PROGRAM NOTES - Who???
June 2008

When I think of the best known 18th century composers, the first names that come to mind are Johann Sebastian Bach, George Frederick Handel, Antonio Vivaldi, Wolfgang Amadeus Mozart, Franz Joseph Haydn and the transition composer to the 19th century, Ludwig van Beethoven. For those who are music history fanatics, you know this list is quite incomplete. Perhaps the most prolific 18th century composer is Georg Philipp Telemann. But there are hundreds of other composers, many remarkable renegades and creative people that we don't know so well. It is these lesser known composers that Allegro salutes as we exclaim, “WHO???” to open our seventh season. Strangely there is a wonderful web of connection between these lesser-known composers and the better-known ones.

Symphony No 3 in F Major , Wq 183/3 by CPE Bach (1714-1788)

Today it is Johann Sebastian Bach who is generally thought of when we say, “Bach.” But in his day, J.S. was considered old fashioned. If you wanted to hear what was “hot,” what was “new,” or what was “on the cutting edge,” then you wanted to hear what Johann's boys were doing, not “the old man.”

When writing about Carl Philipp Emanuel Bach, Mozart wrote, “He is thefather, we are the kids. Those of us who know a thing or two, have it from him.” Haydn was said to have written, “Anyone who knows me well must realize that I owe a great deal to Emanuel Bach, that I studied him industriously, and understood him.” Such was the case with countless composers of the late 18th century.

So WHO was this inspirational musical leader that we hardly know today? He was the second son of J.S. Bach. He was extraordinarily well educated, having studied law at the University of Leipzig ‘31 and the University of Franfurt an der Oder '34 (that would be 1731 and 1734). He wrote nearly 900 pieces, 350 of which were for the keyboard. He did mention in his autobiography that his dad was a pretty good keyboard teacher. He also wrote 20 symphonies. This is a pretty significant number given that he is considered one of the originators of this form. In 1767 he succeeded his godfather, Georg Phillip Telemann, in the coveted position of Kantor of the Hamburg Johanneum.

Sometimes known as the Hamburg Bach, Emmanuel composed two sets of symphonies while in that city. The second group of four were commissioned by an unidentified patron and published in 1780. Strings magazine editor Edith Eisler observes that “the fast corner movements are sparkling and gracious, with trills adding spice and humor; the slow middle movements sing serenely and lament mournfully.”

Nocturne for Julia by Arlen Clarke (1954 – )

One of the many elements that marks Allegro as unique is our sense of community and family. Last season we were honored to present the premiere of Arlen Clarke's Nocturne for Julia. Gene and Bill Oliver commissioned the work in memory of their wife and mother, Julia. The Olivers were the first donors for Allegro, and we were exceptionally pleased to present this work. But Bill was not able to attend the premiere last August. “No problem,” said the leadership of Allegro. “We will do it again in June 2008, and you can come hear it then!” We are pleased to again present this powerful and moving tribute to a wonderful friend.

Last year Doug Albert's Concert Notes included these comments from the composer:

I met Julia through the DeWitts a few years ago, and had the pleasure of chatting with her over lunch perhaps less than a year prior to her death. “Nocturne for Julia” is a musical description of my impression of her. Subjectivity is the artist's greatest tool for expression. And from my impressions of her, I set out to capture, in the music, what I felt was her essence - gentle, elegant, and inwardly strong. I can tell you that it was relatively easy to be inspired to write music for such a remarkable woman. Unfortunately, this piece is much too short to reflect Julia's life and impact on others. I believe that there is a whole symphony waiting to be written for her.

Overture to La Clemenza di Scipione by Johann Christian Bach (1735-1782)

In all, J.S. Bach had 20 children, with two wives, of which 10 children survived into adulthood. Johann Christian Bach is the youngest surviving son of J.S. Bach and his second wife. J.S. was 50 years old when J.C. was born!

At the age of 15 after the death of his father, Johann Christian went to work for his older brother, Carl Philip Emanuel. J.C. Bach is known as the “ London ” Bach because he traveled to London to premiere three operas in 1762-63. La Clemenza di Scipione was also first performed in London , but in 1778. J.C.'s opera production is significant, as he was the only Bach to write operas. Mozart's opera La Clemenza di Tito was inspired by J.C. Bach's La Clemenza di Scipione .

Violin Concerto No 5 , K. 219 by Wolfgang Amadeus Mozart (1756-1791)

Okay, we know today's concert is entitled WHO??? and most of you are pretty familiar with Wolfgang Amadeus Mozart. The composer may be well known but his work still brings unexpected delights.

He seemed to enjoy surprising his audiences. When he wrote his Paris Symphony (No. 31) he had been told that the French public expected the last movement of a symphony would always begin quite loud with all instruments in unison. So, naturally, the 22-year-old Mozart started the movement quite soft with only the violins playing. The listeners' reactions may have been WHAT???

His prodigious output is also a surprise. Think back to when you were nineteen – what did you accomplish that year? Mozart wrote 5 violin concertos! The last of these five had another surprise for the 18th century audience. The traditional beginning of a concerto has the orchestra present the major theme, followed by the soloist presenting the same theme. With this concerto, Mozart begins with a lyrical theme in the orchestra that is assumed to be the primary theme. In fact, it is only the accompaniment for the primary theme that is later presented by the solo violin.

Mozart also had a flair for the exotic. The last movement is in rondo form, which has a returning melody with interjected episodes. One of the episodes is a gypsy-like Turkish or Hungarian dance, which in this time was considered exotic music. He also has some internal musical humor as he quotes himself at one point from his opera Lucio Silla , which he wrote two years earlier when he was only 17! WHEN???

Symphony No. 1 in C Major by Carl Maria von Weber (1786-1826)

Carl Maria von Webber also came from a musical family. His dad was a town musician and his mother a singer. His father organized a touring theatrical company and, beginning at the age of three, Carl Maria led a nomadic life on the road with the company. As a result he had little or no formal education. Carl Maria also struggled with health problems. He was born with a hip deformity that kept him from walking until age 4 and caused him to limp throughout his life.

Carl Maria wrote a number of orchestral works including solo orchestral works, but is probably best known for his operas. His two symphonies were written in 1806 and 1807, and are clearly inspired by 18th century models. Perhaps most influential was Michael Haydn, the composing younger brother of Franz Joseph Haydn, who was Carl Maria's composition teacher. Symphony No. 1 in C Major is a cultural melting pot. There is the clarity and humor of the 18th century composers like Haydn, the passion and power of composers like C.P.E Bach, and clear elements reminiscent of another compositional super power, a guy named Beethoven … WHO ???

- Brian Norcross
Allegro Artistic Director

Doug Albert will return as our resident Concert Notes author next month.