Program Notes: :Haydn Cello Concerto – Victoria Symphony Canada. Written by Ronald Comber. Concerto in E- Flat . Inspired by Bach’s Brandenburg Concertos, the piece reflects both the formal elegance of its inspiration and the deft economy of its composer’s best work. The work was commissioned in 1. Mr. Robert Woods Bliss to commemorate their 3. Generous patrons of the arts, Mr. Bliss lived in a sumptuous house in Dumbarton Oaks, Washington D. C., and frequently were the hosts of major artistic events. Stravinsky completed the work while he was in Europe in March of 1. The work was in the end successfully premiered at Dumbarton Oaks on May 8th, 1. Nadia Boulanger conducting. 6 in D Major, Le Matin (The Morning) . 1 in C Major for Cello and Orchestra. Program Notes : July 16, 2010. The concerto on this program was. One dramatic example of this is the C major cello concerto, which was. Haydn’s C major concerto is a splendid example of this transitional period. Dumbarton Oaks is in three movements. It is written for a small ensemble; flute, clarinet, bassoon, two horns, three violins, three violas, two cellos and two double- basses. The first movement pays distinct homage to the form and function of Bach. The central section is from a darker world. The last movement is both serene and strangely anguished in character. The music is deliberately intense within the rigid formality of its conception, and it brings Dumbarton Oaks to a powerful conclusion. Concerto in C Major for Cello and Orchestra. Joseph Haydn. His 1. Haydn was remarkably prolific in an age of prolific composers. He prided himself on his ability to get the job done, almost in spite of inspiration; he felt that he was paid to compose, so compose he would. He was a professional in the highest sense of the word. The Cello Concerto No. Virtuosity is developed further in the use of rapidly repeating notes. Haydn Cello Concerto C major Allegro Molto. Cello Concerto No.2 in D major, Hob.VIIb:2 (Haydn, Joseph). Notes Cello solo part cut out from manuscript score by. Please consult the Version B and C.There was one sort of composition, however, that Haydn had to force himself to write: solo concertos left him cold. He believed that music was at its best the reflection of the interplay of a group of musicians, and at its very best the conscious striving towards an ineffable divinity (though it is highly unlikely that he would ever permit himself the luxury of publicly saying anything of the kind). The very principle of the solo concerto was to Haydn an offense, leading to the sort of pyrotechnical display that he found most aggravating. He nevertheless wrote nineteen of them, including a few for his friends, which are notably characterized by an added enthusiasm. These include the celebrated Trumpet Concerto, written to display the charms of a new type of trumpet, and the two Cello Concertos, composed for his favourite cellists, both at different times in the employ of the Esterhazy family. The Concerto for Cello and Orchestra in C Major is a comparatively early work, written in the first years of Haydn’s tenure in the Esterhazy court. The score, lost for many years, was found in Prague in 1. Haydn’s music from the early years of his Esterhazy career had been lost in a disastrous fire at Eisenstadt in 1. The Concerto, undoubtedly genuine, was most likely written in the years 1. Joseph Weigl. Since its recovery the Cello Concerto in C Major has been happily welcomed in the repertoire alongside its long- lost cousin, the Concerto in D Major. Cellists have always felt the relative paucity of solo works compared to violinists or pianists, and a newly discovered masterwork by Haydn has provided a fresh source of delight. The Concerto. The Finale, an Allegro molto, offers a completely contrasting mood of breathless tension which progresses into sheer excitement. Symphony No. 4. 0 in G Minor, K. Wolfgang Amadeus Mozart (1. The three final symphonies of Mozart, numbers 3. Each of them has an emotional content quite unprecedented in the orchestral repertoire. To the listeners of the present day, the impact of these works has been largely obscured by the romanticism of the past two centuries. Accustomed as we are to the passions of Berlioz or the desperation of Mahler, the last Mozart symphonies appear to be the perfect expression of the classical ideal. However, if we listen to them alongside Mozart’s contemporaries, a truer perspective emerges. It is interesting to note that the three last symphonies were composed in about six weeks, between June and August, 1. We don’t know why Mozart produced them. Counterpoint based on the first theme progresses into a section for full orchestra to complete the exposition. The development begins with the first theme, but through an extended new plan, with frequent and, for the time, daring modulations, ultimately working into great contrapuntal complications. The recapitulation is, as it should be, quite similar to the exposition, although some modulations are changed. The final coda is short and concludes with a four- part canon. The exquisite second movement opens with a theme containing two separate entities; their alternation also entails rather drastic rhythmic changes. Mozart uses a tiny cell from the theme as material to create formal yet almost rhapsodic variety throughout the movement. The following Minuet has a stern, contrapuntal nature, which contrasts well with the much more delicate trio. The Finale has at first a certain dance- like quality, but the tension soon grows within the counterpoint, which is in turn relieved by the gentler second subject. The development, beginning with a wild, quite harmonically modern statement, is an excellent reminder of Mozart’s formidable powers. The elaborate working out of the first theme eventually leads to the recapitulation; this time with a few new modulations.
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