The Path to Romanticism

It's essentially a continuation of our February concert of Rameau, Arne, Mozart
and Haydn, picking up where we left off with more Mozart, and ending with
the thrilling Symphony No. 8 of Beethoven (which replaces the Mendelssohn
Symphony No. 8 which was originally scheduled).

And, yes.....this may be our best concert ever.

The music is loaded with historical and stylistic details that criss-cross throughout
the program. The opening work is a Gavotte (French folk dance) by G.B. Martini,
an Italian who happened to be one of the young Mozart's teachers. It's a delightful
work that many musicians recall from their student days, since there have been
many different arrangements of it over the years. The orchestration we are
playing is by a French composer, to which I have added some extra woodwinds
and horns for a more "rustic" sound.

We are also performing a French art song by another Martini--Jean Paul, who was
really German, though he lived and worked in France.  It may be confusing,
but there's no need to be concerned: the music is gorgeous. AND, as a matter of
fact, the song  -- titled Plaisir d'amour ("The pleasures of love") has something very
special about it which I think most of you will recognize immediately. I won't give
it away now, but I think most of you will experience one of those "hey, I think I
know that tune!" moments when you hear it.

In addition to the novelty of the music itself, Plaisir d'amour will be performed in
a brand-new version which I wrote especially to complement the exquisite singing
of our guest artist, the lovely and extremely talented young soprano Melinda
Alberty. I will only say that the quality of her singing is something rare indeed.

Melinda will also perform two concert arias by Mozart, one of which will actually
end the program; why? Because Mozart himself wrote it for a singer (actually his
sister-in-law) to sing as a direct address to the audience as the final number on
a concert---so we will honor the tradition. It's unbelievably lovely music, and will
be sung directly to you.

Did I mention that we are playing TWO COMPLETE SYMPHONIES---one by
Mozart and one by Beethoven?! The Symphony No. 34 by Mozart is perhaps
my favorite of all of his works in this form and, not surprisingly, it is not that
well-known.  It's in 3 (not 4) movements---the second, a lovely serenade for
strings only, and a brilliant finale that seems to me a sentimental tribute to his
early visits to Italy, where he studied with G.B. Martini. Very few, if any, of our
players are familiar with it, but after two quick work-throughs in rehearsal,
they are playing it as if they have known it all their lives.

Then there's Beethoven's rollicking Symphony No. 8, one of the "lesser" of
his output (yeah, right....) and the one in which he seems to be looking back
very lovingly but very humorously at the classical era of Mozart and Haydn.
Fascinating, especially since he himself was primarily responsible for the
demise of the classical style, as his own music became ever more bold
and dynamic....leading us into the Romantic style which dominated the
19th-century.

As always, I will introduce the works from the stage and demonstrate
various features of the music for you before we play. This concert has all
the makings of a truly memorable event: a combination of delightful music,
a first-rate vocal soloist, and the fascinating historical framework which
makes it all so much more compelling. And.....in addition to everything
I have mentioned in this column...there just might be one more surprise
that won't be listed on the program; you'll have to stick around at the
end of the concert to find out what it is. And you will be glad you did.

I look forward to seeing all of you this Sunday at 4pm; bring a friend--
or two---or four!

Thanks for reading,

Larry