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Associate Director of Orchestras David Loebel conducts works of extraordinarily vivid tone painting.
Haydn, in his Symphony No. 102, foreshadows the dramatic contrasts of mood and gesture of Beethoven.
Hector Berlioz channels Virgil’s Aeneid, in his opera Les Troyens and takes listeners on a hunt with Queen Dido and the hero Aeneas. The soon-to-be lovers are eventually separated from the rest of the party just in time to be stranded in a cataclysmic storm from which they take refuge in a handy cave. Passion blooms.
Respighi's Fountains of Rome is the first of his three colorful symphonic postcards describing scenes from the Eternal City. Each of the four sections depicts a fountain in a different location at a different time of day. They are: The Fountain of Valle Giulia at Dawn (La fontana di Valle Giulia all'Alba), the Triton Fountain in the Morning (La fontana del Tritone al mattino), the Trevi Fountain at Noon (La fontana di Trevi al meriggio), and the Villa Medici Fountain at Sunset (La fontana di Villa Medici al tramonto).
Rossini’s Overture to William Tell may never outlive its familiarity to Baby Boomers who grew up on The Lone Ranger. By contrast, the opera itself—Rossini’s last work and originally written to a French libretto for a Paris premiere--has probably never achieved anything like the fame of its Overture. There’s good reason for the Overture’s popularity: it is an exceptionally vivid and energetic prelude to the opera, with its scene painting of dawn, a storm, the call to the dairy cows, and, of course, the rousing “March of the Swiss Soldiers.”
Haydn: Symphony No. 102
Berlioz:Royal Hunt and Storm from Les Troyens
Respighi: Fountains of Rome
Rossini: Overture to William Tell
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