Principal Guest Conductor: Bertrand de Billy
Wolfgang Amadeus Mozart
Symphony Np 39 in E Flat Major, KV 543
Symphony No 40 in G Minor, KV 550
Symphony No 41 in G Major (Jupiter), KV 551
The Orchestre de Chambre de Lausanne (OCL) performs around one hundred concerts each season at the Salle Métropole in Lausanne, its place of residence, as well as throughout Switzerland and abroad. The ensemble has performed at the Théâtre des Champs-Élysées and the Salle Pleyel in Paris, the Alte Oper in Frankfurt, the Accademia Nazionale di Santa Cecilia in Rome, the Mariinsky Theatre in St Petersburg and the Musikverein in Vienna, as well as at festivals including the BBC Proms in London, the George Enescu Festival in Bucharest and the Istanbul Festival.
Founded in 1942 by Victor Desarzens, the OCL has collaborated with such eminent international artists as the conductors Ernest Ansermet, Günter Wand, Paul Hindemith, Charles Dutoit, Neeme Järvi and Jeffrey Tate, as well as with soloists including Isaac Stern, Radu Lupu and Martha Argerich. Since it was established almost seventy years ago the orchestra has been led by only five artistic directors – Victor Desarzens (1942–1973), Armin Jordan (1973–1985), Lawrence Foster (1985–1990), Jesús López Cobos (1990–2000) and Christian Zacharias (2000–2013). Bertrand de Billy is the orchestra’s Principal Guest Conductor.
The OCL’s extensive discography has earned a great deal of praise from the international press. The complete recording of Mozart’s piano concerti, performed and conducted by Christian Zacharias for the German label MDG, has received over forty international awards and distinctions. More recently, a new collaboration commenced with Outhere Music; a remarkable recording of Louis Spohr’s complete clarinet concerti performed and led by Paul Meyer in 2012 was followed by a Schoenberg disc with Heinz Holliger in the autumn of 2013. A brand-new recording of Symphony in D Major by Luigi Cherubini led by Bertrand de Billy is now available (MDG).
As a partner of the Opéra de Lausanne, the OCL regularly appears in the orchestra pit over the course of the opera season. The OCL is also the first Swiss orchestra to engage a composer in residence every two years. As part of its mission to promote music among young audiences, the orchestra offers a variety of concerts for families and schools, and it collaborates on a regular basis with music institutions of higher education in Lausanne itself (the Haute École de Musique de Lausanne and the Haute École de Théâtre de Suisse Romande). The OCL is subsidised by the city of Lausanne and the canton of Vaud and is a member of www.orchester.ch and the Swiss Association of Professional Orchestras. The majority of its concerts are recorded by Espace 2, its privileged partner since its foundation, and are made available to the public for listening on request
Wolfgang Amadeus Mozart composed his three final symphonies in the summer of 1788 for a series of subscription concerts. In all likelihood, these concerts never took place. There is no irrefutable evidence to suggest that these symphonies were, in fact, ever performed during the composer’s lifetime, though there is a good chance that at least the symphony in G minor was performed on at least one occasion. Following this, Mozart never again returned to the symphony genre as long as he lived.
These three symphonies were written for similar orchestral ensembles with minor variations: in the thirty-ninth there are no oboes, while there are in the fortieth, albeit without clarinets, trumpets and kettledrums (Mozart would later add music for clarinets, so conductors are free to choose between either version), and all the instruments feature in the forty-first. With the exception of the minuets and the second movement of Symphony No 39, the other eleven movements of these three symphonies were composed in sonata form, interpreted with as great variety as possible.
Like an overture, Symphony No 39 which opens the triad begins with a triumphant and slow introduction. The main theme of the Allegro is written in the spirit of a minuet and its instrumentation is delicate and elegant. The second movements of classical symphonies are commonly and without hesitation considered to be lyrical, but the Andante con moto, at times severe and noble and at times dramatic, could hardly be called that. The minuet is, initially, somewhat brusque, but its character soon changes and in the trio Mozart lets the clarinets speak out: the first performs the solo and the second provides the accompaniment. The finale in the tempo of a rapid country dance is the most “Haydn-like” movement of the thirty-ninth symphony. Throughout the entire length of the finale, Mozart insistently develops one and the same theme, initially performed by the violins alone, and he does this with no mean sense of humour.
Melancholic Symphony No 40, which has been so adored by audience for over two centuries, is almost chamber-like in terms of the orchestra. In the dreamy second movement, the voices of the strings are woven closely together – as in the love duets of Italian operas of the time. The famous dramatic minuet cedes to a ceremonial trio. To a certain extent, the finale again reminds one of Haydn in the spirit of his passionate and impetuous Farewell symphony.
It was not the composer who gave Symphony No 41 the name Jupiter, which was probably accorded not for its power and majesty but rather for one minor detail – the first three chords of the full orchestra that conjure up associations with the Ancient Roman god of sky and thunder in the minds of the audience. On the whole, the music of the symphony is not at all connected with ancient mythology but rather with the practice of spiritual self-improvement. The constant and steady uplift and the gradual upsurge last throughout the entire first movement (with a diversion on the jocose final theme). The path continues in the brilliant second movement and clearly leads through some trials. Following the imperious “appeal” of the wind instruments, the refined minuet is suddenly reborn, and the music is instantly filled with inspiration. The main theme of the finale appears for the first time in the trio of the minuet. It is symbolic that this also featured in Mozart’s very first symphony, which he composed when still a child.
In Mozart’s forty-first, the finale was to be the most important movement for the first time in the history of symphony music. Here Mozart demonstrates his skill of polyphony, endlessly blending the finale’s various themes in newer and newer combinations until, in the coda, all the individual elements eventually come together. Most of all, this reminds one of a stonemason at work, building some grandiose edifice.