Continuing traditions, new colors, child prodigy and experienced composers at the fall Concertino concert! This time again, János Pilz has chosen pieces connected in many ways for the program of BFO's string orchestra series. more
A Network of Musical Periods
Handel
C.P.E. Bach
Mozart
Mendelssohn
Jóföldi
Pilz
November
24 and 25
Liszt Academy, Grand Hall
Monday 24th
Tuesday 25th
Georg Friedrich Handel: Concerto Grosso in F major, Op. 6, No. 9, HWV 327
Carl Philipp Emanuel Bach: Flute Concerto in D Minor, H. 484/1, Wq 22
Wolfgang Amadeus Mozart: Divertimento No. 1 in D major, K. 136
Felix Mendelssohn-Bartholdy: String Symphony No. 8 in D major, MWV N 8
Anett Jóföldi (flute)
Concertmaster: János Pilz
Continuing traditions, new colors, child prodigy and experienced composers at the fall Concertino concert! This time again, János Pilz has chosen pieces connected in many ways for the program of BFO's string orchestra series. They range from the Baroque to the Romantic periods, with the composers, styles and forms evoked constantly alluding to each other - back and forth. First Handel paying tribute to Corelli will be followed by C.P.E. Bach, who emerged from his father's shadow with his bold innovations. The second half of the concert will feature an Italianate composition by the sixteen-year-old Mozart, and a work by the thirteen-year-old Mendelssohn, who could brilliantly compose in the style of Mozart. It has now almost become a tradition that the soloist for the concerto in the program will be the winner of the orchestra’s Sándor Végh Competition, and Anett Jóföldi is the proud owner of four such prizes.
When his success as an opera composer seemed to be fading, Handel explored new musical paths. In 1739, in just over a month, he composed his set of twelve concerti grossi, which was designated as Op. 6 based on the famous set by Corelli, who was still very popular in London at the time. The collection was such a huge success that even members of the royal family bought the sheet music when it was published. Two violins and a cello (concertino) are juxtaposed with the strings (ripieno) in the pieces. The opening movement of the Concerto in F major, beginning with some slow and bold harmonies, was originally composed for the piece; however, two of the following movements are reworked parts of an earlier organ concerto, two others are from the overture to an unfinished opera, and one is “recycled” from previous material. Despite all this, the new composition is dynamic and coherent.
King Frederick II of Prussia loved the flute and played it himself. Thus, the main duties of Bach’s most famous son who was in his service included accompanying the king on the keyboard, and composing pieces for him. Of his half a dozen flute concertos, the one in D minor is by far the best known, but it could not be written for the King because it is not in the Italian style favored by the Emperor and it has serious technical challenges. The work was composed in 1747 consists of a brisk opening movement, an elegant and understatedly dramatic slow movement with a cadenza, and a whirlwind finale that could be seen as a prelude to Sturm und Drang.
Mozart’s Divertimento in D major is in fact not a divertimento. Its title was not chosen by the composer, and the three-movement form is more typical of Mozart's early symphonies than his later, multi-movement divertimentos and serenades That is why the three pieces composed in early 1772 are also called the “Salzburg Symphonies”. Mozart, returning from his trip to Italy, infused the musical world of the Italian concertos into the style of Haydn's string quartets. The lively, playful opening movement in sonata form is followed by a moderately paced movement with Italianate melodies reminiscent of an elegant court dance. The finale could be called the pop music of the period also includes a fugato-like section.
And speaking of early symphonies, the adolescent Mendelssohn embarked on his astonishing symphonic journey with his twelve string symphonies between 1821 and 1823. The music of C.P.E. Bach, introduced to the young composer by his teacher, Carl Friedrich Zelter, served as a model for the genre, which by then had already become old-fashioned. Yet the most elaborate work in D major, with a version made for full orchestra, is more reminiscent of Mozart. The first movement seems to recall the motif of the overture to The Magic Flute, while in the finale, a section reminiscent of the fugue of the Jupiter Symphony and its further elaboration closes the composition. Between those two, Mendelssohn conjures up a range of colors from a dark but melodic lament to Haydnesque wit.
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