Timeless Elegance

Lully: Orchestral Suite from Alceste
Tchaikovsky: Variations on a Rococo Theme for Solo Cello and Orchestra
Schubert: Symphony no. 3 in D
Peter Hatch: Il Cimento dell’armonia et dell’inventione

October 25, 2019, 7:30pm
Fredericton: The Playhouse
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October 26, 2019, 7:30pm
Saint John: Imperial Theatre
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October 27, 2019, 2pm
Moncton: Capitol Theatre
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This Bravo series concert is preceded by a pre-concert talk one hour before the performance begins

Program Notes

Program notes Timeless Elegance

This Symphony was composed during Schubert’s most productive year in 1815 when he was only eighteen years old. It was presented in a private concert shortly thereafter, but the symphony would not be heard in a public performance until nearly 50 years later (and it was only published in 1884). Schubert’s early symphonies already have an air of maturity about them and yet one can sense more even poise in the Third.

In 1876, Tchaikovsky was learning to escape depression through work, and rapidly composed the Rococo Variations. Rococo refers to the a late baroque style of the 18th century in which architecture, art and decoration had an exceptionally ornamental and theatrical style. Winsome and elegant arabesques, sometimes with a touch of frivolity, were the main characteristics of this style. Although Tchaikovsky was composing an entire century after this movement, the concept of Rococo music enjoyed a certain currency in the 19th century, and given that Tchaikovsky wanted to escape his modern day troubles, he turned to composing music in the style of his most admired composer: Mozart. Measured, graceful and sunny, Tchaikovsky’s composition, which highly reflects the style of Mozart, surely provided a bright escape for him during these dark times. It contains all the elegance, grace and refinement of a Classical period work while containing a level of virtuosity that Mozart could not have imagined possible during his time.


Jean-Baptiste Lully’s Orchestral Suite from Alceste is an orchestral piece containing music deriving from his opera Alceste. Lully had devoted much of his life to the development a new genre of French music called Tragédie Lyrique. This genre was serious in tone, utilized plots based on classical stories and ideals, was highly stylized and required magnificent sets and machinery for special effects. During the 17th Century, this new style of French opera was highly acclaimed by both the audience and the King.