Details

Mozart holds a unique spot in the hearts and minds of all ESO musicians, and this special evening celebrates that devotion and affection. Bob Bernhardt and Edmonton's finest musicians perform their favourites from the rich treasure trove of music by the genius from Salzburg.

Program to include movements and excerpts from:

Eine kleine Nachtmusik
Symphonies Nos. 40 and 41
Clarinet Concerto
Concerto for Flute and Harp
Piano Concerto No. 17
The Marriage of Figaro

$69 Dress Circle (A)
$59 Terrace (B)
$51 Orchestra (C)
$38 Upper Circle (D)
$28 Gallery (E)
$20 Orchestra Front (F)
(click map for interactive version)

Tickets subject to applicable service charges.

Thank you to the generous supporters of this series: Bill & Mary Jo Robbins

Thank you to our media sponsor:

The next Robbins Lighter Classics performance is November 19, 2009.

Program Information

Program

Lavallée: O Canada (arr. Gilliland) (1')*

All music by Wolfgang Amadé Mozart

Die Zauberflöte, K.620: Overture (7’)*

Epistle Sonata for Organ No. 17 in C Major, K.336 (5’)*

Symphony No. 40 in G minor, K.550: 1st movement (8’)*

Concerto for Flute and Harp in C Major, K.297c/299: 2nd movement (9’)*

Piano Concerto No. 17 in G Major, K.453: 3rd movement (10)*

INTERMISSION (20 minutes)

Eine kleine Nachtmusik, K.525: 1st movement (6’)*

Clarinet Concerto in A Major, K.622: 3rd movement (8’)*

Le nozze di Figaro, K.492: Overture (5’)*

Le nozze di Figaro, K.492: “Guinse alfin…Deh, vieni non tardar” (3’)*

Exsultate jubilate, K.158a/165: “Alleluia” (3’)*

Symphony No. 41 in C Major, K.551: 4th movement (6’)*

*indicates approximate performance duration

Program Notes

Many of us know that Mozart was perhaps the most famous child prodigy in the history of western music. He was composing barely out of his toddler years, and his talents as a musician made him the tiny toast of European aristocracy.

But beneath that veneer is a man troubled by his early success – a genius whose musical maturity was equalled by an immaturity in nearly every other aspect of his life. He was baptized with the name Johannes Chrysostomus Wolfgangus Theophilus. The first two names were for the saint whose feast day fell on his January 27 birthday. The third name, Wolfgangus (in German, "Wolfgang") was his familiar name. The last one, Theophilus, is Greek for "Love of God." In German, he wrote it as "Gottlieb"; but sometimes he wrote it in French ("Amadé") or even more rarely, in Latin ("Amadeus"). That's where all that business comes from, in case you were wondering.

It was Mozart’s father Leopold, a court musician in the picturesque, if not vitally important, town of Salzburg, who recognized the talent Wolfgang, and his elder sister Maria Anna - known affectionately as Nannerl - possessed. Moreover, Leopold was more than willing to exploit that talent. The two Mozart children traveled the length and breadth of Europe, leaving all in amazement at their prowess. But the experience left Mozart forever scarred. Having seen the richness of the great European courts, Salzburg seemed a hopeless backwater. And having tasted the success his youthful prodigiousness brought him, Mozart spent the rest of his life in futile pursuit of a secure, well-paid position.

For all the young Woflgang had to endure for the sake of music, it is surprising he did not turn away from it. But he embraced it ardently, and before his 13th birthday, he had spent twice as much time “on tour” as he had spent in Salzburg. He was fortunate that the Prince-Archbishop of Salzburg was both a music-lover and a patron. But in 1769, that man died, and his replacement was not so inclined to support the Mozarts’ wandering all over Europe. Both father and son were in his employ, after all, and they could not contribute to the musical life of Salzburg if they were always away.

Italian operas were one sure path to success for an emerging composer, and early triumphs with his operas Ascanio (1771) and Lucio Silla (1772) brought young Wolfgang to Italy, where his father had hopes of landing him a position in an Italian court. It was on this trip that the motet Exsultate, jubilate, written in an Italian operatic style, was composed. It is certainly the most often-performed of his early vocal works.

In 1778, Mozart arrived in Paris and, as he had with several of his concertos, he wrote one on order for a wealthy family which boasted a number of very gifted musicians. Adrien-Louis Bonnières de Souastre Comtes de Guines played the flute, Mozart wrote, “incomparably,” while the Count’s daughter was an equally gifted harpist. Mozart’s unique Concerto for Flute and Harp is a charming, breezy work.

Back in Salzburg the following year, Mozart produced some of his finest sacred works, including the “Coronation” Mass, and the Missa solemnis. Written to accompany the latter was one of two Epistle Sonatas he composed for organ and strings.

1781 was a profoundly important one for Mozart. The chip on his shoulder towards Salzburg had become a plank, further aggravated by what he felt was ill treatment by the Archbishop. That same year, his serious opera Idomeneo premiered, and bent on seeking his fortune, Mozart left Salzburg for good, settling in Vienna. The next year, much against his father’s wishes, he married Constanze Weber. The remaining ten years of Mozart’s life saw him struggle to maintain a living. He gave subscription concerts, premiering one amazing piano concerto after another. He composed operas – some met with little success, some were smash hits. He continued to accept commissions when he could, and he gave lessons. But in any case, his ability to manage money was disastrous. If he had it, he spent it, or gave it away. If he did not, he constantly turned to friends for loans.

In the spring of 1784, Mozart wrote a number of piano concertos for his talented 18-year-old student, Barbara Ployer. One of them, in G Major, K.453, was presented by her that summer. The next year brought Mozart together with the gifted librettist Lorenzo da Ponte. Three of Mozart’s finest operas resulted from this collaboration, the first of which was Le nozze di Figaro (“The Marriage of Figaro”), which premiered in May 1786, and was one of the greatest successes Mozart had during his lifetime.

The work known as Eine kleine Nachtmusik (“A little night music”) is, now, one of the most instantly recognizable works in all of music. But at the time he wrote it, Mozart thought he had long done with writing such works. It is a serenade – the kind of light evening’s entertainment he had written frequently for rich Salzburg families – and we do not know for whom this most famous work was written. We know he finished it on August 10, 1787, so it was likely for someone’s summer party.

In what must surely be regarded as one of the greatest bursts of creativity in the history of art, Mozart wrote his final three symphonies in about six weeks during the summer of 1788. This achievement is all the more remarkable because each of the symphonies is decidedly different in character, layout, and dramatic feel from its fellows; and because each was a significant advance in the symphony as a form. Symphony No. 40, the second of the three, is cast in G minor, lending its opening movement’s buoyant Allegro an intriguing dark shadow. The finale of the 41st Symphony, nicknamed after the head of the Roman gods, is a grand movement in which the main theme is cast in a fugue – a form better known 60 years earlier, but made a bold and remarkably progressive move here.

Mozart’s last works were nearly all remarkable, and all were written as his health began to seriously decline. His opera Die Zauberflöte (“The Magic Flute”), premiered in 1791 – only three months before his death - combines rather madcap comedic elements with a serious story of perseverance and brotherhood – with many Masonic trappings along the way (Mozart had become a Freemason several years before). His final concerto was written, not for piano for himself to play, but for clarinet, inspired by the gifted clarinetist Anton Stadler, who ignited a fire in the ailing composer which resulted in several new works for that instrument, including the famous Clarinet Concerto.

Mozart died on December 6, 1791, only weeks before his 36th birthday. Constanze proved herself a fairly canny woman of business following his death, and continued to have his music published, and in some cases, incomplete works were finished by others. His genius became widely known in the years after his burial in a commoner’s grave, and his place as one of the most gifted musical geniuses has never waned. He left us a trove of musical masterpieces, which, as recent headlines tell us, are still being discovered.

Program Notes © 2009 D.T. Baker

Program notes © 2009 by the Edmonton Symphony Orchestra and its respective annotators. All Rights Reserved. Program notes may not be printed in their entirety without the written consent of the Edmonton Symphony Orchestra; excerpts may be quoted if due acknowledgment is given to the author and to the Edmonton Symphony Orchestra. For reprint permission, contact D.T. Baker, Music Resource, by email, dave.baker@winspearcentre.com.

These notes appear in galley files prepared for Signature magazine, official publication of the ESO, and may contain typographical or other errors, or may differ from the final print version. Programs and artists subject to change without notice.

Artist Information

Robert Bernhardt, conductor

 

Robert Bernhardt is the second Music Director in the history of the combined Chattanooga Symphony & Opera, and is currently in his 16th season with the company. Concurrent with his CSO tenure, Bernhardt holds the additional title of Principal Pops Conductor of the Louisville Orchestra where he is currently in his 28th season. He began his professional career there in 1981 as Assistant Conductor, and has worked with the Orchestra every year since. He was the Artistic Director and Principal Conductor of the Rochester Philharmonic (1995-98), Music Director and Conductor of the Tucson Symphony (1987-95), Principal Guest Conductor of Kentucky Opera (1991-96), and Music Director of the Amarillo Symphony Orchestra (1985-1987). His vast symphonic repertoire covers most of the standard canon and his commitment to the music of our time is significant.

 

This season, Robert Bernhardt will make his guest conducting debut with the Houston Symphony, and returns to the podiums of the Pacific Symphony, Tucson Symphony, and the Chattanooga Ballet. He has guest conducted the Detroit, St. Louis, Seattle, Phoenix, Nashville, Colorado, Pacific and Iceland Symphony Orchestras among others, and has been a frequent guest with the Pittsburgh Symphony, the Tucson Symphony, and the Boston Pops. He made his Carnegie Hall debut in 1978. In addition to his work with the CSO, he has conducted the Opera Companies of Nashville and Birmingham. He has also conducted the Louisville Ballet, the North Carolina Ballet, the Jacksonville Ballet and the Lonestar Ballet. Born in Rochester, NY, Robert Bernhardt holds a Master's Degree with Honors from the University of Southern California School of Music where he studied with Daniel Lewis. He was a Phi Beta Kappa, summa cum laude graduate of Union (NY) College, where he was an Academic All-American Baseball Player.

Since making his ESO debut in May 2006, Robert Bernhardt has become a favourite guest conductor of both the orchestra and its audience. The 2009 Sobeys Symphony Under the Sky is the fourth consecutive edition of the festival led by Mr. Bernhardt. He will conduct several more performances in the 09/10 season, including the Sobeys Symphony Under the Sky festival, Oktoberfest! on October 8, 2009, and Classics of the Silver Screen on May 20, 2010.

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Lucas Waldin, ESO Resident Conductor

 

The 2009/10 season marks the first for Lucas Waldin as Resident Conductor for the Edmonton Symphony Orchestra. This mentorship position is made possible through the Canada Council for the Arts. Mr. Waldin graduated in 2006 from the Cleveland Institute of Music with a Masters in Conducting. He has performed with L'Orchestre du Festival Beaulieu-Sur-Mer (Monaco), Staatstheater Cottbus (Brandenburg), and Bachakademie Stuttgart. Lucas was assistant conductor of the contemporary orchestra RED (Cleveland), director of the Cleveland Bach Consort, and a Discovery Series Conductor at the Oregon Bach Festival. In 2007, he was invited to conduct the Miami-based New World Symphony Orchestra in masterclasses given by Michael Tilson Thomas. In Lucerne in 2009, he also participated in a masterclass led by Bernard Haitink, with the Lucerne Festival Strings.

A native of Toronto, Lucas Waldin has spent summers studying in Europe, including studies at the International Music Academy in Leipzig, the Bayreuth Youth Orchestra, and the Acanthes New Music Festival in France. On this continent, he has studied under the renowned Bach conductor Helmut Rilling at the Oregon Bach Festival, and has attended conducting masterclasses with the Tafelmusik Baroque Orchestra in Toronto. Mr. Waldin received a Bachelor of Music degree in flute performance from the Cleveland Institute, studying with Joshua Smith.

 

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Julianne Scott, clarinet

 

A native of Calgary, Julianne Scott is the new Principal Clarinet of the Edmonton Symphony. This follows her tenure (2007-2009) as Principal Clarinet with the Colorado Springs Philharmonic. Ms. Scott graduated from the University of Southern California with her Masters, where she studied with Yehuda Gilad. She attained her Bachelor's degree from the University of Toronto in 2006 under Joaquin Valdenpenas. Julianne Scott as spent summers participating in festivals including the Sunflower Music Festival, the Aspen Festival, the Spoleto Festival, touring with the Canadian Youth Orchestra, and the Music Academy of the West. She has appeared as a soloist with Colorado Springs Philharmonic.

This is Ms. Scott’s debut as a soloist with the ESO.

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Nora Bumanis, harp

 

Nora Bumanis has been Principal Harp of the Edmonton Symphony since 1980. She graduated from the University of Toronto, where she studied with Judy Loman. She also studied with Alice Chalifoux at the Salzedo Harp Colony in Camden, Maine and with Lynne Palmer in Seattle, Washington. She has gone on to perform as a soloist in recitals, but also in performances with the Toronto symphony, National Arts Centre Orchestra, the Calgary Philharmonic, as well as the ESO. Ms. Bumanis teaches at the University of Alberta and Alberta College. She formed Canada's only harp duo, the Paragon Harp Duo, with Julia Shaw, and they have since made many acclaimed recordings as well as presented many recitals together. Their 2000 recording of Marjan Mozetich's concerto written for them, titled Passion of Angels, was nominated for a Juno. Their recording of Christmas music, Joyeuse, was recorded on the Winspear stage.

Ms. Bumanis last appeared as a soloist with the ESO in January 2009.

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Elizabeth Koch, flute

 

Originally from the Philadelphia area, Elizabeth Koch has been Principal Flute with the ESO since 1987. She studied at the New School of Music in Philadelphia, the Cleveland Institute of Music and the Blossom Festival School (summer home of the Cleveland Orchestra). Her teachers include David Cramer (Assistant Principal Flute, Philadelphia Orchestra), Jeffrey Khaner (Principal Flute, Philadelphia Orchestra) and Adeline Tomasone (Principal Flute, Philadelphia Opera). In the summer of 1987, Ms. Koch was the only American flutist to play in the Schleswig-Holstein Musik Festival Orkester under Leonard Bernstein. Since arriving in Edmonton, Elizabeth Koch has been in demand as a soloist with the ESO, the Alberta Baroque Ensemble, The Edmonton Chamber Orchestra (ECHO), and the Arden Ensemble. Elizabeth was a founding member of the woodwind trio Take 3, which was heard regularly on CBC Radio from 1992-1998. She is on faculty at King's University College and maintains a private studio. She is married to ESO violinist Murray Vaasjo. They have one son - and a number of cats.

Ms. Koch last appeared as a soloist with the ESO in February 2009.

 

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Jolaine Kerley, soprano

 

Jolaine Kerley is active as a soprano soloist, clinician, adjudicator, conductor, and vocal instructor throughout North America. Jolaine is currently a sessional instructor of voice in the department of music at the University of Alberta. Her performance career focuses on oratorio and concert repertoire. Ms. Kerley has been featured as soloist with musical ensembles Pro Coro Canada, the Carmel Bach Festival Chorale, the Masterwork Chorus, the U of A Madrigal Singers, the Richard Eaton Singers, the Indianapolis Symphony Orchestra, the Alberta Baroque Orchestra, da Camera Singers, and the Alberta Philharmonic Orchestra. This past performance season has included Haydn’s Harmoniemesse, Vaughan Williams Mass in G minor, Handel’s Solomon, J. S. Bach’s BWV 61, Zelenka’s Magnificat, and Handel’s Messiah. Jolaine Kerley was also featured as soloist in works for soprano and trumpet by Scarlatti and Melani in the 2009 Carmel Bach Festival. Upcoming 2009/2010 performances include featured works by Mozart with the Edmonton Symphony Orchestra, Haydn’s Creation with the University of Alberta Madrigal Singers, a newly commissioned work of Alberta composer, Alan Bevan with Pro Coro Canada, Bach’s BWV 141, and Haydn’s Kleine Orgelmesse with the Alberta Baroque Ensemble, and Pergolesi’s Stabat Mater with the Spiritus Chamber Ensemble.

This is Ms. Kerley's debut with the ESO.

 

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Michael Massey, piano

 

Michael Massey was born in England and emigrated to Canada in 1957. Studies at the University of Alberta earned him a Bachelor of Music degree and the gold medal in piano performance of the Western Board of Music. Following his graduation he spent two years studying at the Geneva Conservatory where he was unanimously awarded the "Premier Prix de Virtuosité." Mr. Massey has performed as a soloist and chamber musician throughout Canada, England and Scotland. He has been the orchestral pianist with the Edmonton Symphony Orchestra for over 25 years. Since 1977, he has been Music Director of the Edmonton Youth Orchestra program. In 1988 and 1996 Mr. Massey wrote and published The Canadian Repertoire Manual, a source book and analysis of Canadian music suitable for youth orchestras. In 2002, for his contribution to the cultural life of the city, Mr. Massey was inducted into the Edmonton Cultural Hall of Fame as an Artist–Builder and also received the Queen's Golden Jubilee Medal.

Mr. Massey last appeared as a soloist with the ESO in April 2009.

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Jeremy Spurgeon, organ

 

British-born Jeremy Spurgeon won scholarships to study both piano accompaniment and organ at the Royal Northern College of Music, Manchester and later studied organ with Lionel Rogg at the Geneva Conservatoire where he gained the Premier Prix de la Classe de Virtuosité. In 1980 he came to Edmonton as director of music at All Saints' Cathedral and has since appeared in concert with many Canadian and international ensembles, singers and instrumentalists, including the Edmonton Symphony Orchestra, Richard Eaton Singers, Pro Coro Canada and Edmonton Opera. Jeremy has performed as piano accompanist and organist across Canada and Europe.

Mr. Spurgeon last appeared as a soloist with the ESO in February 2005.

 

 

Media

Mozart's Marriage of Figaro Overture:

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