Martin Pearlman, Music Director
Music of Wolfgang Amadeus Mozart (1756–1791) Symphony No. 29 in A Major, K. 201 Allegro moderato Andante Menuetto Allegro con spirito Concerto in Eb Major for two pianos and orchestra, K. 365 Allegro Andante Rondeau: Allegro Robert Levin and Ya-Fei Chuang, fortepianos
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Arrangements of fugues from Bach’s Well-Tempered Clavier, Book II, K. 405 Fugue in D minor (orig. in D# minor) Fugue in Eb Major Fugue in C minor
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BOSTON BAROQUE
Symphony No. 36 in C Major (“Linz”), K. 425 Adagio – Allegro spiritoso Andante Menuetto Presto Friday, March 2, 8 p.m. Saturday, March 3, 8 p.m. New England Conservatory’s Jordan Hall Boston Baroque is the resident ensemble for BOSTON UNIVERSITY’S HISTORICAL PERFORMANCE PROGRAM
Tonight’s pre-concert talk presented by Laura Prichard
On Sale in the Lobby! Mozart, Requiem — completion by Robert Levin Mozart, Flute Concertos & Symphony No. 41 “Jupiter” Vivaldi, Four Seasons Handel, Water Music Suites & Royal Fireworks Music Handel, Concerti grossi Op. 6 Order BB gift certificates online or by telephone — redeemable for concert tickets and recordings. www.BostonBaroque.org s
BOSTON BAROQUE
ORCHESTRA VIOLIN I
VIOLA
BASSOON
Christina Day Martinson, concertmaster Lena Wong Danielle Maddon Sarah Darling Katherine Winterstein Amy Sims
Laura Jeppesen Barbara Wright Susan Seeber
Andrew Schwartz Marilyn Boenau
C E L LO
Richard Menaul Robert Marlatt
HORN
Sarah Freiberg Adrienne Hartzell Colleen McGary-Smith
VIOLIN 2
Julie Leven, principal Jane Starkman Guiomar Turgeon Laura Gulley Anne Black
BASS
Deborah Dunham Karen Campbell
TRUMPET
Jesse Levine Robinson Pyle T I M PA N I
John Grimes
OBOE
Marc Schachman Lani Spahr
The orchestra is performing on period instruments. Mr. Levin's fortepiano after Johann Schantz, 1795, made by Thomas and Barbara Wolf, The Plains, VA. Ms. Chuang's fortepiano after Anton Walter und Sohn, c. 1805, made by Paul McNulty, Divisov, Czech Republic, by arrangement with Harvard University. Boston Baroque’s PCs are backed up with Carbonite Online Backup
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Final concerts of the 2011–12 season!
MAY 4 & 5 | NEC’S Jordan Hall
Gluck’s
Orfeo ed Euridice Owen Willetts, Orfeo; Mary Wilson, Euridice; Courtney Huffman, Amor
Semi-staged and sung in the original Italian, with English supertitles. Choregraphy by Gianni de Marco Directed by David Gately
Boston Baroque is the resident ensemble for Boston University’s Historical Performance Program
The power of music overcomes grief and the power of love overcomes death itself.
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BOSTON BAROQUE
PROGRAM NOTES BY MARTIN PEARLMAN
Symphony No. 29 ozart composed his sparkling Symphony in A, K. 201, early in 1774, about the time he turned 18. He had just returned from a visit with his father to Vienna, where he had heard the latest works of Haydn and others, and the experience seems to have inspired him to write a number of important new works. While this symphony still has a youthful vigor and grace and a wonderfully transparent texture, it is already moving away from the polished “entertainment” of Mozart’s earlier music. With a nervous tension in the first movement themes, the beautiful cantabile of the slow movement, and the brilliant finale, this symphony represents the high point in his early symphonic writing. He then abandoned the form for four years, before returning to write the more complex and personally expressive late symphonies.
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Concerto for two pianos Mozart composed his only concerto for two pianos in Salzburg in 1779, about the same time as another great double concerto, the Sinfonia Concertante for violin and viola. It is generally thought that he wrote it for himself to play together with his sister Nannerl, although there is no definite record of the two of them performing it. In 1781 and 1782, as the young composer was trying to establish his reputation in Vienna, he chose this concerto, among others, to represent his best work, adding clarinets, trumpets and timpani to make a more brilliant impression on that occasion. (This later orchestration is now lost.) Performing with him in Vienna was his student Josepha Auernhammer, for whom he wrote his sonata for two pianos. In his letters, he seems ambivalent about her playing (“[She] plays enchantingly, though in cantabile playing she has not got the real delicate singing style. She clips everything. . .”), and he was far less charitable about her looks. Rumors that the two of them were to be married infuriated Mozart but were soon ended by his marriage to Constanze. Our performance of this concerto includes Mozart's own cadenzas and the original orchestration. The two fortepianos are of the type used in Vienna in Mozart's time. They have a light touch, light-weight hammers covered with leather (as opposed to the modern felt), and knee levers to lift the dampers. The piano played by Ya-Fei Chuang is modeled on an instrument Anton Walter, one of whose pianos was owned by Mozart himself. The instrument played by Robert Levin is modeled on one by Johann Schantz, another important Viennese maker from Mozart's time. Arrangements of Bach fugues “Every Sunday at 12 o’clock I go to Baron van Swieten—and there we play nothing but Händl and Bach,” wrote Mozart to his father (April 10, 1782). “I am just building up a collection of Bach fugues. . .” The Baron Gottfried van Swieten, an important patron of the arts in Vienna, is best known today as the librettist of Haydn’s oratorios, The Creation and The Seasons, and as the dedicatee of Beethoven’s first symphony. While an ambassador
BOSTON BAROQUE to the Prussian court in Berlin, van Swieten had collected works of Bach and Handel, and he became a champion of this “early music” on his return to Vienna. At his house, Mozart, Haydn and other musicians were exposed to music of Bach and Handel. They had, of course, known something of these earlier composers before and had studied learned counterpoint, but here was living and breathing counterpoint presented as great music. Several years later, in the late 1780s, van Swieten commissioned Mozart to make arrangements of large vocal works of Handel, including Messiah. These experiences no doubt played a role in the increasing use of counterpoint in Mozart’s own music. He made string arrangements of keyboard fugues by the Bach family and began writing some fugues of his own as exercises. Eventually, fugal writing became an integral technique in his personal style, not only in choral music, but also in symphonies and other works. The fugues we play this evening are all from the second book of Bach’s Well-Tempered Clavier. Mozart arranged them for strings, presumably for performance at one of van Swieten’s gatherings. (He did not transcribe the preludes that go with them.) There are only small differences between Mozart’s transcriptions and the keyboard originals. Some differences may represent Mozart’s “improvements,” and some appear to be attempts to adapt the music for stringed instruments, but others may well be due to inaccuracies in the manuscript originals that Mozart was using. One of these fugues, that in D minor, is transposed from the original D# minor, by which Mozart not only puts it into a more normal key but also makes it possible to use open strings for more resonance. Symphony No. 36 (“Linz”) In the summer of 1783, Mozart brought his wife Constanze to meet his father and sister in Salzburg. They stayed until October and, on their return trip home to Vienna, stopped at Linz, where the Count Thun offered them his hospitality. During his sojourn in the city, Mozart was unexpectedly asked to play a public concert, but, he wrote to his father, “as I have not a single symphony with me, I am writing a new one at breakneck speed. . . . Well, I must close, because I really must set to work.” Within six days, Mozart evidently composed the symphony, had it copied, and—perhaps—had at least one rehearsal, all in time for its premiere on November 4. The following April, he presented the work in Vienna. Compared to the earlier Symphony No. 29 on this program, the “Linz” is in the more serious vein of Mozart’s late symphonies. The difference is clear from the beginning, when it opens with a slow, expressive introduction, the first Mozart symphony to do so. We also feel the difference in the second movement Andante, where he calls for trumpets and timpani. While we may be used to hearing these instruments in later slow movements by Beethoven, as well as in a few late Haydn symphonies, it was unusual for the time to include them in gentle slow movements. The brilliant finale is in the spirit of Mozart’s previous symphony, the “Haffner,” in which he asked for the last movement to be played “as fast as possible.”
Coming this Spring!
Boston Baroque’s first recording on our new label, Linn Records (Winner of Gramophone’s “Label of the Year” 2010)
Haydn’s Creation Amanda Forsythe, soprano Keith Jameson, tenor Kevin Deas, bass … a performance full of dramatic contrasts, vibrant colors, and poetic feeling...” —Boston Globe
at the shalin
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SUNDAY, MARCH 11, 3 PM
Vassily Primakov, piano SUNDAY, MARCH 18, 3 PM
Emmanuel Music
The Splendour of the Baroque SUNDAY, APRIL 1, 3 PM 37 Main Street, Rockport, Massachusetts
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St. Lawrence String Quartet SATURDAY, APRIL 7, 12 PM MET OPERA HD
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BSO Brass Quintet
SATURDAY, APRIL 14, 7 PM MET OPERA HD
Verdi’s La Traviata
www.rockportmusic.org | 978.546.7391
F E AT U R E D A R T I S T S Robert Levin’s solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Toronto, Utah and Vienna on modern piano. On period pianos he has appeared with Academy of Ancient Music, English Baroque Soloists, Handel & Haydn, London Classical Players, and Orchestra of the Age of Enlightenment. His recordings include the complete Bach concertos as well as the English Suites and the Well-Tempered Clavier (on five keyboard instruments) for Hänssler’s 172-CD Edition Bach-akademie. An advocate of new music, he has commissioned and premiered John Harbison’s Second Sonata, Yehudi Wyner’s piano concerto Chiavi in mano (Pulitzer Prize, 2006), and Thomas Oboe Lee’s Piano Concerto, among other works. He studied piano with Louis Martin and composition with Stefan Wolpe, and worked with Nadia Boulanger in Fontainebleau and Paris while in high school. Upon graduation from Harvard, he was invited by Rudolf Serkin to head the theory department at Curtis Institute; subsequent university positions included Conservatoire américain and Staatliche Hochschule für Musik. Also a noted theorist and Mozart scholar, his completions of Mozart fragments have been recorded and performed throughout the world. The first recording of his reconstruction of the Symphonie concertante in E-flat major won the 1985 Grand Prix International du Disque. His 1991 completion of the Mozart Requiem was premièred at the European Music Festival in Stuttgart; the first recording on period instruments was done by Boston Baroque. His completion of Mozart’s Mass in C minor, commissioned by Carnegie Hall, was premiered in New York and Europe in 2005. Mr. Levin is Dwight P. Robinson, Jr. Professor of the Humanities at Harvard University. Ya-Fei Chuang, prizewinner at the Cologne International Piano Competition at age 18, has appeared at festivals that include the Beethoven Festival (Warsaw), European Music Festival (Stuttgart), Schleswig-Holstein Festival, Bach Festival in Leipzig, Shannon Festival (Ireland), Oulu (Finland), Ravinia, Sarasota, Gilmore International Keyboard Festival, Oregon Bach Festival, Celebrity Series in Boston, and Tanglewood. Chuang has appeared with Spectrum Concerts in Berlin, at Fromm Foundation concerts at Harvard, at American Academy of Arts and Sciences, and performed in venues such as Symphony Hall, Jordan Hall, Ozawa Hall, Cologne and Berlin Philharmonic Hall, Schauspielhaus Berlin, and Gewandhaus Leipzig. Her recent engagements include concerts and recordings in Berlin Philharmonic Hall, with City of Birmingham Symphony Orchestra, Malaysian Philharmonic, at National Concert Hall Taipei, and has 4 CDs soon to be released. Ms. Chuang first performed on television in her native Taiwan at the age of eight and gave her first public recital at age nine. At age twelve, she received fellowships and scholarships from several foundations in Germany and Taiwan that enabled her to pursue pre-college, undergraduate, and masters-level studies at Freiburg Conservatory with Mechthild Hatz, Rosa Sabater, and future husband Robert Levin. In 1993 she moved to the United States, where she earned a graduate diploma at New England Conservatory with Russell Sherman. In addition to her faculty positions at New England Conservatory and Boston Conservatory, she teaches masterclasses in Asia, Europe, and the U.S., including at Tanglewood, and at Mozarteum Salzburg. She has a commitment to contemporary music, performing world premieres of works by Stanley Walden, Thomas Oboe Lee, and John Harbison.
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THE ANNUAL FUND
The Principal Players & Founder’s Circle The Principal Players & Founder’s Circle are Boston Baroque’s leadership group of annual patrons. Their contributions help to ensure performances and recordings of the highest caliber; and to support the artistic vision of Music Director Martin Pearlman. F OUNDER ’S ANGEL ($25,000+) Anonymous (2) The Calderwood Charitable Foundation The Florence Gould Foundation Robert & Veronica Petersen Lia & William Poorvu BENEFACTOR ($10,000+) Julian & Marion Bullitt
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Boston Baroque Annual Benefit Gala Four Seasons Hotel, Boston Sunday, June 3, 2012
Electronic Product Design, Development, and Prototyping
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Watch for more details to come soon!
Boston Baroque Violinist Julie Leven is Executive and Artistic Director of Shelter Music Boston
Learn about the remarkable impact of classical chamber music in Boston homeless shelters
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Handel and Haydn Society Harry Christophers, Artistic Director
MOZART
CORONATION Harry Christophers conductor
HANDEL
Rosemary Joshua soprano
MOZART
Paula Murrihy mezzo-soprano
HAYDN
Thomas Cooley tenor Sumner Thompson bass Period Instrument Orchestra and Chorus
Zadok the Priest
Exsultate, jubilate Symphony No. 85, La reine HANDEL
Arrival of the Queen of Sheba
HANDEL
“Ev’ry sight these eyes behold” from Solomon MOZART
Coronation Mass
2011–2012 · 197th Season
Friday, April 27 • 8pm Sunday, April 29 • 3pm Symphony Hall Buy tickets now from $20 handelandhaydn.org/concerts 617 266 3605
Bo!on Early Music Fe!ival
UPCOMING CONCERTS
Sequentia
Benjamin Bagby, voice, harps & symphonia Norbert Rodenkirchen, flutes & harp FRAGMENTS FOR THE END OF TIME Saturday, March 3, 2012 at 8pm | Houghton Chapel at Wellesley College A co-presentation with the Concert Series at Wellesley
The Tallis Scholars Peter Phillips, director
THE FIELD OF THE CLOTH OF GOLD: Music of Mouton and Cornysh Saturday, March 31, 2012 at 8pm | St. Paul Church, Cambridge
O rd e r t o d ay at W W W. B E M F.O RG o r 61 7- 6 61 - 1 8 1 2
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