Featuring MYSO’s acclaimed Chamber Orchestra in the first performance of the season.
Carter Simmons, Artistic and Music Director
Wednesday, October 18, 2023 | 7:00 pm
J.S. BACH (1685-1750)
Orchestral Suite No. 1 in C Major, BWV 1066
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- Overture
W.A. MOZART (1756-1791)
Concerto for Flute, No. 1 in G Major, K. 313
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- Allegro maestoso
Zackary Muñoz, Flute
W.A. MOZART (1756-1791)
Symphony No. 41 in C Major, K.551, "Jupiter"
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- Allegro vivace
- Andante cantabile
- Allegretto
- Molto allegro
FIRST VIOLIN
Jayanth Suthan
Henry Snavely
Rosy Kojis
Colette Wiering
Kayami Jackson
Ben Christiaansen
SECOND VIOLIN
Christianna Ebel
Brynn Nelson
Magdalena Masur
Krish Vasudev
Ruthee Rosploch
Sophia Collins
VIOLA
Brae Bigelow
Claire Fifarek
Haley Burns
Lucy Hamann
CELLO
Ava Larsen
Gabrielle Peck
Maryveth Ochoa
Adela Ramirez
Ashley Bongard
Kate Weisman
BASS
Benjamin Levin
Alexander Matusiak
FLUTE
Zackary Muñoz
OBOE
Abby Debbink
Lydia Morency
BASSOON
Gavin Hansen
Andie Wisniewski
HORN
Eli Drews
Anaka Velie
TRUMPET
Milo Ascher
Zachary Burgess
TIMPANI
Nicolas Strichartz
HARPSICHORD
Gabrielle Peck
JOHANN SEBASTIAN BACH
b. March 21, 1685; Eisenach | d. July 28, 1750; Leipzig
First Movement (Grave; Allegro) from Orchestral Suite No. 1 in C major, BWV 1066
The first of Bach’s four orchestral suites was composed (along with the majority of his instrumental music) while he was working as Kapellmeister for Prince Leopold of Anhalt-Cöthen (1717-1723). Consisting of a festive movement in French overture style, followed by a chain of character pieces and dances, Bach's works in this form—which we now call “suites”—were known to him as Ouvertüren. (Reflecting its origins as a preface to an opera, a multi-movement orchestral work was long called an “overture”; as late as 1790, Haydn's symphonies were sometimes called “overtures.”)
Scored for a pair of oboes, bassoon, strings, and continuo, this C-major Suite recalls the concerto grosso form, with the woodwind instruments often forming a solo concertino.
WOLFGANG AMADEUS MOZART
b. January 27, 1756; Salzburg | d. December 5, 1791; Vienna
First Movement (Allegro maestoso) from Concerto No. 1 for Flute and Orchestra in G major, K. 313
Bursting with plans and potential, the twenty-one year old Mozart finally slipped the reins of the Archbishop of Salzburg and charged off to seek greener pastures in the autumn of 1777. With his mother in tow, he went to Munich, Augsburg, and finally, Mannheim. Despite the active and excellent musical life in Mannheim, he found no permanent position. Mozart decided to seek his fortune in Paris, “the only place,” he wrote to his father, “where one can still make money and a great reputation.” Unfortunately, Mozart's finances were not equal to his plan.
During this period in Mannheim, Mozart bartered lessons in exchange for food and lodging; the young composer took his meals at the home of Wendling, the flutist of the famed Mannheim orchestra. On December 10, he wrote to his father: “…The other day I went to lunch at Wendling’s as usual. ‘Our Indian,’ he said, meaning a Dutchman, a gentleman of means and a lover of all the sciences, who is a great friend and (admirer) of mine, ‘our Indian is really a first-rate fellow. He is willing to give you 200 gulden if you will compose for him three short, simple concertos and a couple of quartets for the flute...’”
Mozart soon wrote a concerto in G major (K. 313) for De Jean (or Deschamps), the amateur Dutch flutist. In February of 1778, Mozart reported to his father: “M. De Jean is also leaving for Paris tomorrow, and, because I have only finished two concertos and three quartets for him, has sent me ninety-six gulden; but he must pay me in full...and I can send him the other pieces later.” Mozart never sent the other pieces, nor did De Jean ever send the rest of the money. Explaining to his father why he never finished the commission, Mozart wrote: “It is not surprising that I have not been able to finish them, for I never have a single quiet hour here. I can compose only at night, so that I can't get up early as well; besides, one is not always in the mood for working. I could, to be sure, scribble off things the whole day long, but a composition of this kind goes out into the world, and naturally, I do not want to have cause to be ashamed of my name on the title page. Moreover, you know that I become quite powerless whenever I am obliged to write for an instrument [the flute] which I cannot bear. Hence, as a diversion, I compose something else such as duets for clavier and piano, or I work at my Mass.”
Generations of flutists have chafed at the thought that Mozart was not enamored of their instrument. The musicologist Stanley Sadie finds. “the writing too professional and idiomatic to betray anything of the kind." Modern flutists assume that Mozart didn’t like the sound and technical limitations of the wooden flute; they rest assured that he would have loved the sound of modern metal instruments. Reading between the lines of Mozart’s letters, it is possible to see that he was expressing distaste for the project, not the instrument. The young composer was obviously concerned about creating a reputation by writing major compositions. Flute pieces for De Jean were not going to advance this aim, yet he was psychologically unable to put his name to anything but his best efforts. Caught in this dilemma, he could not finish the project; Mozart then dispatched the problem of explaining the unfinished commission to his father by claiming that he disliked the solo instrument.
WOLFGANG AMADEUS MOZART
Symphony No. 41 in C major (“Jupiter”), K, 551
Mozart wrote his last three symphonies during the summer of 1788, completing the final work, No. 41 in C major, on August 10. Despite illness, indebtedness, and frustration with the limitations of his new position as composer to Emperor Joseph II, Mozart capped his symphonic output with a work that transcends physical levels. His final symphony integrates elements of operatic, symphonic and contrapuntal style in a fusion of compositional concepts that was both revolutionary and sublime.
In his 1989 study, Mozart’s Symphonies, Neal Zaslaw marvels: “It is perhaps insufficiently recognized how revolutionary the ‘Jupiter’ symphony is in its ideas and their working out. To what other symphonies prior to 1788 can it be compared? Possible political and social motivations have been suggested…for Mozart’s abandonment of the familiar style of so many earlier symphonies for something so elaborate and large-scale. His discontent or idealism must have been great to have released him from normal constraints, allowing this symphony to transcend the musical, technical, and philosophical bounds that polite society generally placed on symphonies.”
The subtitle “Jupiter” was most certainly not Mozart's idea; the name was likely applied by well-intentioned later generations attempting to attract a wider audience through the use of programmatic titles. It’s believed to have been coined by Johann Peter Salomon, Haydn’s sponsor in London. Rather less well known is the fact that, in German-speaking countries, this work was once called the “Symphony with the closing fugue.”
The first movement (Allegro vivace; C major, 4/4) begins with an agitated idea that is immediately contrasted with a more tranquil string passage. A fascinating element is the recurrent rapid scale passage that continues to produce a disquieting effect throughout the movement. The exposition section is completed by a cheerful theme that Mozart had earlier used in a basso aria, Un bacio di mano (K. 541), that he wrote in 1788 as an inserted number in Anfossi's opera, Le gelosie fortunate. Development of these ideas becomes quite dramatic before the movement is rounded off by a traditional return of the themes.
The slow movement (Andante cantabile; F major, 3/4) alternates between tranquil and restive moods as a three-part theme is presented and developed.
More obvious in nature is the Menuetto (Allegro; C major, 3/4), which is reminiscent of the fact that Mozart had little more to do for Emperor Joseph than to compose music for dancing.
The Finale (Allegro molto; C major, 4/4), built upon an incredible interweaving of five motivic themes, is a marvel of contrapuntal ingenuity that forms a perfect closing chapter to Mozart's symphonic expression. Of the first and most slowly moving of these themes, Zaslaw writes: “And what, finally, could Mozart have had in mind using a contrapuntal tag of liturgical music (the often-mentioned doh-ray-fah-me motive) for the opening of the Finale? (A surely coincidental closure to Mozart’s career as a symphonist is effected by the presence of the same motive in his ‘first’ symphony, K. 16, written nearly a quarter-century earlier.) This motive, derived from Gregorian chant and probably best known in the eighteenth century as the beginning of the hymn Lucis creator [“Creator of the Light,” a hymn attributed to Pope Gregory (540-604)], was a commonplace of the Fuxian [Johann Fux (1660-1741)] species counterpoint in which Mozart was trained and upon which in turn he trained his own pupils. It appears in the works of dozens of composers from Palestrina to Brahms. Something of what it may have meant to Mozart in the Finale of the ‘Jupiter’ symphony is suggested by his Missa brevis in F major, K. 192-186f, where the continuation [of “Credo”] on the words ‘in unum Deum, Patrem omnipotentem’ is closely related to what follows in the ‘Jupiter’ Finale at that point. Does this work, then, contain Mozart’s Creed?”
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