Events

Carl Maria von Weber (1786–1826) 
Andante and Hungarian Rondo 

Carl Maria von Weber is considered one of the pioneers of German Romanticism. His mature operas, which include Der Freischütz (1821), Euryanthe (1823), and Oberon (1826), had a major impact on subsequent German composers such as Marschner, Meyerbeer, and Wagner, while his compositions for piano influenced those of Mendelssohn, Chopin and Liszt.  

Weber's compositions for bassoon occupy an important place in the instrument’s repertoire, standing out in a century which produced very few works for solo bassoon. The 1811 bassoon concerto was such a success for Munich Orchestra bassoonist Georg Friedrich Brandt, that he immediately requested another work. Weber finally complied two years later by reworking a piece originally written for viola for his stepbrother Fritz: the Andante and Hungarian Rondo.  

The modifications for the bassoon version are mainly in the solo part, but the character of the work remains essentially the same. As the title implies, the work is in two (continuous) parts. The Andante is a set of short variations, followed by the rondo which with its rollicking melody and dance-like character, is one of the earliest examples of Germanic fascination with all things Hungarian. 

Tonight is the Billings Symphony’s first performance of either version of this Weber work. 

Johannes Brahms (1833–1897) 
Lara Hoggard, translator and editor (1915–2007) 

A German Requiem 

 “[A German Requiem] reaches beyond the walls of churches to touch the eternal sources of grief and hope. It is a spiritual work in the universal language of music, addressed to all humanity, which is to say, to those that mourn and need comfort.” — Brahms’ biographer, Jan Swafford 

Brahms was famously secretive about his works in progress, habitually destroying his sketches, so we are left to speculate on the impetus for his German Requiem. The mental deterioration and eventual death of Brahms’ friend and mentor, Robert Schumann, in the middle 1850s, his first hearing of Beethoven’s Ninth Symphony about the same time, and the death of his mother in 1865 are all assumed to have contributed.  

The work’s title reflects Brahms’ use of the Martin Luther’s German translation of the Bible rather than the traditional Roman Catholic liturgical (Latin) text. Taken from both Old and New Testaments and from the Apocrypha, the text Brahms compiled has little in common with the conventional Requiem Mass, omitting the horrors of the Last Judgement—a central feature of the Catholic liturgy—and any final plea for mercy or prayers for the dead. Even the concept of Christian redemption through the death of Jesus is but a passing reference in the last movement.  

By shunning Latin for the everyday language, Brahms intended his work to be more accessible to modern audiences. While some have interpreted the Requiem’s title as a mandate to perform the work only in the German language, the Brahms himself once wrote, “I confess that I would gladly omit even the word ‘German’ and simply put “Human.” Indeed, the composer would be pleased that his German Requiem is heard in translation far more often than any other religious work of comparable stature. 

The mostly completed Requiem was presented in what is usually cited as the work’s first performance, led by Brahms himself on Good Friday 1868 at Bremen Cathedral. Robert Schumann’s widow, Clara, was among the 2,500 in attendance at a very successful performance that provided both the composer and his Requiem an enduring place in musical history. Shortly after, Brahms added the fifth movement—often considered a commemoration of his mother—and the final version of The German Requiem with all seven movements received its premiere in February 1869 at the Leipzig Gewandhaus.  

Brahms’ Human Requiem has been performed five times previously by the Billings Symphony and Chorale, first appearing on the March 1959 program under the baton of Maestro George Perkins, and most recently in November 2010 under the baton of Maestra Anne Harrigan.  

The concert will showcase 80 minutes of music and will not include an intermission.

Whenever you want! Seriously, the tradition of clapping only at the end of pieces was only for a short time in the history of music. Typically, people like to clap after a great solo in a jazz tune, an impressive dance move, or after a great movement (section) in a symphony. If you really like a piece, clap at the end of the movement and yell "encore" if you want to hear more. (We love playing encores!)

Reserved Seating:

Tier 1 ticket - $69
Tier 2 ticket - $64
Tier 3 ticket - $54
Tier 4 ticket $39

Under 30/Student:

Tier 2 ticket - $38
Tier 3 ticket - $32
Tier 4 ticket - $20

*all ticket prices do not include box office fees

Tickets start at $39 for adults, $20 for under 30 and students, and go up to $69 based on the seat location. The least expensive seats are in the back of the balcony and in the front row closest to the stage.

Here are some other helpful tips you should keep in mind:

• Interested in additional savings? Buy a subscription! Contact us at 406-252-3610 or visit our offices at 2820 2nd Avenue North and we'd be more than happy to find the best deal for you. Subscriptions for our 2023–2024 season are available!
• If you’re a student, veteran, or active duty military, be sure to bring your student/VA/Military ID for great discounts!

Third party tickets are not accepted. All tickets must be purchased through the Alberta Bair Theater Box Office.

More than anything, we want you to have fun and express your own style when you come to the Billings Symphony, so dress in a way that works for you. Some people love dressing up and going out—if that’s you, do it and you won’t be the only one, we promise. If you prefer to be more casual, then you probably won’t be the only one dressed casually, either. In short, you do you, and we’re just glad you’re joining us.

On-Street Parking

On City streets, there is both metered parking and posted parking. Metered parking times range from 2 hours to 10 hours and is free after 5 pm and on weekends.

There are two free handicap parking spots on the corner of North Broadway in front of U.S. Bank.

Garages

Park 1
Credit/Debit Cards Only. Located at 2912 Third Avenue North and is open to the public 24-hours per day – the office is open Monday through Friday, from 10:30am-6:30pm. There is free parking on Sundays.

Park 2
Credit/Debit Cards Only. Located at 2651 First Avenue North, Park 2 is open to patrons 24-hours per day – the office is open from 7:15am – 11:00pm, Monday through Saturday.

Park 3
Accepts Cash. Located adjacent to City Hall at 210 North 27th Street and is open 7am-11pm – the office is open Monday through Friday from 10:30am – 6:30pm. There is free parking on Sundays.

Park 4
Located at 515 North 31st Street. The garage and office are open only Monday through Friday from 5:30am – 9:30pm. After 9:30pm, parkers are unable to remove their vehicles from the garage.