Brandenburg Concerto No. 2 in F Major
The "concerto grosso" form was made famous in the Baroque era and the standard structure for orchestral works - though we should understand that the Baroque "orchestra" was, in general, a chamber group of perhaps five instruments. In the Baroque concerto, variety of texture is achieved by pitting a group of soloists against the orchestra; they alternate, and sometimes play off lines against each other, though more usually the soloists do that among themselves, and then the orchestra comes in with a less complex role to play. In No. 2, the spectacular high-flying clarino trumpet part is what arouses the main attention, especially when the modern, brilliant instrument is used. We use the modern piccolo trumpet - which means that you merely need a virtuoso instead of a lifelong baroque specialist to play the fiendish trumpet line - whose insistent, cutting-edge brilliance often blinds listeners to the fact that the three other soloists are in there with wonderful contrapuntal lines as well - recorder (or flute, as tonight), violin and oboe. They all contribute, along with strings and harpsichord, to a boisterously exuberant piece whose wonderful energy has a momentum that makes them quite irresistible - express-train baroque! Between the two brilliant outer movements, however, we have the subtle beauty of the adagio with its gently sighing interplay between flute and oboe - another of the glories of this era, and reminding us that Bach could write soulful melodies with the very best of any age. The finale then goes on a contrapuntal rampage, with melodies and counter-melodies weaving in and out in inimitable fashion. This is top-drawer Bach, and it's just unbeatable!
Brandenburg Concerto No. 5 in D Major
What's special about this concerto is the revolutionary harpsichord part. This was the first fully solo employment of the harpsichord in a concerto, which had previously been used in ensembles strictly as a "continuo" instrument, supporting the music but not contributing to the melody or counterpoint. This experimental expansion of the harpsichord's role was probably inspired by the arrival of a new fine instrument at the Court of Cšthen - Bach was a great appreciator of his instruments, and understood their mechanical properties very well. In the solo group of three instruments, the harpsichord is rather dominant, though the three in general function as a unit against the orchestra as usual. But a surprise awaits: late in the otherwise-normal first movement, the harpsichord launches into a cadenza the like of which had never been seen before, and which still astonishes, lasting nearly five minutes and requiring major-league virtuosity on the part of the soloist. It rises to a tremendous pitch of drama, then relaxes to repeat the movement's good-natured main ideas, which are wonderfully peppy and exultant. In the slow movement, the solo group stands alone, making a chamber trio movement of a profound, melancholy beauty -really, this movement by itself would be one of the glories of the literature. But the finale utterly dispels that mood in a burst of rollicking high spirits, with a catchy, jaunty main tune and Bach's customary display of fabulous counterpoint.
Serenade in D, op.11
This work has an interesting history. It started out life as a serenade after the manner of Haydn, or at least in the spirit of Haydn, with nonet instrumentation: flute, two clarinets, horn, bassoon and strings. But when he tried it out for Clara Schumann, she declared that it needed to be rewritten for full orchestra, as Brahms eventually came to agree and proceeded to do so. In that form, it has become a popular concert piece, and indeed one of the great things of its (rare) kind in the literature. So successful is it, in fact, that it is very hard to think of it in chamber terms. But Mr. Boustead has restored substantially the original form, which is how we hear it tonight.
The whole piece is suffused with a pastoral, outdoors atmosphere, and there is none of the brooding, melancholy, wistful Brahms of later years in this joyous, outgoing music. Opening with a delightful horn melody over bagpipe drone, it soon blossoms out in full cry with that theme, then shifts over to a remarkable one spanning more than two octaves; later a rollicking woodwind theme in triplets continues the mood. The first of the two wonderful scherzos is chromatic and witty, and in the middle there's a warm, spirited, wholly engaging trio. Only the adagio is at all reserved, but it isn't sombre or melancholy, merely dignified and expressive (and in full sonata form - a rarity for such a movement in such a piece). The minuets 1-2, in classical fashion, are such delightful pieces that they are often extracted and played by themselves. The intriguing clarinet theme is perfectly set against an octave figure in the bassoons - an enchanting combination; minuet II provides a plaintive but piquant contrast. Then there's a second scherzo with one of the great horn figures, broad, outgoing, redolent of the hunt atmosphere. The energetic finale opens with a tight-reined rondo theme in dotted rhythm, with the alternating sections providing contrast and more work for the horns (Brahms' father was a horn player, a circumstance that probably occasioned his magnificent Horn Trio of some years later.) The piece closes with a glorious coda; you can't retain all of that with a modest-sized ensemble, but all the same it's a fine ending.
Daniel Warren is currently the Assistant Conductor of the Kitchener-Waterloo Symphony and has played in the trumpet section for the past seventeen years. During that time he has performed numerous solos and concerti including the Concerto for Trumpet and Orchestra by Phil Nimmons, first touring the piece and then recording it for a CBC SM5000 CD. He performed Johnny Cowell's Concerto for Trumpet and Orchestra which was taped for a national Television broadcast.
Daniel Warren is currently the Music Director of the Wellington Winds and "Brassfest" at Wilfred Laurier University. For two years he was Music Director/Conductor of the Southampton Festival Winds during the Southampton Summer Music Festival. Mr. Warren's musical training has included study at the University of Toronto, The Conductors Institute of South Carolina and the Orford Centre for the Performing Arts in Quebec. His principal teachers include Raffi Armenian, Victor Feldbrill, Donald Portnoy,and Paul Vermel. As a Symphonic Musician and Trumpet Soloist Mr. Warren has, for the last sixteen years, performed in North, Central and South America, France Switzerland, Germany, Holland and Great Britain with The Toronto Symphony Orchestra, The Kitchener-Waterloo Symphony and the Canadian Chamber Ensemble.
He resides near Guelph with his lovely wife Rosanne and his two children William and Lucy in a house he built himself (with a lot of help!).
