Our Fall concert’s theme is: Pulse A Celebration of Dance Music.

Under the baton of Ric Jones, the BSO presents a program of music specifically crafted for dance. The performance will transport audiences through a global journey of rhythms, from the elegant European waltz to the energetic American hoedown, the pulsating beats of Cuban dance, and the dramatic flair of ballet. The program includes the following pieces:

The Emperor Waltz	Johann Strauss II	12:00
Ancient Airs & Dances Suite No. 2 I. Laura Soave II. Danza Rustica III. Campanae Parisienses – Aria IV. Bergamasca	Ottorino Respighi	20:00
Brief Intermission
Danzas Cubanas	Robert Sheldon	6:00
Moondust, American Sketches No. 6	Mike Lewis	5:00
Selections from the ballet Swan Lake	Pyotr Tchaikovsky	5:00
Hoe-down from the ballet Rodeo	Aaron Copeland	4:15

Johann Strauss II

The Emperor Waltz

Composed in 1889, this celebrated piece was written to commemorate a “toast of friendship” between two powerful monarchs: Emperor Franz Joseph I of Austria and German Emperor Wilhelm II.

Strauss initially titled the work Hand in Hand, but his publisher suggested the more regal name, Emperor Waltz. This title allowed audiences in both Austria and Germany to interpret the music as a tribute to their respective rulers, boosting its appeal to both sides.

The music begins with a stately, slow, march-like rhythm before transitioning into a series of interconnected waltz melodies, each possessing a distinct and elegant character. The piece builds momentum and finally concludes with a grand and triumphant flourish.

 

Ottorino Respighi

Ancient Airs & Dances Suite No. 2

Ancient Airs & Dances is a set of three orchestral suites created through transcriptions of Renaissance and Baroque lute pieces. Suite No. 2 consists of four movements, each freely adapted from its original lute score. Respighi’s artistry lies in his ability to make creative changes and give the historical melodies a new, modern harmonic and orchestral dimension while perfectly preserving their historical character.

These four movements beautifully evoke the charm and style of the Renaissance and Baroque periods:

I. Laura Soave:
Based on a piece by the 16th-century Italian composer Fabritio Caroso, this movement is a lively suite of interconnected dances. It begins with a balletto (a formal, courtly dance) and is followed by a gagliarda (an athletic dance in triple meter), a saltarello (a dance known for its hopping or leaping steps), and a canario (a sprightly dance with a syncopated rhythm). These were energetic and popular dances of the period.

II. Danza Rustica:
Meaning “Rustic Dance,” this movement is derived from a work by Jean-Baptiste Besard, a lutenist and composer from the late 16th and early 17th centuries. True to its name, the music possesses a more earthy and less refined character than the courtly dances, suggesting a simpler, folk-inspired style.

III. Campanae Parisienses – Aria:
This movement skillfully combines two distinct themes. “Campanae Parisienses” (Parisian Bells), an anonymous piece, evokes the resonant sound of bells. It is paired with an “Aria” (a lyrical melody) attributed to Marin Mersenne*. The combination moves from haunting, bell-like tones to a lyrical melody, creating a contemplative and at times mesmerizing soundscape.

*For mathemophiles, this is the same Marin Mersenne known for the Mersenne prime numbers—primes that can be expressed in the form 2^p−1 for some prime p.

IV. Bergamasca:
The final movement is based on a piece by Bernardo Gianoncelli, composed around 1650. A Bergamasca is a lively peasant dance that originated in Bergamo, Italy, famous for its distinctive, repeating bass line. Respighi’s transcription often features repetitive rhythms, bringing the entire suite to a spirited and powerful conclusion.

 

Robert Sheldon

Danzas Cubanas

This piece is a vibrant celebration of Afro-Cuban music and dance, a dynamic suite that seamlessly flows through three distinct, yet interconnected dances that flow seamlessly into one another.

The work opens with a lively and rhythmic conga, immediately setting a festive and energetic mood. This section is propelled by powerful percussion and a strong, syncopated beat. The music then shifts to a more gentle and alluring son-salsa, a melodic second section that features a relaxed, swaying rhythm. Here, the piece often highlights solos for instruments such as the trombone, flute, and trumpet. The suite concludes with a fast-paced mambo, which brings back the intense energy of the opening. This finale is a rhythmic showpiece, culminating in a powerful and exciting finish.

The Rhythms of Cuba

Each of the dance rhythms featured in this piece—the conga, son, salsa, and mambo—originated in Cuba, each with its own unique history:

• Conga: Developed by Afro-Cubans, the conga’s rhythms are deeply influenced by African traditions. It is typically danced with small, sliding steps that advance in a lively, alternating pattern.
• Son: This style is a foundational fusion of Spanish musical traditions and African rhythms from eastern Cuba. It is characterized by its vocal, call-and-response structure, lyrical meter, and distinctive rhythmic feel.
• Salsa: Emerging from a blend of African rhythms and European musical elements in early 20th-century Cuba, salsa became a global phenomenon, known for its energetic and improvisational nature.
• Mambo: Originating in the 1930s, the mambo developed as a style of dance music that combined elements of popular Latin genres with the sophisticated music of the son Cubano.

 

Mike Lewis

Moondust, American Sketches No. 6

This arrangement masterfully blends the distinctive sounds of the jazz and big band eras into a fresh and unique medley of three classic “moon” songs:

• Moonlight Serenade – Composed by Glenn Miller in 1935 and was originally titled Miller’s Tune. Mitchell Parish later added the lyrics, and it was published in 1939 with its now-famous title. In 1991, Moonlight Serenade was inducted into the into the Grammy Hall Of Fame.
• Blue Moon – This standard ballad was written by the American songwriting duo Richard Rodgers and Lorenz Hart in 1934.
• How High the Moon – Morgan Lewis and Nancy Hamilton wrote this song for the 1940 musical Two for the Show.

 

Pyotr Tchaikovsky

Selections from the ballet Swan Lake

The ballet, originally composed between 1875 and 1876, is a cornerstone of the classical ballet repertoire. It is a four-act ballet based on Russian and German folk tales, it tells the story of Prince Siegfried and Princess Odette, who is cursed by the sorcerer Von Rothbart to be a swan by day and a woman by night.

Tonight, the BSO will perform two excerpts: No. 1 Scène from Act I and No. 3 Dance of the Little Swans from Act II

No. 1 Scène is the opening movement of Act I, the curtain rises on Prince Siegfried’s birthday celebration. This movement sets a cheerful and lively mood for the festivities.

No. 3 Dance of the Little Swans is specifically the fourth movement of No. 13, within the larger “Dances of the Swans” sequence. In this iconic pas de quatre, four dancers perform in unison, holding hands with crossed arms, moving across the stage with synchronized, small, quick steps, imitating the huddling and movement of cygnets.

 

Aaron Copeland

Hoe-down

The Rodeo ballet, choreographed by Agnes de Mille, was commissioned by the Ballet Russe de Monte Carlo. It tells the story of a cowgirl trying to win the affection of the head wrangler. In the famous Hoedown movement, she makes a triumphant return to a Saturday night dance, no longer dressed as a cowhand but as the most beautiful girl there.

This Hoedown has become an iconic representation of Americana in classical music. The main theme is based on an old folk song called Bonaparte’s Retreat, as recorded by fiddler William Hamilton Stepp in 1937. Copland also weaves in other square-dance melodies, such as Miss McLeod’s Reel, which is an Irish folk tune that was also popular in American old-time music. In the southern U.S., it’s also known as Hop High Ladies.