“DIVERTIMENTO!” concert

“DIVERTIMENTO!” presents a unique lineup of 3 divertimenti (‘divertimento’ meaning ‘diversion’ – or fun – in Italian). These 3 divertimenti, while being hugely different from one another in terms of instrumentation and form, all bear the resemblance of having elements of lightheartedness and joviality. Originating in the 18th Century, the Divertimento was at first a work consisting of anywhere between three and a dozen or more movements, and these movements often included sonata form, variations, dances and rondos. This is true also of the divertimenti on our programme.

In the 18th Century, divertimenti often were written for chamber groups, and often served as entertainment for social gatherings. Some famous divertimenti include those by Mozart and Haydn. In general, these works were designed for small ensembles, making them easy to use in various settings.

Tonight’s divertimenti are composed for different combinations; Bartok’s is for string orchestra, Mozart’s for a wind sextet, and Ibert’s for a chamber orchestra that also includes piano and… police whistle!

The Bartok Divertimento is the most atypical divertimento of the evening’s lineup. Its three movements evoke an old-fashioned concerto grosso from the baroque period (the hallmark of the concerto grosso being the alternation between the full body of the ensemble and smaller collectives of solo players). And while the outer movements (1 and 3) have a lighthearted and upbeat character that embodies Hungarian folks music elements by way of dance, rhythm and harmony, the middle movement – composed after the other two – shows a composer weary of what’s to come in Europe. Written in 1939, the Divertimento was written just before Bartok moved to the United States at the onset of the Second World War. The mood of the middle movement is dark; it embodies what’s become known as “Night Music”, a style in much of Bartok’s music that sees a slow, middle movement with eerie dissonances, cold melodies and textures that can often be mistaken for music written for Halloween. The slow movement here has some of the most haunting sound effects in the muted accompaniment, while the violins bring bone chilling, climactic screams.

In contrast, the first movement starts with a lively dance in varied meter, punctuated by irregular accents and repeatedly interrupted by the alternating solo and full string orchestra passages. The finale, even more wild, features an even more excited call and response between solos and orchestra in a manner suggestive of gypsy dance moves demonstrated and then imitated en masse as one could imagine taking place in a village festival scene. The movement shows Bartok’s strength in exploring the limits of string performance. One technique henceforth known as the “Bartok pizz” has the basses plucking the string violently, forcing it to slap against the fingerboard in a percussive manner.

Mozart’s Divertimento (one of a many which he composed) is this time written for a group of six wind instruments – 2 oboes, 2 bassoons and 2 French horns. His Divertimento K270 is one of a group of five written for this combination of instruments. None of these divertimenti were published during Mozart’s life. These works are rarely performed, and probably suffered this under-appreciation merely because of the sheer magnificence of so much of Mozart’s “serious” music. However, the combination of these instruments gives a rich palette of tone colors that sets it greatly apart from the two divertimenti on the programme.

Written in four movements typical of a Classical symphony, the Divertimento at hand is the most interesting of the set. The fifth and final divertimento is the most sophisticated of the set. The Allegro molto is in full sonata form with a development section and a varied repeat in the recapitulation. The Andantino is a gavotte with a tiny but delightful three-beat canonic episode between first oboe and second bassoon at the beginning; the coda features four bars of Alberti-bass accompaniment for the first horn bringing the latter to prominence. The Menuetto carries the specific indication of moderato and features a peculiar hiccup in the second bar; the Trio is a Ländler. The Presto is a 3/8 gigue featuring a brief moment of glory for the first bassoon in the coda. This divertimento is as joyous as any in Mozart’s output, and we are thrilled to bring it to our audience, as it merits to be performed much more frequently.

The most “fun” Divertimento of the night is undoubtedly Ibert’s Divertissement. Written in 1930, just a decade prior to Bartok’s, the Divertissement is quintessential joy and party music. The orchestration is unusual in that single winds and brass join a small consortium of strings, a piano and percussion (inclusive of a police whistle which crashes onto the scene in the final movement and evokes a scene resembling a nonsensical police chase where the pursuer never quite catches up with the subject). It’s a piece overflowing in humor, sarcasm and life. At one point, the famous Wedding March from Mendelssohn’s Midsummer Night’s Dream (everyone will recognize this) suddenly appears; but it’s not as we know it, as it is quickly interrupted by comical sound devices in the various orchestra sections and a hysterical march that quickly erases any sense of a harmonious wedding.

A short and dark nocturne (one would be forgiven for mistaking this one for a Bartok “night music” movement) is followed by a waltz; this is not a typical Viennese waltz, even if it quotes the Blue Danube. This waltz seems to be danced by a drunkard, as it never quite stabilizes. The trombone comes through with wonderful glissandos mimicking laughter, perhaps poking fun at the faulty dance moves. A parade follows, which of course is virtually interrupted by a tempestuous piano cadenza that resembles a child having a tantrum. This quickly develops into a quick dance-march full of wit and funny sound effects in the brass. Oh what a fun piece indeed!

The concert begins with, not divertimento, but some famous rags by American composer Scott Joplin. The rag emerged in the late 19th Century, and is characterized by its syncopated or “ragged” rhythm. It is an American form of popular music and the first African American style of music that made an impact on mainstream popular culture. One of Joplin’s most famous rags, the Maple Leaf Rag, was of great importance as a source of continued financial income for Joplin. Despite its success, Joplin spent much of his life struggling with finances.

Three Rags for Five is a collection of three of the most popular of Joplin’s rags – The Entertainer, Ragtime Dance, and Gladiolus Rag. It is arranged for a brass quintet and is inventive in its transfer of the original piano music to this assortment of musicians. It is a perfect way to start an evening of music meant to enlighten and entertain.