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