscow Conservatory, condemned it. Rubenstein’s reaction was so intense and negative that Tchaikovsky was still deeply hurt by it years later. The story ends well. In time, Rubinstein became a great admirer of the work.

The first movement begins with a sweeping theme in the strings that is one of Tchaikovsky’s most well-known and best-loved melodies. Strangely enough, after the beginning of the movement it never returns. The rest of the movement is based on two themes, a rhythmic folk tune (which Tchaikovsky may have heard sung by a blind beggar in the Ukraine) and a lyric subject heard first in the horns and woodwinds, then in the piano.

The second movement begins with a tender melody in the flute, and a second tune by the oboe and clarinet. A waltz, which may have been adapted from a French song, follows in the violins and cellos.

The finale begins with an energetic, rhythmic folk dance in the piano. A contrasting, haunting folk song in the violins follows, accompanied by the horns. The vigorous dance tune returns in the coda.