s orchestra - cas · new d major symphony at the national theater on january 19, 1787....

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BYU-IDAHO DEPARTMENT OF MUSIC PRESENTS SYMPHONY ORCHESTRA Dr. Robert Tueller, Director Mozart 1756 - 1791 Featuring Concerto Festival Winners Matthew Gardner, Crystal Van Duren & Nathan May MAY 16, 2017, 7:30 PM BARRUS CONCERT HALL his later symphonies Unusual for a late classical symphony, this work uses a three- movement form dispensing with the expected minuet. This may have been an attempt to connect with the Prague audience who would have been familiar with the older Italian style of symphonic writing. The first movement begins with a slow introduction. Used in only two of Mozart’s other symphonies, this is perhaps the longest and most sophisticated of any classical era symphony introduction and prefigures the technique of Beethoven and later Romantic composers. The allegro portion of the movement relies on intricate contrapuntal compositional technique, introducing the expected sonata form themes, then combining them in increasing complexity. The entire movement, including the introduction and allegro stands as the classical era’s longest first movement -- even longer than first movements within Beethoven’s earlier symphonies. With this work, Mozart essentially expands the concept of what a symphony should be – transforming light social entertainment to large-scale expression which set a standard for later composers to follow. The first movement finally gives way to an expressive, melodic andante. Without an expected, lighthearted minuet, Mozart is free to expand this slower second movement, taking full dramatic advantage of an operatic opening melody and dark, contrasting minor second theme. Capitalizing on Prague’s love of Marriage of Figaro, the finale opens lightly with a quote from the opera’s second act, alternating with surprise punctuations of brass and timpani. Mozart’s successful visits to Prague culminated in the performance of the new D Major Symphony at the National Theater on January 19, 1787. Mozart’s early biographer Franz Niemetschek remembered the concert: “We did not, in fact, know what to admire most, whether the extraordinary compositions or his extraordinary playing; together they made such an overwhelming impression on us that we felt we had been bewitched." Dr. Tueller

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Page 1: S ORCHESTRA - CAS · new D Major Symphony at the National Theater on January 19, 1787. Mozart’searly biographer Franz Niemetschek remembered the concert: “We did not, in fact,

BYU-IDAHODEPARTMENTOFMUSICPRESENTS

SYMPHONYORCHESTRADr.RobertTueller,Director

Mozart1756-1791

FeaturingConcertoFestivalWinners

MatthewGardner,CrystalVanDuren&NathanMay

MAY16,2017,7:30PMBARRUSCONCERTHALL

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hislatersymphonies• Unusualforalateclassicalsymphony,thisworkusesathree-

movementformdispensingwiththeexpectedminuet.ThismayhavebeenanattempttoconnectwiththePragueaudiencewhowouldhavebeenfamiliarwiththeolderItalianstyleofsymphonicwriting.

Thefirstmovementbeginswithaslowintroduction.UsedinonlytwoofMozart’sothersymphonies,thisisperhapsthelongestandmostsophisticatedofanyclassicalerasymphonyintroductionandprefiguresthetechniqueofBeethovenandlaterRomanticcomposers.Theallegroportionofthemovementreliesonintricatecontrapuntalcompositionaltechnique,introducingtheexpectedsonataformthemes,thencombiningtheminincreasingcomplexity.Theentiremovement,includingtheintroductionandallegrostandsastheclassicalera’slongestfirstmovement--evenlongerthanfirstmovementswithinBeethoven’searliersymphonies.Withthiswork,Mozartessentiallyexpandstheconceptofwhatasymphonyshouldbe–transforminglightsocialentertainmenttolarge-scaleexpressionwhichsetastandardforlatercomposerstofollow.Thefirstmovementfinallygiveswaytoanexpressive,melodicandante.Withoutanexpected,lightheartedminuet,Mozartisfreetoexpandthisslowersecondmovement,takingfulldramaticadvantageofanoperaticopeningmelodyanddark,contrastingminorsecondtheme.CapitalizingonPrague’sloveofMarriageofFigaro,thefinaleopenslightlywithaquotefromtheopera’ssecondact,alternatingwithsurprisepunctuationsofbrassandtimpani.Mozart’ssuccessfulvisitstoPragueculminatedintheperformanceofthenewDMajorSymphonyattheNationalTheateronJanuary19,1787.Mozart’searlybiographerFranzNiemetschekrememberedtheconcert:“Wedidnot,infact,knowwhattoadmiremost,whethertheextraordinarycompositionsorhisextraordinaryplaying;togethertheymadesuchanoverwhelmingimpressiononusthatwefeltwehadbeenbewitched."

Dr.Tueller

Page 2: S ORCHESTRA - CAS · new D Major Symphony at the National Theater on January 19, 1787. Mozart’searly biographer Franz Niemetschek remembered the concert: “We did not, in fact,

BYU-IDAHOSYMPHONYDr.RobertTueller,Director

ElizabethCrawford,WoodwindSpecialistDr.MatthewMoore,BrassSpecialist

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FluteMaddieChildsCrystalVanDurenTravisMercadoOboeKendylHollingsworthHannahRingoClarinetEthanTuftsKalaniKrallBassoonJordanTerryElizabethCrawfordHornAdamHeyenJeffreyHadfieldTrumpetCJIsonKerryBurnettTromboneRandallSmithCalebLarsenTomFrancis

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TimpaniLandonWhitworthPercussionCaleColemanHarpBethanyBaileyViolinIMattGardnerSamShumwayAnnieTaylorAnnaRasmussenLeahJeppsonGretaHansenJuliannaOlsenViolinIIBryceBoydstonEloisaCardimNathanHooperMariahBozemanMissyMcKennaAngelaOlsen

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ViolaMarkShipleyDallinGreenLauraBerghoutLaurelWettsteinKelseyCleggSarahKuhnCelloKatyKempleLeticiaWilsonMinhaLeeJennaMedlynMarissaFaerberJacobHynesBassAaronMillerCurtisMainord

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NOTESComposedinlate1786,Mozart’sSymphonyNo.38inDMajorpremieredthefollowingyearintheCityofPrague.ItisuncertainwhetherMozartintendedtheworkforthePragueaudienceorifitbelongedtoanothercommission,howeverthereareseveralcluesthatsuggestthatlocation:

• MozartenjoyedsteadypopularityamongpatronsinPrague.HisoperaTheMarriageofFigarowaswellreceivedin1786andthissuccesscoincidedwithaninvitationtovisitandperformtherethefollowingyear

• Thesymphonycontainsunusuallycomplexuseofwindinstrumentsforthetimeperiod.TheplayersintheregionwererenownedfortheirskillandthisworkincludesMozart’sfirstuseofsuchadvancedorchestrationtechnique,whichherepeatedinallof

PROGRAMViolinConcertoinDMinor,Op.47..............................................JeanSibelius

I. Allegromoderato 1865–1957MatthewGardner,violin

PoemforFluteandOrchestra.................................CharlesTomlinsonGriffes

1884–1920CrystalVanDuren,flute

ConcertoforDoubleBassinEminor,Op.3........................SergeKoussevitzky

III.Allegro 1874–1951NathanMay,doublebass

SymphonyNo.38inDMajor,PragueK.504........WolfgangAmadeusMozartI.Adagio–allegro 1756–1791II.AndanteIII.Finale:Presto