The Station Orchestra, conducted by Warwick Braithwaite
Beethoven wrote this Overture in 1822 for the opening of a new theatre in Vienna, on a day which was also the Emperor's name-day.
Beethoven's biographer, Schindler, told how the composer, while roaming with friends in the woods, walked apart for a while, and then showed them two themes for the Overture that he had jotted down in his sketch-book, saying that one might effectively be worked in his own style and one in that of Handel.
Of course, the Overture is true Beethoven, not just an imitation of Handel, of whose style we get no more than a pleasant flavour.
It is a dignified and jubilant piece, appropriate to the celebration of the two events which brought about its composition.
Margaret Wilkinson (Soprano) and Orchestra
The Countess Almaviva has found her husband fickle, and has had recourse to deceiving him in order to attain her ends. In this Air she meditates sadly on the vanished days when she delighted to hear his vows of faithful love. In an access of hope she wishes that her own constancy and tears may yet win his love once more.
Mozart's last three Symphonies, and, by common consent, his greatest three, were written within the short space of less than two months, at a time near the end of his Life when he was in poverty, and suffering from what he described to a friend as 'gloomy thoughts' which, he said, he 'must repel with all his might'. The Jupiter, which we are now to hear, is one of these last Symphonies. Why Jupiter? Mozart never called it that. But somebody, apparently, thought it expressed lofty, godlike qualities, and so give it this name, which is surely not inapt.
There are four Movements-(1) Quick and spirited; (2) Slow, soft and song-like; (3) A gay little Minuet; (4) A Finale, rising to a dazzling climax.
4.45 Thomas Churchyard, an Elizabethan Tourist
J. Kyrle Fletcher
Orchestra conducted by:
Speaker (Thomas Churchyard, an Elizabethan Tourist):