Program Notes

George Gershwin 1898-1937

An American in Paris stands as one of George Gershwin’s most beloved and enduring orchestral works, capturing the spirit of a bustling city through the lens of an American visitor. Premiered by the New York Philharmonic in Carnegie Hall on December 13, 1928, and inspired by Gershwin’s own revelatory visits to Paris during the 1920s, this tone poem is a vibrant tapestry of sound and culture. Blending classical traditions with the rhythmic syncopations and colors of jazz, An American in Paris not only illustrates Gershwin’s masterful compositional technique but also his unique role as a bridge between European concert music and the jazz idiom that was so distinctly American.

In the roaring twenties, Paris was a magnet for artists, writers, and musicians from around the world. For American expatriates and visitors alike, the city was a laboratory of artistic innovation, and Gershwin was no exception. Having achieved enormous success with “Rhapsody in Blue” and “Concerto in F,” Gershwin traveled to Paris multiple times, seeking to study composition with Maurice Ravel, among others. Though Ravel famously declined to take him as a student, instead encouraging him to remain true to his own voice, Gershwin’s experiences in Paris proved transformative.

The city’s energy, its cafes, boulevards, and especially its music, left a lasting impression. “My purpose here,” Gershwin wrote, “is to portray the impressions of an American visitor in Paris as he strolls about, listens to the various street noises, and absorbs the French atmosphere.” To this end, Gershwin gathered authentic Parisian taxi horns to include in his score, ensuring an unmistakable sense of place.

As a tone poem, An American in Paris eschews strict classical forms in favor of a rhapsodic, episodic structure, guided by vivid orchestration and a keen sense of storytelling. The piece is typically divided into several loosely defined sections, each evoking a different scene or emotion experienced by the protagonist.

• Opening Stroll: The work begins with a lively walking theme, introduced by the strings and punctuated by the unmistakable sound of Parisian taxi horns. The music is bustling, bright, and carefree, capturing the excitement of a newcomer wandering through the city’s wide boulevards, perhaps pausing to admire the architecture or to observe the passing crowds.
•  Blues Episode: As the American grows homesick, the music turns inward and contemplative, introducing a blues-inflected theme in the trumpet. This passage is a poignant reminder of the visitor’s roots, blending nostalgia with longing. Gershwin’s use of jazz harmony and blue notes here is particularly effective, creating a touching contrast to the earlier exuberance.
• Parisian Waltz and Dance: The mood brightens as the music segues into a French-style dance, with lilting waltz rhythms and swirling woodwinds. The bustling city comes alive once more, and the American finds renewed energy and delight in the company and setting.
• Recapitulation and Finale: Themes from earlier in the piece return, now woven together in a triumphant, celebratory conclusion. The blues and the Parisian motifs merge, symbolizing the American’s acceptance of both homesickness and the joy of discovery, and the work ends in a blaze of orchestral color.

Gershwin’s orchestration is both imaginative and resourceful, calling for a large orchestra with a broad palette of instrumental colors. Notably, the score includes four taxi horns, each with a distinct pitch, which are used both as a rhythmic device and a sound effect to evoke the Parisian streets. Other features include prominent use of saxophones, celesta, and a battery of percussion instruments, reflecting Gershwin’s deep understanding of both classical and jazz orchestras.

An American in Paris epitomizes Gershwin’s gift for integrating the language of jazz into the symphonic tradition. The harmonies, rhythms, and melodic phrasing are unmistakably American, yet the architecture and orchestral techniques remain grounded in European models. This synthesis is evident throughout the work—from the syncopated rhythms and “blue” notes to the improvisatory character of certain solos. Gershwin’s admiration for French composers such as Debussy and Ravel is also apparent in his use of impressionistic harmonies and orchestral effects, while his jazz background provides the work’s infectious vitality.

At its premiere, An American in Paris was met with enthusiasm and curiosity. Critics and audiences alike were struck by its boldness, humor, and emotional depth. Some were initially puzzled by its incorporation of jazz elements into the concert hall, but Gershwin’s melodic gift and vivid orchestration soon won over both skeptics and supporters. Over the decades, the work has become a staple of the orchestral repertoire, beloved for its exuberance and its ability to transport listeners straight to the heart of 1920s Paris.

An American in Paris remains a testament to George Gershwin’s vision and artistry—a joyous, evocative, and profoundly American portrait of a legendary city. Its fusion of jazz and symphonic traditions, its masterful orchestration, and its melodic richness ensure its continued place in concert halls and in the hearts of listeners worldwide. To experience this work is to be transported: to stroll the boulevards, to hear the cacophony of taxis, and to feel the pulse of life in the City of Light, all through the eyes—and ears—of an American abroad.

An American in Paris was originally scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, ratchet, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C, and D with circles around them (but tuned as follows: A=Ab, B=Bb, C=D, and D=low A), alto saxophone, tenor saxophone, baritone saxophone, and strings. The work was last performed by the BCSO in 1971, 3/1991, 2/2002, 4/2017  and runs about 20 minutes.

Béla Bartók 1881-1945

Béla Bartók’s Concerto for Orchestra stands as one of the towering achievements of twentieth-century music—an extraordinary tapestry of orchestral color, folkloric inspiration, and personal resilience. Written in a time of profound turbulence, both globally and in the composer’s own life, the work was to become Bartók’s most beloved and frequently performed composition. This set of program notes aims to introduce listeners to the historical backdrop, structural intricacies, and imaginative spirit that make the Concerto for Orchestra a perennial favorite among musicians and audiences alike.

By 1943, the Hungarian-born composer Béla Bartók was living in exile in the United States, having fled the rise of fascism in Europe. Suffering from financial hardship and declining health, Bartók had written little music since his arrival in America. His fortunes changed when Serge Koussevitzky, the celebrated conductor of the Boston Symphony Orchestra, commissioned him to write a substantial orchestral work. The commission, funded by the Koussevitzky Foundation, provided Bartók with both material comfort and artistic impetus.

Bartók composed the Concerto for Orchestra over the course of two months, from August to October 1943, while convalescing in a hospital in Saranac Lake, New York. He described the piece as a “concerto” rather than a symphony because of its treatment of the orchestra: each section is given a soloistic, virtuosic role, much as instruments would have in a concerto for a soloist and orchestra.

The premiere took place on December 1, 1944, with the Boston Symphony Orchestra under the baton of Koussevitzky. The performance was an overwhelming success, revitalizing Bartók’s reputation and bringing a new sense of hope and vindication after years of adversity.

The Concerto for Orchestra is cast in five movements, each with its own character and ingenious structure. Together, these movements form a unified journey, moving from darkness to exuberant affirmation.

•  I. Introduzione: Andante non troppo – Allegro vivace
• II. Giuoco delle coppie: Allegretto scherzando
•  III. Elegia: Andante non troppo
•  IV. Intermezzo interrotto: Allegretto
•  V. Finale: Pesante – Presto

I. Introduzione: Andante non troppo – Allegro vivace

The first movement opens in a mysterious haze, with low strings intoning a quietly ominous theme. This slow introduction, rich in chromaticism and subtlety, conjures a sense of foreboding, as if emerging from mist. Gradually, the energy builds and the Allegro vivace bursts forth—a display of Bartók’s rhythmic drive and folk influence. The movement alternates between brooding lyricism and surges of kinetic energy, spotlighting individual instruments and sections as themes are developed and transformed.

II. Giuoco delle coppie: Allegretto scherzando

The second movement, “Game of Pairs,” is a tour de force of orchestral color and wit. Here, pairs of wind instruments are introduced, each with its distinctive interval: bassoons in sixths, oboes in thirds, clarinets in sevenths, flutes in fifths, and muted trumpets in seconds. Each pair takes the spotlight in turn, creating a whimsical, almost playful parade of timbres and rhythms. A noble brass chorale interrupts the processional, providing a moment of grandeur before the pairs resume their lively interplay. The movement is a masterclass in orchestration, with Bartók drawing a kaleidoscope of colors from the ensemble.

III. Elegia: Andante non troppo

The third movement is the emotional core of the work—a darkly lyrical elegy that channels Bartók’s sense of exile and sorrow. A haunting melody unfolds over shimmering strings, evoking memories of folk laments and nocturnal landscapes. The movement weaves together motives from earlier in the piece, imbuing them with a sense of longing and introspection. Moments of warmth and consolation emerge, but the prevailing mood is one of poignant reflection. Bartók described this movement as representing “night music”—a term he used for many of his most atmospheric and mysterious creations.

IV. Intermezzo interrotto: Allegretto

Often cited as the most humorous movement, the “Interrupted Intermezzo” is Bartók’s witty and satirical penultimate statement. The movement opens with a graceful, almost folkloric tune—a nod to the intermezzi of Romantic opera. But this melody is soon “interrupted” by a mocking parody: a boisterous, swaggering theme that is widely believed to lampoon the “invasion theme” from Shostakovich’s Seventh Symphony, itself a popular symbol of wartime resistance. The intrusion is brusque and exaggerated, after which the opening melody reasserts itself, only to be interrupted again. The movement ends on a note of sly humor and resilience, as if to say that, despite interruptions and adversities, the music—and the spirit—endures.

V. Finale: Pesante – Presto

The final movement is a whirlwind of jubilant energy and technical brilliance. Opening with a robust, assertive theme, the music quickly accelerates into a fugue of dazzling complexity. The orchestra is propelled through a series of folk-inspired melodies, rhythmic fireworks, and exuberant finales. Each section of the orchestra is given a chance to shine, from virtuosic strings to brilliant brass and percussion. The movement concludes with a triumphant coda, bringing the journey from darkness to light to a rousing close.

Bartók was a pioneering ethnomusicologist, and his lifelong fascination with the folk music of Hungary and neighboring regions deeply informs the Concerto for Orchestra. While the work does not quote specific folk tunes, its rhythms, modal inflections, and motivic shapes are saturated with the spirit of Eastern European peasant music. Bartók combines these folk elements with avant-garde harmonies, bold orchestration, and intricate counterpoint, creating music that is at once ancient and modern.

His use of “night music” textures—distant bird calls, rustling wind, and mysterious nocturnal sounds—imbues the slow movements with a sense of the natural world as filtered through memory and imagination. At the same time, Bartók’s rhythmic precision and vitality drive the faster sections, giving the music an almost primal urgency

Béla Bartók’s Concerto for Orchestra is a masterpiece born of hardship and transformed into exuberant affirmation. It is a work that rewards the attentive listener with ever-deepening layers of meaning, from its folkloric roots to its modernist innovations. As you listen, notice how Bartók invites every section of the orchestra to step forward, to become both soloist and ensemble, individual and community. In so doing, he offers us both a thrilling musical spectacle and a moving vision of unity and hope.

The Concerto for Orchestra is scored for: piccolo, 2 flutes, 2 oboes, English Horn, 2 Clarinets, Bass Clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, side drum, bass drum, cymbals, triangle, tam-tam, 2 harps, and strings. Running time is about 42 minutes. Tonight’s performance marks the first for the BCSO.