Classical Concert
Saturday, March 7, 2026, 3:00 pm
Hoffman Auditorium, Bruyette Athenaeum
University of Saint Joseph, West Hartford
STRAUSS Horn Concerto No.1, Op.11
Allegro
Andante
Allegro
OVED RICO, horn
TCHAIKOVSKY Symphony No. 3 in D major, Op. 29 (Polish)
Introduzione e Allegro. Moderato assai. Tempo di Marcia funebre; Allegro brillante
Alla tedesca. Allegro moderato e semplice
Andante. Andante elegiaco
Scherzo. Allegro vivo
Finale. Allegro con fuoco. Tempo di Polacca
Presented without intermission
TicketsExperience the rhythmic and dance-like joy of Tchaikovsky’s 3rd Symphony. The FVSO is thrilled to welcome for the first time Oved Rico as soloist for Strauss’s memorable 1st Horn Concerto. Don’t miss this exciting program that is sure to shake off any winter blues!
Born and raised in Worcester, Massachusetts, Oved is an established chamber musician having performed in concert series for the Ladies Musical Club of Seattle, Waterbury’s Young Artist Chamber Concert, The Friends of Chamber Music Kansas City as well as the Norfolk Chamber Music Festival. Oved is a founding member of the wind quintet ZaRiah.
He has also performed with multiple ensembles including the Hartford Symphony Orchestra (CT), Mansfield Symphony Orchestra (OH), New World Symphony (FL) and Chelsea Symphony Orchestra (NYC). A versatile musician, he was the hornist on the 2nd National Tour of Anastasia the Musical performing in major cities including Austin, Dallas, Denver, Phoenix, and Santa Barbara.
Along with performing, Oved is an avid educator. He has often appeared as the brass coach for the Worcester Youth Symphony Orchestra, and most recently joined the brass of WYSO on an international tour in Europe. Additionally, he is a teaching artist with the Yale School of Music’s Music in Schools Initiative. He was also the winds sectional coach at the Campamento Musical Juvenil in Panama City, Panama in 2018 and 2019.
Oved received a Masters of Music from the Yale School of Music, studying under William Purvis and a Bachelors of Music from Oberlin Conservatory studying under Jeff Scott and Roland Pandolfi.
Pyotr Ilyich Tchaikovsky (1840 – 1893) Russian
Symphony No. 3 in D major, Op. 29 (1875)
First Performance: November 19, 1875, Moscow, Russian. Russian Musical Society, Nikolay Rubinstein, conductor.
FVSO Performances: 12/10/11 (Eells)
One of the composer’s less frequently performed symphonies, yet it is a work of unique character and considerable charm. Nicknamed the “Polish” Symphony, this moniker is not Tchaikovsky’s own but stems from the final movement, which is a polonaise, a stately Polish dance. The symphony is also notable for its five-movement structure, a departure from the traditional four-movement form, and for its generally optimistic and celebratory tone, which stands in contrast to the emotional turmoil often found in his later symphonic works.
The symphony is structured in five movements:
Introduzione e Allegro: Moderato assai (Tempo di marcia funebre) The symphony begins with a somber, funeral march-like introduction, an unexpected start for such a bright work. This brief but poignant opening soon gives way to a vibrant and energetic Allegro, full of rich orchestral color and melodic invention.
Alla tedesca: Allegro moderato e semplice This movement is a graceful and charming “German dance.” Its elegant, almost waltz-like character provides a light and lyrical interlude between the more substantial movements. The music is delicate and refined, showcasing Tchaikovsky’s skill for writing intimate and appealing themes.
Andante elegiaco The slow movement is a beautiful and soulful elegy. It is deeply expressive, with a sense of melancholic longing. The music builds to a passionate climax before returning to a quiet, contemplative close.
Scherzo: Allegro vivo This Scherzo is a brilliant and fiery movement, full of rhythmic vitality and brilliant orchestral effects. It is a virtuosic showcase for the orchestra, with rapid string passages and soaring wind melodies. The energy is relentless, driving the music forward with great momentum.
Finale: Allegro con fuoco (Tempo di polacca) The symphony culminates in a spectacular and festive finale. The stately polonaise rhythm is present throughout, giving the movement a grand and ceremonial character. The music is brilliant and triumphant, ending the symphony in a blaze of glory. This movement’s patriotic feel is what likely led to the work’s enduring nickname.
Tchaikovsky’s Symphony No. 3 is a testament to the composer’s incredible versatility. While it may lack the intense drama of his later symphonies, it is a work of great craftsmanship and melodic beauty, brimming with graceful dances and joyful celebration.
Richard Georg Strauss (1864-1949) German
Horn Concerto No. 1 in E-flat major, Op. 11 (1882-1823)
Strauss’s Concerto is a remarkable achievement for a composer just entering his late teens. It is a work of great youthful energy and lyrical beauty, written as a tribute to his father, Franz Strauss, a professional horn player of international renown. Franz, a conservative musician, was a great admirer of Mozart, and his influence is evident in the concerto’s clear, Classical structure and its elegant, virtuosic writing for the solo instrument. It is a testament to the composer’s deep understanding of the solo instrument’s capabilities, an understanding no doubt born from his intimate knowledge of his father’s playing.
The concerto is in three movements, which are often played together without a break:
Allegro. The first movement opens with a vibrant, heroic theme in E-flat major that immediately establishes the horn as a commanding solo voice. The music is full of dynamic contrasts and soaring, lyrical passages that showcase the instrument’s expressive power. A more tranquil, flowing second theme provides a beautiful contrast before the development section, which navigates through various moods and keys. The movement concludes with a brilliant restatement of the main themes, leading directly into the next movement.
Andante. This lyrical and contemplative slow movement is a wonderful showcase for the horn’s warm, singing tone. The beautiful, cantabile melody unfolds with a sense of serene intimacy, allowing the soloist to demonstrate their expressive artistry. The gentle, pastoral atmosphere is a moment of quiet reflection before the lively finale.
Rondo: Allegro The finale is a spirited and virtuosic rondo. The main theme, bright and full of energy, returns periodically throughout the movement, interspersed with contrasting episodes. Strauss’s writing is playful and brilliant, demanding immense technical skill from the soloist. The movement features a final, triumphant return to the heroic mood of the opening, bringing the concerto to a grand and exhilarating close.