WOLFGANG AMADÈ MOZART (1756-1791)Ballet Music from Idomeneo, Rè di Creta, K.366. Years later he recalled that when Mallarmé heard the music for the first time (apparently the composer’s own performance at the piano in his apartment), he commented, “I was not expecting anything of this kind! Mozart did not compose very much while in Paris. Probably he wrote all three of the symphonies with the aim of introducing them at his own concerts. When Mozart returned to Salzburg, he tried his hand at several pieces in this new form, and the three MAGNIFICENT MOZART PROGRAM NOTES 41 is the last of a set of three that Mozart composed in rapid succession during the summer of 1788. Debussy’s success in obtaining this fluid, pastel effect can be measured by the fact that musicians still argue about where the various sections begin and end. hybrid form of a concerto/symphony in which multiple soloists are featured independent from the orchestra, with a more defined soloistic role than the Baroque concerto grosso form. )[4], The work evidently was popular. Wolfgang Amadeus Mozart, posthumous painting by Barbara Kraft, 1819. On February 10, 1794 Solomon presented the premiere as part of a concert at Hanover Square that included a piano concerto by Dusseck and a new violin concerto by Viotti (with the composer doing the solo honors). During the years 1782 to 1788, Sieber's catalog described it as "in the repertoire of the Concert Spirituel". 29 in a Major, K. 201/186a. He composed his opera seria Idomeneo, Rè di Creta (“Idomeneus, King of Crete”) in late 1780 or early 1781, for performance in Munich. The resulting work is rich in elaborate choruses, and it boasts some superb ensemble numbers as well, including a great climactic quartet. Following that performance, Mozart replaced the symphony’s original Andante with another movement in the same tempo and the new version of the symphony was unveiled in a Paris concert on August 15. 41 in C major, K.551, Jupiter Wolfgang Amadeus Mozart A t the end of this concert, we will hear the Symphony No. It was Mozart's first symphony to use clarinets. [a] [3], The work was performed again at the Concert Spirituel on 15 August, this time with a new second movement, an Andante replacing the original Andantino in 6/8 (the latter, according to Deutsch, "had failed to please". His greatest success of this period of time was the Paris Symphony. Royal College of Music, London. We can be sure that poet and composer were personally acquainted by 1892, when they both attended a performance of Maeterlinck’s drama Pelléas et Mélisande, and it is certainly likely that they discussed the musical possibilities of Mallarmé’s “Faune.” Debussy began composition of the Prelude that year, along with most of the other compositions that were to occupy him for the next decade: his String Quartet, the opera Pelléas et Mélisande, the Nocturnes for orchestra, and a number of songs. [5] The work was published in Paris by Sieber and announced for sale 20 February 1779. But Mozart liked ensembles, in which various characters can express their feelings together. He composed the Serenade for Strings between September 21 and November 4, 1880. The young composer, just twenty‑one and ready to spread his wings, was captivated by the music‑making in Mannheim (and equally captivated by a soprano named Aloysia Weber, but that’s another story). The premiere took place on 12 June 1778 in a private performance in the home of Count Karl Heinrich Joseph von Sickingen, the ambassador of the Electorate of the Palatinate. The actual thematic matter is relatively conventional, more a matter of figures than melodies, but there is not development as such, and most of the working-out of ideas comes at their presentation." The freshness comes in part from the delicacy of the instrumentation, which is filled with wonderfully new effects, of which the brilliant splash of the harp glissando over a dissonant chord at the end of the first flute phrase is only the most obvious. For this event Mozart was given an extraordinary ensemble—the finest orchestra in Europe (the Mannheim orchestra, which had recently been moved to Munich) with twice the usual number of strings and a full wind complement including, for the first time in Mozart’s experience, clarinets. 39 in E-flat major, K.543, was completed on June 26, 1788. It was an overture dealing with Napoleon’s invasion of Russia in 1812, and would call for actual cannons in performance. It is a spacious work of great humanity. It was not to be; the aristocracy showed no special interest in an ex‑prodigy now grown up, and—most tragic of all—during their stay Mozart’s mother fell seriously ill and died in early July. CLAUDE DEBUSSY (1862-1918)Prelude to The Afternoon of a Faun. The score calls for flute, two each of clarinets, bassoons, horns, and trumpets, plus timpani and strings. Mozart and BeethovenPROGRAM NOTES Wolfgang Amadeus Mozart (1756-1791) Ballet Music from Idomeneo, K. 367: Chaconne and Pas Seul Mozart composed Idomeneo for the Elector of Bavaria’s court in Munich French opera was popular, and a ballet sequence was mandatory Mozart used a theme by Gluck for his first movement Rhythmic consistency and gorgeous melodies make this music perfect … This music prolongs the emotion of my poem, and sets its scene more vividly than color.” The first performance of the Prelude made Debussy famous overnight; the striking character of this music, which everyone experienced as something quite new, established his personality even in the eyes of those critics who expressed a wish for “an art more neat, more robust, more masculine.”. Duration is about 28 minutes. His last three symphonies, K. 543, 550, and 551, were all composed during the summer of 1788, probably for a series of subscription concerts that seem not to have taken place. In 1875, Mallarmé tried to get his work published as “Improvisation du faune” in a literary anthology, again without success. 39! By June 1788 Mozart’s fortunes had entered on the long, steady decline that culminated in his death, at age thirty-five, three-and-a-half years later. This wonderful ballet music, symbolizing the harmonious resolution of the dramatic situation, shows us a Mozart reveling in the quality of the finest orchestra he had yet had at his disposal. The development section is one of the shortest in any Mozart symphony, never moving far afield harmonically. 41 by Wolfgang Amade-us Mozart, a sublime masterpiece from 1788 that exemplifies why its composer occupies a spot on the very top rung of symphonic creation. The Three Bs / Symphonic Surprises / Strauss and His Idol. The work received a positive review in the June 26 issue of the Courrier de l'Europe, published in London: The Concert Spirituel on Corpus Christi Day began with a symphony by M. Mozart. The first movement opens with a stately slow introduction with dotted rhythms providing a nervous background for scale figures (which recur in the body of the movement), culminating in a grindingly dissonant appoggiatura. Symphony No. Michael Steinberg, the San Francisco Symphony’s program annotator from 1979 to 1999 and a contributing writer to our program book until his death in 2009, was one of the nation’s pre-eminent writers on music. The score calls for three flutes, two oboes and English horn, two clarinets, two bassoons, four horns, crotales, two harps, and strings. Tickets: Adults: $40 Students (through college): $5 The symphony is notable for having an unusually large instrumentation for its time, made possible by the large orchestra available to Mozart during his time in Paris. He began composing the Prélude à l’Après-midi d’un faune in 1892 and completed the full score on October 23, 1894. This was all the more easily accomplished in that the libretto was derived from that of an earlier French opera, Idomenée, whose libretto was written by Antoine Danchet for Campra in 1712. The “lieto fine” (happy ending) required by the Metastasian operatic style allowed the leading characters to personify a world of reason and forgiveness, a world of self‑control, where rulers do not descend to bloodshed as easily as they do in ours. The first of the three, in E-flat major, was completed on June 26; we have no record that any of these symphonies was ever performed in Mozart’s lifetime, though he is unlikely to have composed something as elaborate as a symphony (much less three of them) purely “on spec,” and he must have anticipated some concert series on which they would be heard. Portrait of Leopold Mozart from his 1756 Versuch einer … ), specifying that it be a serious opera in Italian. Then came Don Giovanni, composed for the citizens of Prague who had taken Figaro completely to their hearts. Having been told that his work would be of no interest as a theatrical piece, he put it aside for a decade. It has vigorous, stirring tuttis, with a lively violin line and an active line for the basses, lending the music extra animation. 23 in A major, K. 488 BORN: January 27, 1756, in Salzburg DIED: December 5, 1791, in Vienna WORK COMPOSED: early in 1786 WORLD PREMIERE: Unknown, but almost certainly March 1786, in Vienna, with the composer playing the solo part and conducting from the keyboard. Kansas Cty Symphony PROGRAM NOTES By Ken Meltzer 28 2018/19 Season kcsymphony.org | WOLFGANG AMADEUS MOZART (1756-1791) Symphony No. [6], The symphony was later performed in the Burgtheater in Vienna on 11 March 1783 during a benefit concert for Mozart's sister-in-law, the singer Aloysia Weber.[7]. Menuetto—Trio—Menuetto da capo IV. Died December 5, 1791, Vienna, Austria. "[8], "The Autograph Manuscripts and Early Performances of Mozart's, International Music Score Library Project, "Mozart:Symphony No. The Symphony No. Its first performance took place in St. Petersburg on October 30, 1881. Clarinets were relatively new in the symphony orchestra (although long since a standard component of Mozart’s opera orchestra), and it was by no means a foregone conclusion that they would be included. If Mozart had continued to work in that vein, the history of opera might have been very different. Symphony No. Symphony No. Mozart visited his musical friends there in December, while making his reluctant return home to Salzburg. The safety of patrons, musicians and staff remains the Symphony’s top priority. 39 in E-flat Major, K. 543, Symphony No. Mozart & Mendelssohn. 31 PROKOFIEV Violin Concerto No. His first letter to Puchberg referred to “concerts in the Casino,” from which he hoped to obtain subscription money in order to repay his debts. Despite a successful premiere for his Paris Symphony (K297) at the Concert Spirituel on June 18 and a few other small commissions (concertos for flute, some ballet music), There are 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The score calls for flutes, oboes, clarinets, bassoons, horns, and trumpets in pairs, timpani, and strings. We are privileged to continue publishing his program notes. [1], The work was composed in 1778 during Mozart's unsuccessful job-hunting sojourn in Paris. 102. November 6, 2019. Neither opera, then, had much improved the Mozart family exchequer, and by early June 1788, only weeks after the Vienna premiere of Don Giovanni, Mozart was forced to write to his friend and fellow Mason, Michael Puchberg, requesting the loan of 100 gulden. The melodic line of the introduction only comes to a close in the opening phrase of the smiling allegro theme in the violins (with echoes in horns and bassoons), a calm pastoral scene following the tension of the preceding passage. 102. The work is nicknamed the Jupiter Symphony, likely coined by the impresario Johann Peter Salomon. Andante III. On June 18 it was played in public in the same city by the Concert Spirituel. Sadie notes, reflecting on Leopold's remark given above, that indeed "Mozart's Paris Symphony is quite noisy. Duration is about 10 minutes. Program Notes: By Lawrence Budmen Wolfgang Amadeus Mozart (1756-1791) Symphony No.35 in D Major, K.385 (“Haffner”) Siegmund Haffner (a member of a prominent Salzburg mercantile family) commissioned Mozart to write a serenade for his sister’s wedding in 1776. His own poetry, he said, was inspired by “music proper, which we must raid and paraphrase, if our own music [poetry], is struck dumb, is insufficient.”, Debussy had already set a Mallarmé text as early as 1884. We can only be grateful that the symphonies were composed in any case. In contrast to the symphony on tonight’s program, which shows the composer in an exalted mode, the Concerto for Flute and Harp is a youthful and charming work, easy on the ears and sprinkled with delicate ornament. 25 in G Minor, K. 183 Mozart composed this symphony in 1773; it was first performed on October 5 of that year in Salzburg. The score calls for two oboes, two bassoons, four horns, and strings. In fact, Idomeneo was the finest opera seria composed in many years‑‑perhaps ever. PROGRAM: Bach – Orchestral Suite No. Following a passage on the nearby key of A‑flat, a vigorous modulation seems to be leading to C minor, but at the last moment a wonderful woodwind extension brings it around to the home key and ushers in the recapitulation. In January 1779 Mozart reluctantly returned to Salzburg after a disastrous two-year trip to Germany and Paris. Again on June 17 he needed money to pay his landlord and asked Puchberg for a few hundred gulden “until tomorrow.” Yet again on the 27th he wrote to thank Puchberg for the money so freely lent him, but also to report that he needed still more and did not know where to turn for it. He completed the serenade on November 4, the overture two weeks later. Finally, though, while living at Kamenka, the home of his sister and her family (and long one of Tchaikovsky’s favorite retreats), he began work on a composition for the Silver Jubilee Exposition. © Steven Ledbetter (www.stevenledbetter.com), Times-Union Center for the Performing Arts 300 Water Street, Suite 200 Jacksonville, FL 32202, Administration: 904-354-5479 Giving: 904-358-1479, Plan Your Visit Resources & Finances  News Memberships Employment & Auditions, Times-Union Center for the Performing Arts. How astonishing, then, to realize that between the last two letters cited he composed the Symphony No. Duration is about 29 minutes. Throughout his life, he was also interested in music; he had even written an essay on Wagner for the “Revue wagnerienne” in 1885. PROGRAM NOTES by Kalindi Bellach ©2019. 2 BARBER Adagio for Strings HAYDN Symphony No. Program Notes: Mozart & Beethoven Conductor Xian Zhang leads the Seattle Symphony in music by William Grant Still, Wolfgang Amadeus Mozart, and Ludwig van Beethoven on Thursday, September 24, 2020 at 7:30pm on Seattle Symphony Live . Enhanced Program Notes: MOZART + HAYDN Portrait of Joseph Haydn by Thomas Hardy, 1791. He adds, "[Mozart's father] Leopold remarked that, to judge by the Parisian symphonies he had seen, the French must like noisy symphonies."[8]. Wolfgang Amadeus Mozart (1756–1791)Wolfgang Amadeus Mozart (1756–1791) While Mozart's favored instrument was the piano, he was also a highly accomplished s Violin Concerto No.5 in … 31 in D major, K. 297/300a, better known as the Paris Symphony, is one of the most famous symphonies by Wolfgang Amadeus Mozart. Mozart’s attempt to improve his family’s situation during this difficult summer is clearly apparent in the “minor” works he was composing along with the three symphonies. Featuring: William Boughton, conductor Tai Murray, Violin. Symphony - Symphony - Mozart: Wolfgang Amadeus Mozart raised the symphony to heights that in many respects remain unsurpassed. Among these delicious moments are the woodwind additions to the main theme in the strings at the recapitulation. Program Notes. Wolfgang Amadé Mozart (1756-1791) Mozart’s Symphony No. This artist, who from the tenderest age made a name for himself among harpsichord players, may today be ranked among the most able composers. The overture was the last thing to be composed, probably just before the dress rehearsal on January 29, 1781 (the composer’s twenty‑fifth birthday). and he was writing a sheaf of piano concertos and other works. Even more impressive is the striking variety between the three works, each of which has a character and mood all its own. It was commissioned by Joseph Legros, the head of the Concert Spirituel. PROGRAM NOTES by Kalindi Bellach ©2017. It is clear from these letters that Mozart was in serious financial difficulty (a situation that was only just beginning to change at the time of his death). In 1865 the poet Stéphane Mallarmé produced a “Monologue d’un faune,” with which he hoped to obtain a performance at the Comédie Française. The composer was then 22 years old. Mozart in the Afternoon Series. Mozart and Friends Program Notes. ORCHESTRAL SUITE NO. PYOTR ILYICH TCHAIKOVSKY (1840-1893)Serenade in C for Strings, Opus 48. This is a piece from the heart and so, I venture to say, it does not lack artistic worth. But when Mozart returned to Paris in the spring of 1778 with his mother in tow things very much did not go to plan. Symphony No. reif conducts tchaikovsky & mozart July 5, 2020 ... K. 165 (1773) Wolfgang Amadeus Mozart (1756-1791) On October 24, 1772, Mozart and. It is not surprising that he felt unable to do anything with such a topic; his creative inertia took the form of a variety of activities to help him avoid composing: revising earlier works, proofreading scores, and renewing his study of English in the hopes of eventually being able to read his favorite English authors, Dickens, Thackeray, and Shakespeare. "His mother, who had accompanied him on the trip, died 3 July. Finally the Elector in Munich commissioned an opera from the young man, largely at the express wish of the musicians in his court (what enlightened leadership! Tickets for this event will be available for purchase at Woolsey Hall beginning at 6:30pm. The original plan was to have a series of staged tableaux accompanied by music, each scene to be set by a different composer, chosen by lot. Deutsch lists several further performances at the Concert Spirituel during 1779, on 18 and 23 March, 23 May, and 3 June; and on 14 May 1780. The scurrying turn appears alone or in combinations, turning to unexpected keys after a sudden silence; the “hiccup” often comes as a separate response from the woodwinds to the rushing figure in the strings. Tchaikovsky spent most of the year 1880 in the country, part of the time installed at Simaki, a small house on one of the estates of his patroness, Nadezhda von Meck, where, as always, he carefully avoided personal contact with the woman whom he addressed as “Dearest Friend” in a long and intensely personal series of letters covering the years of her support. They are all either educational pieces, which could serve students well, or small and easy compositions that might be expected to have a good sale when published. Program Notes, 2019-20 Season. Mozart's 1778 six month trip to Paris was a difficult time for him personally and professionally, according to SPSO program notes. Mozart thought he could enrich and revivify a form that had enjoyed a long and successful popularity but that was becoming stale and tradition‑ bound. Mozart adhered to the prevalent Parisian style, featuring timbals, trumpets and – a first for Mozart – clarinets, but did not include a minuet. During the year he had witnessed, both in Mannheim and Paris, the highest quality of operatic production, and he was eager to contribute to it. At the same time, purely for his own satisfaction, he wrote a serenade for string orchestra, a late-nineteenth-century equivalent of the Classical divertimento. But, as far as we know, the concerts never took place. He had hoped to obtain financial stability through the performances of his operas, but The Marriage of Figaro achieved only nine performances during its season in the repertory (1786), partly, at least, because other, more influentially placed, composers had their own fish to fry and were not interested in supporting Mozart. The RCM Classical Orchestra, directed by Matthew Truscott, performs Mozart's Symphony no 31. Program: MOZART “Paris” Symphony No. 36 in C Major, K.425,“Linz”Wolfgang Amadeus Mozart When Mozart married Constanze Weber in August 1782, in Vienna, Mozart’s family saw her as their intellectual and social inferior. 39 in E‑flat major, K.543. The score calls for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. But as it was, most of his remaining operas were in the genres of the German Singspiel or the Italian opera buffa, both of which had quite different traditions and requirements from the opera seria. 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