The Elbe river runs from the Czech Republic to Northern Germany, connecting major cities such as Berlin and Prague, and is one of Europe’s most significant waterways. Over the centuries, the Elbe and its surrounding regions have inspired a rich tradition in classical music. For instance, Johann Strauss II, the Austrian composer famed for his waltz “The Blue Danube,” even composed a piece dedicated to the meandering river.
This week, the U of M Symphony Orchestra prepares for its upcoming concert Along the River Elbe on Oct. 24. The performance will showcase several pieces composed in Central and Northern Europe in the 20th century.
While some people might think classical music is one homogenous genre, there is great cultural diversity within it — one can spot the influence of traditional European dances, folk musical scales and national landscapes in pieces by listening carefully or learning more about the composers.
Monica Chen, the orchestra’s musical director, said she constantly searches for diverse sounds and musical flavours when planning concerts.
“Whenever I’m planning orchestra concerts with the university, I’m always thinking about a wide variety of styles, of sound, landscapes of different countries and different composers,” she said.
In Along the River Elbe, concertgoers will begin their journey in Norway with Edvard Grieg’s Holberg Suite, a neoclassical suite with five movements. Each movement is inspired by a different dance, such as the sarabande or rigaudon, all with a subtle Norwegian twist.
The next set of pieces, Romanian Folk Dances by Hungarian composer Béla Bartók, will transport the audience to Romania and Hungary, regions renowned for lively fiddling and flute folk music. Each song was collected by Bartók during his travels through the countryside, showcasing the dark scales and irregular rhythms of Transylvania. According to Chen, these folk dances are unique because the solo violin can be evocative of the cold, which contrasts with the rustic and fast folk dances later in the suite.
Following that, is the Finnish composer Einojuhani Rautavaara’s Divertimento, a whimsical three movement suite written around 70 years ago but only published in 2022. His use of mystical, soaring melodies on stringed instruments are reminiscent of the majestic winters of Finland.
Chen noted that a unifying element in these sets is their use of church modes, which are scales that are neither major nor minor. These modes give the music a distinctive folk sound, whereas much of the earlier works in the baroque and classical era often fall into major or minor scales.
Finally, the Elbian adventure will conclude in the Czech Republic with Antonín Dvořák’s renowned Serenade for Strings.
“And Dvořák, I just really love that piece,” said the director as she reflected on her favourite thing about Central European classical music.
“I feel that the Dvořák [piece] encompasses so many different areas of both very active, lively dances, as well as like, a very luscious and, you know, that kind of late 18th century Romantic style that I personally really gravitate towards.”
Chen also remarked that Dvořák has a very Czech sound, and how music from different countries each has its own unique character.
“The journey of this side of Europe is quite different to an American — the more open sound of America or the pastoral vibes of England or the bombastic, usually dramatic sounds of Russia,” she said.
“Each country really has its distinctive sound, but you just have to, I guess come to hear it to really hear what those sounds are.”
The Along the River Elbe concert will take place on Thursday, Oct. 24, from 7:30 p.m. to 9:30 p.m. at the Desautels Concert Hall. To learn more about the concert and purchase tickets visit showpass.com. Connect with the U of M Symphony Orchestra on Instagram at umsymphonyorchestra.
