mozart adagio and fugue program notes

The Clarinet Concerto in A, K. 622, of 1791, displays the richly nuanced style of his last months of life in a unique work for what was in his time a little-exploited single-reed instrument. Shostakovich was there to write music for a film being jointly produced by Soviet and East German filmmakers, set in that desolate environment. Program Notes. Mozart in the Afternoon Series. 15 in A minor Op. These three songs were freestanding or part of other projects (though Golijov’s frequent collaborator, the American soprano, Dawn Upshaw, premiered all three) before Golijov was commissioned by the Minneapolis Symphony to orchestrate them as a set for their 100th anniversary celebration. Salzburg, Austria. 110                  Dmitri Shostakovich   (1906-1975), String Quartet No.1 in e-minor, “From My Life”        Bedrich Smetana (1824-1884). The pseudo-tragedy of the quartet is such that while composing it my tears flowed as abundantly as urine after downing half a dozen beers.”, According to one friend, Shostakovich bought a bottle of sleeping pills upon his return from Dresden, and planned for the quartet to be his final composition. Mozart, Adagio and Fugue in c-minor,  KV 546. When Mozart reached his mid-twenties, he effectively made a break for it—to Vienna, one of the great cultural capitals on the European continent. In his songs and instrumental music are the mixes and influences of his experience of the world, from Klezmer to Piazzolla, gypsy music and the standard Western classical canon. Fourth movement: Understanding of the potentialities of the folk music element, joy at the success of this course up to the time it was checked by the catastrophe of the beginning of deafness, the outlook into the sad future, the tiny rays of hope of recovery, but, at the thought of the beginnings of my career, nevertheless sadness.”, In the middle of the last movement, the first violin plays a strident E. Of this , Smetana wrote: “The long, insistent note in the finale … is the fateful ringing in my ears of the high-pitched tones which, in 1874, announced the beginning of my deafness, Copyright ©2020 Honolulu Chamber Music Series. So I have decided to write one myself. While this is admirable from the simple perspective of workload, it is remarkable because the music is not just a collection of typical classical gestures (antecedent-consequent phrases, alberti bass, etc.) 40 in F Major, (1732 – 1809) Op.50, No.5 “The Dream” (1787) Hugo Wolf Italian Serenade for String Quartet (1860 – 1903) (1887) 16-May-10 - Download Program Mozart is masterfully economical in this movement, constantly re-using his material over and over again, mixing garnish and main course at will. Adagio und Fuge Alt ernative. Prelude and Fugue in D Minor, K. 404a for String Trio (Fugue by Bach) (1782) Notes for: July 14, 2009 In the spring of 1782, Mozart, then a young composer-musician in Vienna, met Baron Gottfried van Swieten, a wealthy aristocrat who was superintendent of the Imperial Library of Music and who sponsored regular Sunday concerts in his home. The earliest manuscript copies were probably made in 1719–1727. She is a graduate of New England Conservatory, and writes program annotations for ensembles nationwide. Even in the eighteenth century the fugue was considered an old musical form (Bach, who died just six years before Mozart’s birth, was considered a bit antiquated for continuing to dwell on them). PROGRAM NOTES by Kalindi Bellach ©2019. Adagio and Fugue in C minor for String Quartet, K. 546. I forgot – there is also a theme from my Tenth Symphony. He was the head of music for the immensely wealthy Esterházy family in modern-day Austria, writing and directing for their bustling cultural life. A year later he wrote this quartet, which in the composer’s words was “almost a private composition, and therefore purposely written for four instruments which, as it were, are to talk to each other in a narrow circle of friends of what has so momentously affected me.”. 2 in A minor Op. Carl Nielsen Symphony No. This afternoon, we launch David Hodgkin’s 25th year as Artistic Director of Coro Allegro with a gloriously concise masterwork by Haydn, an unfinished Great Mass of astounding scope by Mozart, and in between three prayers for peace of sublime simplicity. He later added counterpoint, fugue, musical form, ... where the deeply felt melody of the Adagio … . It was this fugue that, five years later, Mozart transcribed for strings, adding an adagio introduction, in the manner of a Bach-like French overture, with that genre’s typical dotted rhythmic figures. Levin has worked the fragment into a completed fugue which, unlike some earlier efforts, remains in a single key throughout, as did Mozart's fugues for similar endings. MIKHAIL GLINKA. 110. Adagio in B minor, K. 540 October 29, 2017: Peter Serkin, piano According to his own catalog, Mozart completed the Adagio, K. 540, on March 19, 1788. Shostakovich’s mood subsequently lifted, he was able to write his film music, and he lived on for another fifteen years. In Idomeneo, Mozart had uncovered the dramatic potential of the operatic ensemble in the celebrated quartet “ Andro ramingo e solo,” also in E-flat. Trio pathétique in D minor for Clarinet, Bassoon, and Piano Print Program Notes. It has also been noted that Mozart, whose ease at composition is justly famous, labored over his Bach-inspired contrapuntal works, crossing out and rewriting in a most un-Mozartean manner. To prove to his father he could manage his career independently, Mozart set to work immediately finding creative ways to make ends meet, and quickly securing a position as one of the “must see” acts around town (perhaps building on his reputation from childhood, and playing to the crowd curiosity of seeing what the child prodigy had become). But he was no boat-rocker, unlike his former student Beethoven, who once told a prince that his high position was “an accident of birth.” For much of his life, Haydn had a steady job. It has been speculated that Mozart revived this older piece in order to train himself for the writing of more truly symphonic fugues, such as the double fugue at the end of the Jupiter Symphony. Having often heard me play fugues off the top of my head, she asked if I had ever written any down, and when I said I had not, she scolded me very thoroughly for not having written anything in this most artistic and beautiful of musical forms….”. toccata and fugue in d minor, bwv 565 Mozart called the organ “the king of instruments” and it was by far the most complex invention to predate the industrial revolution. Sometime in those early Vienna years, Mozart penned a fugue for piano duet, which he revisited five years later by transcribing it for strings. A later composer who felt and wholeheartedly embraced Bach’s influence was Dmitri Shostakovich. Two weeks earlier he had completed the last of his arias for sister-in-law Aloysia Weber, “Ah se in ciel,” K. 538, and the … In the third movement, he incorporates music from the recently composed Cello Concerto, while in the fourth he quotes not only an aria from a prison scene in his opera Lady Macbeth of Mtsensk, but also the revolutionary song, “Tormented by Grievous Bondage,” the Dies Irae, and Siegfried’s Funeral March from Götterdämmerung. Lúa Descolorida, is set to the poetry of María Rosalía Rita de Castro (1837-1885), and harkens back to the French Baroque, “The song is at once a slow motion ride in a cosmic horse, an homage to Couperin's melismas in his Lessons of Tenebrae.” Sung in the dialect of Gallego (found in Spain), it also functions as the “Peter’s Tears” aria in Golijov’s La Pasión según San Marco. 6, no. Regarding the Prelude (Fantasie) and Fugue in C Major, Mozart wrote to his sister, Maria-Anna (Nannerl) in a letter dated April 20, 1782: I composed the fugue first and wrote it down while I was thinking out the prelude. Piano concertos K. 271, 453, 466 ; Adagio and fugue K. 546. Shostakovich quotes his own First and Fifth Symphonies in the quartet’s first movement, and in the second, employs the so-called Jewish theme from his Piano Trio. Seemingly, he also sent somewhat mixed messages by parading Wolfgang around Europe during his childhood as a prodigy, and then coercing him to remain in Salzburg, a bit of a backwater in comparison with the glittering cities with which Mozart the son was well acquainted. Night of the Flying Horses, was carved out of the soundtrack Golijov did for Sally Potter’s film The Man who Cried, about love, ethnicity, and the terrible prices paid for both during World War II. 28 Louis Vierne Mozart had perfected the crafting of the concerto opener around the scaffolding of the new sonata form structure, with archetypal examples in his first four violin concertos. This Bachian practice is only one of the many fascinating and significant features of Shostakovich’s most famous quartet, which is all the more extraordinary for having been composed over the course of only three days. It is a lullaby sung in Yiddish which, in the words of the composer, “metamorphoses into a dense and dark doina (a slow, gypsy, rubato genre) featuring the lowest string of the violas. A Far Cry, 146A South St, Jamaica Plain, MA, United States. As for the quoted material: the D-S-C-H theme is heard widely throughout Shostakovich’s oeuvre, especially in the Cello Concerto. However, try as I might I was unable to compose the film music, even in rough. For the Fantasia Concertante, which is a hybrid of a fantasy (where the music tends to just unfurl, relying less upon rigid form) and concerto (highlighting certain soloists or pairings within the larger ensemble), Tippett used the melody of the Adagio from Corelli’s Concerto Grosso op. The recapitulation adds new contrapuntal textures to the opening material and the 4-note head motive from the little fugue cleverly joins the mix. Part of the reasoning for his distinct sound out of an era when many pieces sound, quite frankly, ubiquitous, was that he had an advantage through being taken all across Europe as a child prodigy. How Slow the Wind, the final song in the group, was written after the sudden death of Golijov’s friend, Mariel Stubrin, and embodies the feeling of going through life in slow motion after a shocking emotional blow. 33, K. 319 Symphony No. The first and last movements are in the same turbulent key of C minor that Mozart chose for his Adagio and Fugue, and Shostakovich incorporated a wealth of references to other tragic works. WOLFGANG MOZART. The Fugue in C minor ultimately brought Mozart’s study of Baroque fugue and counterpoint to a close, though the influence of his time studying the Baroque styles would be seen in future The dedication could be printed on the cover: ‘Dedicated to the memory of the composer of this quartet.’” Luckily, such a dedication proved unnecessary: the same friend who tells us about the bottle of pills was able to spirit them away. The solo piano steps in tenderly and deliberately, to be joined by the orchestra. Of the over 600 numbered works of Wolfgang Amadeus Mozart (1756-1791), the three on this evening’s program have a very special place in his repertoire. As Mozart wrote to his sister: “Baron van Suiten, whom I visit every Sunday, gave me all the works of Handel and Sebastian Bach to take home with me after I had played them through to him. 41 in C major, K.551, Jupiter. The piece is a skillful example of traditional classical quartet form, but Mozart surprises us with some chromatic lines in the opening movement and by placing the minuet as the second movement (instead of in its traditional … Program Notes. Posted in 19-20 Season, Blog, Our Artists, Program Notes | Tagged cello, chamber music, classical music, Danish String Quartet, Felix Mendelssohn, Fugue No. Wolfgang Amadeus Mozart (1756-1791) :: Adagio & Fugue, K. 546. Also composed in this amazing year was his poignant Adagio in B Minor for piano solo, K. 540, his famous C Major “Sonata Facile,” K. 545, his Piano Concerto No. (Among other difficulties, he had recently begun experiencing symptoms of a form of polio which impaired his ability to play the piano; had just betrayed his own principles and entered into a long bout of self-loathing by joining the Communist Party in order to secure a prestigious official appointment; and had recently been divorced from his second wife after a short, unhappy marriage which itself followed the death of his beloved first wife.) In the century following the death of J.S. 4. Mozart, Adagio and Fugue in c-minor, KV 546. Is it too late to touch you, dear? His father, Leopold, though perhaps well meaning, was often an overbearingly dominant figure in his son’s life. Composed in 1783, that work (to which Mozart would add the Adagio introduction when preparing the string quartet arrangement) appeared as part of a flurry of new pieces the composer produced upon his arrival in Vienna in 1781. In 1953, the Edinburgh Festival commissioned the English composer, Michael Tippett, to write a piece in commemoration and celebration of the three-hundredth anniversary Arcangelo Corelli’s birth. Haydn may have been a musician for hire, but he couldn’t keep his personality from bursting at ever… In particular, it was the art of the violin where the Italians excelled; even today, Stradivarius are the most coveted violins, and Paganini’s compositions are still amongst the most difficult in the repertoire. . Tickets are still available for performances on Thursday, March 5th, at the Gardner and Friday, March 6th, at Jordan Hall. When Mozart reached his mid-twenties, he effectively made a break for it—to Vienna, one of the great cultural capitals on the European continent. As Mozart often did, he begins the exposition with fresh material, in this case little floating fugue with a short subject in long notes with close imitations. The impact of the experience, which would later be felt in contrapuntal masterpieces such as the Jupiter Symphony and the Requiem, found quicker expression in the composition of a fugue in C minor for two keyboards. 40 in G minor And instead I wrote a quartet that’s of no use to anybody and full of ideological flaws.”, A main character in the film Shostakovich was supposed to score was a German painter who, according to the film’s director, “feels that art should depict suffering, and therefore a measure of life.” There is no question that the Eighth Quartet, at least, depicts suffering. After the orchestra opens the scene with a lilting tune, the soloist happily joins in the first episode. Meanwhile, the score ended up with a different dedication, one which according to Shostakovich’s son was forced on him by the Soviet authorities: “to the victims of fascism and war.”. First movement: My leaning towards art in my youth, the romantic atmosphere, the inexpressible yearning for something I could neither express nor define, and also the presage, as it were, of my future misfortune … Second movement: Quasi a polka, takes me back to the happy times of my youth where, as a composer of dance tunes, I lavished these upon the young world and was myself known everywhere as a passionate dancer. Mozart entered it into his own work catalogue on 26 June 1788 in Vienna as "A short Adagio for two violins, viola and bass, for a fugue which I wrote some time ago for two Pianos". 21-Mar-10 - Download Program Wolfgang Amadeus Mozart Adagio and Fugue in C Minor (1756 – 1791) K. 546 for string quartet (1788) Franz Joseph Haydn String Quartet No. 26 in D Major, the “Coronation” K. 537, and his masterly Adagio and Fugue in C Minor for strings, K. 546. JOHANN CHRYSOSTOM WOLFGANG GOTTLIEB MOZART. The final movement is in two parts, Molto adagio and Allegro moderato. Now, in this serenade, that same instinct produces an adagio quartet of operatic dimensions, with the oboe, clarinet, bassoon, and horn stepping forward to the footlights, singly and in various combinations, while the action freezes. The D-S-C-H motto appears in each movement of Shostakovich’s Eighth Quartet, and  serves as the basis for a fugue in the last. Dig in. Prelude and Fugue for piano in C Major, K. 394. 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