Plus, 3 things to listen for in Mozart's Symphony no 39
͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏
|
|
|
Baroque & Beyond: Shift, Change, Turn
|
|
|
Classical and contemporary voices share the stage this weekend in a program that challenges and inspires. Join us for Shift, Change, Turn on Friday, October 16 in Waterloo, Saturday, October 17 in Cambridge, or Sunday, October 18 in Guelph. Reserve your seats today and be part of the opening concert of our Baroque and Beyond series.
Friday, October 16 | 7:30 pm | Knox Presbyterian Church, Waterloo
Saturday, October 17 | 7:30 pm | Central Presbyterian Church, Cambridge
Sunday, October 18 | 2:30 pm | Harcourt United Church, Guelph
|
|
|
|
|
|
|
|
Mozart: Symphony No. 39 in E-flat major
|
|
|
In the summer of 1788, Mozart wrote his last three symphonies in about six weeks. The three are strikingly different, and many consider them the pinnacle of his symphonic writing. No. 39 is the first, and it is warm, graceful, and full of charm.
After intermission, the orchestra returns to the stage for Mozart’s Symphony No. 39. Here are three things to listen for as it unfolds:
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1. A grand opening that quietly steps aside.
The symphony begins with a slow, majestic introduction, with stately rhythms and glowing brass. Then the fast section starts almost under its breath, before blossoming into a graceful, singing melody passed between the strings and winds.
2. Two clarinets at play.
In the third movement, a folk-style dance, the middle section puts two clarinets in the spotlight. One sings a plain but catchy little tune while the other ripples underneath with bubbling patterns. Mozart uses clarinets throughout, and they give the whole symphony a warmer, rounder sound.
3. A finale with a grin.
Almost everything grows from one light, darting theme that keeps returning in new disguises, tossed around the orchestra with growing excitement. Just when you expect a big, emphatic ending, the theme slips in one last time and snaps the symphony shut.
|
|
|
|
|
|
|
|
Guest Soloist: Aemilia Moser
|
|
|
Aemilia Moser is a coloratura soprano and violinist who champions contemporary music. A recent winner of the Eckhardt-Gramatté Competition, she has appeared as a soloist with the Winnipeg Symphony Orchestra and the Chamber Orchestra of Edmonton, and took part in an artistic residency at the Banff Centre. She joins us for Emily Doolittle’s A Short, Slow Life.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
No comments:
Post a Comment