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!
Mozart Festival | Concert 4 of 6: Symphony 40
Detroit: Sunday, January 29, 2017, 03:00 PM (EST, GMT-5)
Los Angeles: 12 noon
New York: 03:00 PM
Ottawa: 03:00 PM
Paris: 09:00 PM
London: 08:00 PM
Berlin: 09:00 PM
Rome: 09:00 PM
Madrid: 09:00 PM
Kiev: 10:00 PM
Moscow: 11:00 PM
Seoul: Monday, January 30, 2017, 05:00 AM
Prior to the #MozartFest: Symphony 40 webcast, Kathryn Libin will speak about Mozart, Wind Players, and Concertos. (02:00 PM, EST, GMT-5)
Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει την Εισαγωγή από την όπερα «Έτσι κάνουν όλες», K.588, το Κοντσέρτο για φαγκότο σε Σι ύφεση μείζονα, K.191/186e, το Κοντσέρτο για κόρνο αρ. 4 σε Μι ύφεση μείζονα, K.495, και τη Συμφωνία αρ. 40 σε Σολ ελάσσονα, K.550, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Συμπράττουν οι σολίστες Robert Williams (φαγκότο) και David Everson (κόρνο).
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, την Κυριακή 29 Ιανουαρίου 2017, στις 10:00 μμ (ώρα Ντιτρόιτ: 03:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.
Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Μότσαρτ, μουσικοί πνευστών οργάνων, και κοντσέρτα».
Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.
Sunday, January 29, 2017, 09:00 PM (EET, UTC+02:00)
MOZART FESTIVAL | JANUARY 19 - FEBRUARY 5, 2017
Concert 4 of 6
Wolfgang Amadeus Mozart (1756-1791)
♪ Overture to Così fan tutte, K.588 (1789-1790)
♪ Bassoon Concerto in B flat major, K.191/186e (1774)
ii. Andante ma Adagio
iii. Rondo: tempo di menuetto
Robert Williams, bassoon
♪ Horn Concerto No.4 in E flat major, K.495 (1786)
i. Allegro maestoso
ii. Romance. Andante cantabile
iii. Rondo. Allegro vivace
David Everson, horn
♪ Symphony No.40 in G minor, K.550 (1788)
i. Molto allegro
iii. Menuetto & Trio. Allegretto
iv. Allegro assai
Detroit Symphony Orchestra
Conductor: Leonard Slatkin
Live from Orchestra Hall, Max M. Fisher Music Center, Detroit
Sunday, January 29, 2017, 10:00 PM (EET, UTC+02:00)
[Detroit: 03:00 PM (EST, GMT-5)]
Live on Livestream
|Leonard Slatkin conducts the DSO (Photo by Cybelle Codish)|
Così fan tutte, first performed in Vienna on January 26, 1790, was the third and final opera in which Mozart collaborated with librettist Lorenzo da Ponte. Although connoisseurs are loathe to choose among The Marriage of Figaro, Don Giovanni and Così fan tutte in terms of good, better and best, there is no denying that Così does not claim the overwhelming popularity of the other two. Yet, it is a masterpiece of the first order, one of the half dozen or so greatest comic operas in the repertory. Like all of Mozart's mature operas, it is deeply imbued with insight into human character. Its plot is fast-paced, the lines full of witty dialogue, the melodies ravishing. The story was derived from numerous sources ranging from Ovid and Ariosto to recently-produced opera buffe and contemporary gossip. Two young officers (Guglielmo and Ferrando) make a bet with their cynical old bachelor friend (Don Alfonso) that if they were to leave on an extended trip, their sweethearts (Fiordiligi and Dorabella) would remain faithful to them. The officers depart, then return disguised as Albanians, each making advances on the other's fiancée. The women succumb to temptation and Don Alfonso's prediction is borne out in fact: "Così fan tutte!" (That's the way all women are!), he scoffs. Shortly afterwards, however, all is forgiven and the original couples are happily reunited. The overture consists of a brief Andante followed by a fleet, high-spirited Presto in sonata form. Twice we hear the music that accompanies Don Alfonso's proclamation "Così fan tutte!": as the bridge leading from the Andante into the Presto, and again near the end of the overture. Mozart aficionados will recognize this line of text as occurring also in an earlier opera, where Don Basilio declares these same words near the end of Act I of The Marriage of Figaro. — Robert Markow
The Bassoon Concerto in B flat major, K.191/186e, written in 1774, is the most often performed and studied piece in the entire bassoon repertory. Nearly all professional bassoonists will perform the piece at some stage in their career, and it is probably the most commonly requested piece in orchestral auditions – it is usually requested that the player perform the excerpts from concerto's first two movements in every audition. Although the autograph score is lost, the exact date of its completion is 4 June 1774. Mozart wrote this (his first concerto for a wind instrument) when he was 18. Scholars believe that Mozart wrote perhaps three bassoon concerti, but that only the first has survived. The concerto calls for a solo bassoon and an orchestra consisting of 2 oboes, 2 horns in Bb, violin I/II, viola, and cello and double bass. The second movement contains a theme which was later featured in the Countess's aria "Porgi, Amor" at the beginning of the second act of Mozart's opera Le nozze di Figaro.
Wolfgang Amadeus Mozart's Horn Concerto No.4 in E flat major, K.495 was completed in 1786. The manuscript, written in red, green, blue, and black ink, was formerly considered as a jocular attempt to rattle the intended performer, Mozart's friend Joseph Leutgeb. However, it is now believed that the multicolored score may be also a kind of "color code". It was Mozart's last horn concerto.
Composed in 1778, the Symphony No.40, K.550, is sometimes referred to as the "Great G minor Symphony", to distinguish it from Symphony No.25, the two being the only extant minor key symphonies Wolfgang Amadeus Mozart ever wrote. Scholars have often suggested that Mozart never heard his 40th Symphony performed, some going as far as suggesting that the work was written for posterity. However, a recently discovered letter supplies evidence for at least one performance of the work with Mozart present. Most important is the fact that Mozart revised his symphony to include clarinets, a trouble he would have hardly gone through had he not had a specific performance in view. The Symphony calls (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani. The first theme is well known, and it also appears in the first movement of his Piano Concerto No.21. Robert Schumann regarded the work as possessing "Grecian lightness and grace". Almost certainly, the most common perception today is that the Symphony is tragic in tone and intensely emotional.
Robert Williams has been the Principal Bassoonist of the Detroit Symphony Orchestra since September of 1974. Prior to that he was Principal Bassoonist of the Winnipeg Symphony, Winnipeg CBC Orchestra, Colorado Philharmonic and Tucson Symphony. He has also played engagements with the Minnesota Orchestra and Boston Symphony.
In addition to his duties at the Detroit Symphony, Robert plays in the DSO Bassoon Quartet, the DSO Woodwind Quintet and the Bellingham Festival of Music. He teaches at Wayne State University and has been on the music faculties of the Aspen Music School and Festival, the University of Michigan, Michigan State University, the Grand Teton Orchestra Training Institute, Claremont Music Festival and the Utah Music Festival.
Robert has been a featured guest artist throughout the United States. He can be heard on all of the DSO recordings conducted by former Music Director Antal Dorati, including the award-winning Rite of Spring and on the Chandos recordings led by Neeme Järvi. Fox Products released his Neo-Bubonic Bassoon Quartet recording in 2003; and his CD of the works of Julius Weissenborn for bassoon and piano was released in 2006.
A native of Tucson, AZ, Robert graduated with honors from the University of Arizona and did post graduate work at the University of Southern California. His major bassoon teachers included Wendal Jones, Leonard Sharrow, and Norman Herzberg.
David Everson, Assistant Principal Horn, has been a member of the Detroit Symphony Orchestra since 1999. A native of Livonia, Michigan and son of two musicians, Dave studied at the University of Michigan with highly-regarded orchestral player and revered teacher Louis Stout. While in school, Dave was a member of the Flint and Toledo Symphonies. Upon leaving Michigan, Dave accepted the position of Associate Principal in Kansas City, where he eventually was named Principal Horn for 13 years. While in Kansas City, he was a frequent featured soloist as well as a founding member of the Grammy-nominated "Kansas City Brass".
As an educator, Dave has been on the faculties of William Jewell College, Washburn University, and his alma mater, University of Michigan. He has played in various music festivals around the country and has been in demand as a clinician and chamber musician. More recently, Dave has been Acting Principal in the Los Angeles Chamber Orchestra and has also played with the Los Angeles Philharmonic. In addition, he has appeared as guest Principal Horn with the Saint Paul Chamber Orchestra.
The last few years have taken Dave in another direction in his career, as a studio musician in Los Angeles. Beginning with his first movie, "Avatar", he can now be heard on more than 90 soundtracks and has recorded with the esteemed John Williams, James Newton Howard and Alan Sylvestri.
Dave is a sought-after private instructor and believes in the development and mentoring of our future horn players. He regularly teaches at Cranbrook and also mentors the students under the educational programs of the DSO.
|Leonard Slatkin and the DSO at Orchestra Hall (Photo by Cybelle Codish)|
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