“Maestro’s Musings” for Jan 21, 2024
Thank you, Wolfgang.
Welcome to the first concert of 2024 by YOUR Culver City Symphony Orchestra! On behalf of all the CCSO musicians, board members, and volunteers, I wish you a Happy New Year, and welcome you to our celebration of Mozart. Wolfgang (aren’t you glad his middle name is Amadeus?) Mozart gave the world so many brilliant works from the heart of the Classical period of music. He was the intermediary between “Papa” Josef Haydn and Ludwig van Beethoven. Haydn essentially invented the classical period, and passed along so much information to Wolfgang, his student. Mozart then passed along details of compositional styles, instrumentation, and architecture in music to Beethoven, who pushed us forward into the Romantic era. Mozart developed and helped solidify the form of several different genres, such as Symphonies (he wrote at least 41 of them that we can find), Concertos, including the best in the entire repertoire for any instrument, such as tonight’s Flute Concerto, and Opera, where he turned the world upside down with his serious dramas and silly comedies. Mozart is such an important composer he is worthy of having his own concert; after all, this week is his 268th birthday and that’s a great excuse to celebrate!
Thank you for joining us on what promises to be a roller-coaster journey of amazing sounds from the greatest composer to ever walk the face of the earth. Tonight you will hear music that is familiar and beloved. Mozart’s life had lots of ups and downs, and in these 3 distinct works, he communicates so many emotions and experiences. Listen tonight for:
1) Magic Flute Overture. This was a must on our concert if for no other reason than the title! Mozart’s favorite genre was opera, and his penultimate one has everything from humor to magic spells to Masonic rites of passage to love stories. The Overture presents the listener with an introduction to the opera. The noble and dramatic opening gives way to scurrying, swirling, brilliant running fugues in the style of Bach.
2) Flute Concerto #1 in G Major. I am delighted to present our soloist for the evening, Catherine Ransom Karoly. We’ve been friends for 20 years, when my wife Sarah joined the Flute section of the LA Philharmonic, Cathy was the young, brilliant, virtuosic, greatly respected 2nd flutist, but is now the brilliant, virtuosic, greatly respected Associate Principal Flute. OK, she’s still young!!! When I told her I was considering an All-Mozart program, she jumped at the idea of presenting what many consider to be one of the finest concertos ever composed for flute. In 3 movements, you’ll hear a robust, almost march-like opening, followed by a gorgeous song-like movement, with a heartbreakingly beautiful melody from the flute. The finale is a fun romp of a Menuetto. Mozart was very generous in allowing room in all 3 movements for the soloist to improvise their own solo cadenza. I can’t wait to hear what Cathy does! I wish she would play a bit more…
3) JUPITER. Symphony #41 in C Major. Wolfgang Amadeus Mozart had enjoyed a successful career as an operatic, symphonic, and chamber music composer - and had no trouble earning money until he really needed to support his family. In 1788, the 31-year-old Austrian hoped for a financial bonanza, and set out to compose 3 symphonies to be performed at concerts in Vienna’s elegant “Casinos.” He had also been guaranteed performances in London by the famous and influential impresario Salomon, who had booked Haydn for two long stints in London. Mozart did not name his final symphony after a planet that Galileo discovered 178 years earlier. Rather, it was Salomon who gave Mozart’s final symphony the majestic moniker. Though Mozart never knew of this nickname, the image of the Roman god Jupiter seems to fit the feelings of grandeur, joy and wonder that the 4 movements of the work inspire.
The 1st movement opens very dramatically, with 3 strong military-style “Drum Rolls.” Mozart, who considered himself an opera composer first and foremost, proceeds to pass around the melodies as if it were an opera, with arias, duets, and full choruses being “sung” by the entire string family as well as woodwinds.
Lyrical slow 2nd movements are where we see Mozart’s love of opera and the human voice. Profoundly expressive, the melody moves from sweet and gentle and even hymn-like to waves of agitated syncopations and restless tension before returning to calm.
Mozart’s 3rd movements are often dance-like, and in this case we hear an elegant and joyful Minuet. This was a very popular dance during the classical period, and Mozart’s goal seems to have been to throw the dancers out of step! The concert version of a minuet is definitely NOT square and predictable, especially playing around with what most minuets require - a steady pulse. Good luck dancing to this one!
The first 3 movements are brilliant in their simplicity, and when we hear the opening four long notes of a melodic motive that begins the FINALE, we are not prepared for what is to come: Mozart’s most brilliant work, filled with counterpoint and fugues and imaginative instrumentation. He doesn’t “just” create a mind-boggling fugue. He creates what we can only call a QUINTUPLE Fugue, with no fewer than four different melodies combined with those now-familiar first four notes. Mozart’s expressions of joy and imagination prove that the traditional fugue (thank you, J. S. Bach!) does not have to be stodgy, formal, and serious. When we approach the end of this glorious finale, it sounds like chaos, but we know this is “ORGANIZED CHAOS” that resolves into a joyful conclusion. As a music critic from the 1800’s said, “One must hear this music to believe it possible.”
*****
Whew! Happy Birthday indeed, Wolfgang! I promised to bring you the greatest symphonic masterworks as well as unfamiliar pieces. We will continue to perform music by MY all-time favorites as well as YOURS. Your Music Director loves to hear suggestions from audiences. Who is YOUR favorite composer and what is YOUR favorite piece? Is there a particular soloist or instrument you would like to see featured? Tell me!
We’ve only just begun our musical journey together. Welcome to the family of the Culver City Symphony Orchestra. We’re glad you’re here.
Sincerely,
Clyde
Thank you, Wolfgang.
Welcome to the first concert of 2024 by YOUR Culver City Symphony Orchestra! On behalf of all the CCSO musicians, board members, and volunteers, I wish you a Happy New Year, and welcome you to our celebration of Mozart. Wolfgang (aren’t you glad his middle name is Amadeus?) Mozart gave the world so many brilliant works from the heart of the Classical period of music. He was the intermediary between “Papa” Josef Haydn and Ludwig van Beethoven. Haydn essentially invented the classical period, and passed along so much information to Wolfgang, his student. Mozart then passed along details of compositional styles, instrumentation, and architecture in music to Beethoven, who pushed us forward into the Romantic era. Mozart developed and helped solidify the form of several different genres, such as Symphonies (he wrote at least 41 of them that we can find), Concertos, including the best in the entire repertoire for any instrument, such as tonight’s Flute Concerto, and Opera, where he turned the world upside down with his serious dramas and silly comedies. Mozart is such an important composer he is worthy of having his own concert; after all, this week is his 268th birthday and that’s a great excuse to celebrate!
Thank you for joining us on what promises to be a roller-coaster journey of amazing sounds from the greatest composer to ever walk the face of the earth. Tonight you will hear music that is familiar and beloved. Mozart’s life had lots of ups and downs, and in these 3 distinct works, he communicates so many emotions and experiences. Listen tonight for:
1) Magic Flute Overture. This was a must on our concert if for no other reason than the title! Mozart’s favorite genre was opera, and his penultimate one has everything from humor to magic spells to Masonic rites of passage to love stories. The Overture presents the listener with an introduction to the opera. The noble and dramatic opening gives way to scurrying, swirling, brilliant running fugues in the style of Bach.
2) Flute Concerto #1 in G Major. I am delighted to present our soloist for the evening, Catherine Ransom Karoly. We’ve been friends for 20 years, when my wife Sarah joined the Flute section of the LA Philharmonic, Cathy was the young, brilliant, virtuosic, greatly respected 2nd flutist, but is now the brilliant, virtuosic, greatly respected Associate Principal Flute. OK, she’s still young!!! When I told her I was considering an All-Mozart program, she jumped at the idea of presenting what many consider to be one of the finest concertos ever composed for flute. In 3 movements, you’ll hear a robust, almost march-like opening, followed by a gorgeous song-like movement, with a heartbreakingly beautiful melody from the flute. The finale is a fun romp of a Menuetto. Mozart was very generous in allowing room in all 3 movements for the soloist to improvise their own solo cadenza. I can’t wait to hear what Cathy does! I wish she would play a bit more…
3) JUPITER. Symphony #41 in C Major. Wolfgang Amadeus Mozart had enjoyed a successful career as an operatic, symphonic, and chamber music composer - and had no trouble earning money until he really needed to support his family. In 1788, the 31-year-old Austrian hoped for a financial bonanza, and set out to compose 3 symphonies to be performed at concerts in Vienna’s elegant “Casinos.” He had also been guaranteed performances in London by the famous and influential impresario Salomon, who had booked Haydn for two long stints in London. Mozart did not name his final symphony after a planet that Galileo discovered 178 years earlier. Rather, it was Salomon who gave Mozart’s final symphony the majestic moniker. Though Mozart never knew of this nickname, the image of the Roman god Jupiter seems to fit the feelings of grandeur, joy and wonder that the 4 movements of the work inspire.
The 1st movement opens very dramatically, with 3 strong military-style “Drum Rolls.” Mozart, who considered himself an opera composer first and foremost, proceeds to pass around the melodies as if it were an opera, with arias, duets, and full choruses being “sung” by the entire string family as well as woodwinds.
Lyrical slow 2nd movements are where we see Mozart’s love of opera and the human voice. Profoundly expressive, the melody moves from sweet and gentle and even hymn-like to waves of agitated syncopations and restless tension before returning to calm.
Mozart’s 3rd movements are often dance-like, and in this case we hear an elegant and joyful Minuet. This was a very popular dance during the classical period, and Mozart’s goal seems to have been to throw the dancers out of step! The concert version of a minuet is definitely NOT square and predictable, especially playing around with what most minuets require - a steady pulse. Good luck dancing to this one!
The first 3 movements are brilliant in their simplicity, and when we hear the opening four long notes of a melodic motive that begins the FINALE, we are not prepared for what is to come: Mozart’s most brilliant work, filled with counterpoint and fugues and imaginative instrumentation. He doesn’t “just” create a mind-boggling fugue. He creates what we can only call a QUINTUPLE Fugue, with no fewer than four different melodies combined with those now-familiar first four notes. Mozart’s expressions of joy and imagination prove that the traditional fugue (thank you, J. S. Bach!) does not have to be stodgy, formal, and serious. When we approach the end of this glorious finale, it sounds like chaos, but we know this is “ORGANIZED CHAOS” that resolves into a joyful conclusion. As a music critic from the 1800’s said, “One must hear this music to believe it possible.”
*****
Whew! Happy Birthday indeed, Wolfgang! I promised to bring you the greatest symphonic masterworks as well as unfamiliar pieces. We will continue to perform music by MY all-time favorites as well as YOURS. Your Music Director loves to hear suggestions from audiences. Who is YOUR favorite composer and what is YOUR favorite piece? Is there a particular soloist or instrument you would like to see featured? Tell me!
We’ve only just begun our musical journey together. Welcome to the family of the Culver City Symphony Orchestra. We’re glad you’re here.
Sincerely,
Clyde