The full theme is somewhat more complex, but from that quiet lyrical opening to the explosive finale some 33 minutes later the cohesion is provided by those four notes.
Of course, there is also wonderful melody, great contrasts in tempo and mood, and vivid coloring through masterful orchestration. A lovely piece of music.
All was evident in that rouser of a finishing piece to a bright and lively concert by the Madison Symphony Orchestra Friday night in Overture Hall.
Guest conductor Edo de Waart, a world-class musical figure and a commanding presence on the podium, might find some orchestral flaw to correct before the repeat of the concert at 8 tonight, or by the third performance at 2:30 p.m.
Sunday, but from the audience s viewing and listening point, this was ideal playing.
Swedish-born Per Tengstrand, a superb pianist, displayed impressive dexterity, power, and even, in brief moments, delicacy in playing relatively obscure but delightful youthful works by two famous composers, Richard Strauss s 22-minute Burleske, and Liszt s 15-minute Malediction. The concert opener: Wagner s prelude to Die Meistersinger, was played with the dramatic power and full orchestral majesty it deserves.
Elgar s theme, which he labeled enigma, and 14 variations, from 1899, has multiple possibilities for brief stories about musical and non- musical friends. Michael Allsen s excellent (as usual) program notes give the backgrounds, from the quietly lyrical variation 1, Elgar s wife, to the finale, Elgar himself, big and bold and at full orchestral power.
But one can ignore the stories and just appreciate the musical qualities, beautifully set forth by the orchestra.
De Waart chose a somewhat slower and weightier approach, but never flagging, and the contrasting fast passages were certainly at a goodly pace.
An unusual timpani opening marked the Strauss Burleske. Tengstrand immediately moved into a series of pianistic runs, with chord piled on chord at tempestuous pace.
There were slow, lyrical moments, but the overall impression was of a driving work, bright and airy, and more direct and simpler in construction than Strauss s later works. The basic form was statement by piano and answer by orchestra, and plenty of virtuosic demands on the pianist, which Tengstrand supplied with great vigor.
The Liszt Malediction also was a flamboyant work, also demanding breakneck chordal playing, sometimes with extremely widely spaced hands.
Tengstrand had no problems I could see or hear. The orchestra, just 59 strings, was fine.
A few words about De Waart.
He has a firm and disciplined way with a baton - and sometimes without, as he demonstrated in directing slower passages. He makes sweeping gestures, especially with his left hand, in exhorting more body from the strings, or in marking the start of a passage, all with authority.
A musician in the orchestra said De Waart was very demanding in rehearsal (a good thing), and added quickly that the week was an enjoyable experience.
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