Beginning with the 2007-2008 season, Maestro Wilson will write a column on this page and in the hardcopy program for each concert - a total of five for the season.  His topics will be more specific and incisive than in the past and are sure to provoke stimulating thought about the many aspects of music.  Each column will be published at least a month before each concert, so keep checking this web site for updates.

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Posted Jan 31, 2008

“The Dance of Love”

It’s called the Sarabande.  It originated in Spain in the early 16^th century and was banned in 1583 for being too passionate, but the Sarabande had other plans.  It changed forms quicker than authorities could pass laws, at once fast and then slow, loud and then soft, suggestive and then subtle.  Soon, the dance was popular in Italy and moved its way across Europe.  The French performed it slowly; the Germans fast.  The dance of love found its way into the core of the Baroque dance suite and was immortalized by the finest composers of the day.  Bach added stunning Sarabandes to his Cello Suites; Handel would include a beautiful Sarabande in his Water Music, and soon the slow, haunting love dance was a permanent fixture in music.  Today, a quick search of iTunes will reveal Sarabandes in Classical, Jazz, Rock, World, New Age, and even Folk music.  And who could possibly forget Grieg’s heartbreaking Sarabande in his Holberg Suite?  A great conductor with whom I studied said of the Grieg, “This isn’t just a dance of love; this is your last dance with your one true love.”

Of course, our program this weekend is music of love and life.  Some scholars might argue that there are three Sarabandes in our program, all masquerading by different names.  That’s for you to decide.  The point here is that the orchestra—humankind’s greatest voice of love—is much like the Sarabande.  Originally formed in churches and courts, orchestras have taken radically different forms and served a myriad of functions for centuries.  The orchestra moved into the pit to accompany operas, built concert halls as monarchies fell, expanded and contracted to fit repertoire and rising and falling budgets, ballooned into the monstrous ensembles of Mahler and Strauss during the golden era of the late 19^th and early 20^th centuries, and moved into the recording studio for radio, television and film.  Like the Sarabande, the orchestra changes form and function, but remains as an essential tool of human expression.

The heart of this expression is the heart of this orchestra’s mission—the love of music.  Celebrating this Valentine’s weekend, I can think of no better expression of love than this music.  Enjoy!

-- Thomas Wilson

January 31, 2008

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Previous columns may be reviewed at the following links, listed by concert dates:

Oct 6 & 7, 2007 - The Classical Recording Industry in Transition                                                            Nov 10 & 11, 2007 - Investing in People                                                                                                Jan 19 & 20, 2008 - Join the (Friendly) Fight against “The Wallpaper Effect”                                               Feb 16 & 17, 2008 - The Dance of Love