Experience the magnificence of Wolfgang Amadeus Mozart in our three-week Winter Music Festival dedicated to the imagination, virtuosity, and influence of classical music's most prolific composer!
Wolfgang Amadeus Mozart
(January 27, 1756 – December 5, 1791 • 27 Ιανουαρίου 1756 - 5 Δεκεμβρίου 1791)
261st anniversary of his birth – 261η επέτειος από τη γέννησή του
Mozart Festival | Concert 3 of 6: Clarinet Concerto
Detroit: Friday, January 27, 2017, 08:00 PM (EST, GMT-5)
Los Angeles: 05:00 PM
New York: 08:00 PM
Saturday, January 28, 2017:
Paris: 02:00 AM
London: 01:00 AM
Berlin: 02:00 AM
Rome: 02:00 AM
Moscow: 04:00 AM
Seoul: 10:00 AM
Prior to the #MozartFest: Clarinet Concerto webcast, Kathryn Libin will speak about Mozart in Vienna and Prague. (07:00 PM, EST, GMT-5)
Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει την Εισαγωγή από την όπερα «Η Μεγαλοψυχία του Τίτο», K.621, το Κοντσερτόνε σε Ντο μείζονα, K.190, το Κοντσέρτο για κόρνο αρ. 3 σε Μι ύφεση μείζονα, K.447, και το Κοντσέρτο για κλαρινέτο σε Λα μείζονα, K.622, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Συμπράττουν οι σολίστες Kimberly Kaloyanides Kennedy και Hai-Xin Wu (βιολί), Johanna Yarbrough (κόρνο) και Ralph Skiano (κλαρινέτο).
Η συναυλία, διάρκειας δύο ωρών, θα πραγματοποιηθεί στο πλαίσιο του Φεστιβάλ Μότσαρτ (#MozartFest), στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, το Σάββατο 28 Ιανουαρίου 2017, στις 03:00 πμ (ώρα Ντιτρόιτ: Παρασκευή 27 Ιανουαρίου 2017, 08:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.
Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Ο Μότσαρτ στη Βιένη και την Πράγα».
Mozart in Vienna and Prague
Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.
Saturday, January 28, 2017, 02:00 AM (EET, UTC+02:00)
MOZART FESTIVAL | JANUARY 19 - FEBRUARY 5, 2017
Concert 3 of 6
Wolfgang Amadeus Mozart (1756-1791)
♪ Overture to La clemenza di Tito, K.621 (1791)
♪ Concertone in C major, K.190 (1774)
i. Allegro spiritoso
ii. Andantino grazioso
iii. Tempo minuetto (Vivace)
Kimberly Kaloyanides Kennedy, violin
Hai-Xin Wu, violin
♪ Horn Concerto No.3 in E flat major, K.447 (1787)
ii. Romance. Larghetto
Johanna Yarbrough, horn
♪ Clarinet Concerto in A major, K.622 (1791)
iii. Rondo: Allegro
Ralph Skiano, clarinet
Detroit Symphony Orchestra
Conductor: Leonard Slatkin
Live from Orchestra Hall, Max M. Fisher Music Center, Detroit
Saturday, January 28, 2017, 03:00 AM (EET, UTC+02:00)
[Detroit: Friday, January 27, 2017, 08:00 PM (EST, GMT-5)]
Live on Livestream
|Leonard Slatkin (Photo by David Duchon-Doris)|
Among the works Mozart produced within the 35th and final year of his life were three operas, each from a different category of the genre: Così fan tutte, an opera buffa (comic opera); The Magic Flute, a Singspiel, or German opera; and La clemenza di Tito, an opera seria – a form in which the characters are usually drawn from ancient history. The latter work was composed on commission for the festivities attendant upon the coronation of Leopold II as King of Bohemia on September 6, 1791. Mozart had barely a month in which to complete the opera, but, accustomed as he was to rush jobs, the first performance took place at the appointed time. Clemenza was not a success, either with the Imperial Highnesses or with the public. In fact, the Empress assumed the role of music critic and gave her judgment in an extremely brief review, to wit, "German rubbish". Later performances did indeed win public approval, and Mozart was to enter in his catalog: "La clemenza di Tito, made into a real opera by Signore Mazzola (after a libretto by Metastasio)..." However, in present-day opera houses, where Figaro, Giovanni, Così, and Magic Flute are standard fare, Clemenza is still an infrequent visitor. Even the Overture to Clemenza has not found a conspicuous place in the concert hall but has remained on the fringes of the repertoire – a fate it does not deserve. Its music is fresh and vital, having both sinew and elegance and that flair which seemed as natural to Mozart as breathing.
Mozart wrote the Concertone in C major, K.190, in 1774, and it came as the fourth entry in his concerto catalogue. The word concertone comes from the italian concerto, with a suffix added to denote largeness. In this case the work contrasts an orchestra with a group of soloists (first and second violin, with frequent appeareances of solo cello and oboe). The score calls for a full section of two oboes, two bassoons, two horns and two trumpets in addition to timpani and strings. Displaying an ellegant and ornamented style, this piece is not so often heard in music halls.
The Concerto K.447 is the third of the four horn concertos composed by Mozart between 1783 and 1791 for the French horn player Joseph Leutgeb (1732-1811), a friend whom Mozart knew for most of his life. In 1777 Leutgeb moved from Salzburg (where he was member of the court orchestra) to Vienna, where he opened a cheese shop (with the help of a loan from Mozart's father Leopold) in addition to continuing his musical career. The jocular, at times insulting comments that litter the autograph parts of the horn concertos bear witness to the close nature of the friendship between Mozart and Leutgeb. More important, they are also a testament to the artistry of the latter; the solo parts contain many passages that present a considerable challenge to players on the natural (valveless) horn. Among these was the use of so-called "stopped notes", a technique that involved the player's inserting his right hand into the bell to enable him to play notes otherwise unavailable on the horns of the day. Mozart's horn concertos all include such stopped notes, in addition to bass notes obtained by the technique known as "overblowing", another skill developed by Leutgeb. The Concerto was originally given a dating of 1783 by Köchel, but more recent research has established that K.447 probably belongs to 1787 – although that leaves open the question as to why Mozart did not enter the work into the thematic catalog he started in 1784. As with all the concertos with the exception of "No.1", K.412 (the last in order of composition), K.447 is in the usual three-movement concerto form, with an Allegro followed by a slow movement marked Romance and a concluding Allegro in rondo form with plenty of hunting-horn atmosphere. The Concerto is scored for two clarinets, two bassoons, and the usual complement of strings. — Brian Robins (allmusic.com)
Wolfgang Amadeus Mozart composed his Clarinet Concerto in A major, K.622, in 1791. It was written for clarinetist Anton Stadler, and it was among the latest works Mozart completed, and his final purely instrumental work (he died in the December following its completion). The Concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist. As no autograph survives and as it was published posthumously, it is difficult to understand all of Mozart's intentions: the only relic of this concerto written in Mozart's hand is an excerpt of an earlier rendition written for basset horn in G. Most likely Mozart originally intended the piece to be written for basset horn, but eventually was convinced the piece would be more effective for clarinet. However, since several notes throughout the piece go beyond the conventional range of the A clarinet, we can presume it was intended to be played on the basset clarinet, a special clarinet championed by Stadler that had a range down to low written C. Even in Mozart's day, the basset clarinet was a rare, custom made instrument, so when the piece was published, a new version was arranged with the low notes transposed to regular range. This has proven a problematic decision, as the autograph is lost, having been pawned by Stadler, and until the mid 20th century musicologists did not know that the only version of the concerto written by Mozart's hand had not been heard since Stadler's lifetime. The Concerto was premiered in Prague in 1791 to a positive reception. The work calls for a solo clarinet in A, flute I/II, bassoon I/II, horn I/II (in A and D, often transcribed for horn in F), violin I/II, viola, cello, and double bass.
Ralph Skiano (Principal Clarinet, Robert B. Semple Chair, DSO member since 2014)
Known for his beautiful sound and expressive playing, Ralph Skiano was appointed principal clarinetist of the Detroit Symphony Orchestra in 2014 after having served in the same position in the Richmond Symphony and the Des Moines Metro Opera. He has also appeared as guest principal clarinetist of the Seattle Symphony, the Cincinnati Symphony, and the Cleveland Orchestra.
Ralph has been involved in numerous music festivals, including the the Mainly Mozart Festival, The Peninsula Music Festival, the Britt Music Festival, Festival Lyrique-en-Mer, and the Tanglewood Music Center. As a soloist, he has been featured with ensembles in the United States, France, Germany, and Switzerland. In 2010, Ralph was a guest artist at the Oklahoma Clarinet Symposium and he was a featured soloist with the Baton Rouge Symphony at the 2014 International Clarinet Association Convention. Skiano appeared as a soloist several times with the Richmond Symphony, most notably performing Concerti by Mozart, Weber, and Copland and made his Detroit solo debut with the DSO in March of 2014 performing Mozart's Concerto for Clarinet.
Ralph has served on the faculty of the schools of music at James Madison University and the College of William and Mary, and has presented masterclasses at UVA, Towson University, Louisiana State University, California State University Northridge, Michigan State University, Northwestern University, The University of Maryland, and The University of Michigan. As a Buffet Group Artist, Ralph Skiano performs exclusively on Buffet Crampon clarinets.
|Orchestra Hall, Max M. Fisher Music Center, Detroit|
See also / Δείτε επίσης
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