th SEASON PROGRAM NOTES 46 Week 5 August 12 – 18, 2018 Sunday, August 12, 6 pm very few dynamic indications (Mozart was Composed in memory of Popper’s publisher apparently content to leave such decisions Daniel Rahter, the Requiem projects an WOLFGANG AMADEUS MOZART to his performers), but the movement does appropriately somber and consoling mood. (1756 – 1791) close quietly on the dotted figure that The brief piece is distinctive for the rich Sonata in B-flat Major for Bassoon & Cello, has figured prominently throughout. The sonority of the three solo cellos, and in its K. 292 (1775) Andante, in F Major, offers long singing serious and dark sound the Requiem is often lines for the bassoon; the movement is in reminiscent of the music of Popper’s friend When Mozart and his father visited Munich binary form, and Mozart offers the option to Johannes Brahms. The Requiem opens with in the first months of 1775 for the premiere repeat both halves. The concluding Allegro the three cellos alone, laying out the dotted of the boy’s opera buffa La finta giardiniera, is a cheerful rondo based on the bassoon’s main idea, which soon passes among the they found themselves the toast of the city’s energetic opening tune. This Sonata is never three soloists. While it rises to a full-throated musical life. The opera was a success, they really difficult (Mozart was aware that he climax, this is not extroverted or virtuosic conducted concerts, and were invited to was writing for amateur musicians), but music. It remains lyric and expressive masked balls, and there was much attention this is certainly the most extroverted of throughout, and Popper constantly reminds paid to the talents of Wolfgang, who turned the movements—full of trills, syncopated his performers: dolce, espressivo, and 19 while he was in Munich. One of those rhythms, and rapid runs—and it rushes to a calando (lowering, restrained). The middle impressed was the Elector Maximilian of firm close. section is more flowing, and the Requiem Bavaria, who commissioned a setting —Eric Bromberger closes on a return of the opening material, of the Misericordias Domini from the now muted. young composer. DAVID POPPER (1843 – 1913) Popper himself was one of the soloists— Another was Baron Thaddäus von Requiem for Three Cellos & Piano, Op. 66 along with Edward Howell and Jules Dürnitz, a pianist, musical enthusiast, and (1891) Delsart—at the premiere in London in 1891. amateur bassoonist. Dürnitz commissioned The Requiem enjoyed some popularity a a keyboard sonata from Mozart, who wrote Bohemian-born composer David Popper century ago but has almost disappeared the Sonata in D Major, K. 284 for him. was part of a tradition that has virtually since then. Our loss. Performances may be But Mozart appears to have written an vanished—the virtuoso performer who wrote rare (how often do three cellists perform additional work for his patron, and this one music for his own instrument. One of the on the same program?), but one of the is unique: the Sonata in B-flat Major for finest cellists of the 19th century, Popper pleasures of a concert like this is the chance Bassoon & Cello, completed in Munich early toured throughout Europe, played chamber to discover music as lovely as the Requiem in 1775 (the Köchel number 292 is much too music with Brahms and von Bülow, served for Three Cellos. high and reflects the misunderstanding that as principal cellist of the Vienna Court —Eric Bromberger this work was written later—the number in Opera and Vienna Philharmonic, and, after the revised catalog is K.196c). 1896, taught at the Royal Conservatory in WOLFGANG AMADEUS MOZART While the bassoon and cello may have Budapest. And while doing all these things (1756 – 1791) very different sounds, they occupy the he composed a number of brief pieces for Quintet in E-flat Major for Piano & Winds, same range (Mozart usually treated both as his instrument, designed to show off his K. 452 (1784) bass-line instruments). Writing for two linear skill and please audiences. Most of these instruments of similar range and without have been forgotten. A few appear now as No one knows why Mozart wrote so superbly the harmonic resources of a piano, Mozart encores at recitals or as fillers on recordings, for winds. He was a virtuoso pianist and wanted to be sure that this particular duo but a century ago they were an accepted violinist, but so far as can be known he did does not outstay its welcome, and so he (and expected) part of recitals and figured in not play a wind instrument. Yet—with the keeps this Sonata admirably concise. This is a the repertory of many cellists. notable exception of the flute—he had a true duo, with both lines assigned important Not all of Popper’s compositions are special fondness for the sound of winds roles, though the bassoon often leads the display pieces, and, in fact, his most famous and wrote an enormous amount for them. way (was this Mozart’s nod to his patron?). composition is a serious work written for a Perhaps there is no understanding why some The opening Allegro is in sonata form, virtually unique combination of instruments: composers who are virtuoso performers on complete with exposition repeat, a very the Requiem for Three Cellos & Orchestra one instrument can write so instinctively for brief development (18 measures), and a dates from 1891, during a period when instruments they do not play as, for example, full recapitulation. Curiously, the score has the composer was touring as a performer. Bartók did for strings. It just happens. Program notes for Music at Noon Concerts are sponsored by Barbara & Ronald Balser with thanks to the gifted Festival musicians who inspire us all. Mozart completed the Quintet for Piano depths of personal tragedy. After overcoming hollow—much as any consolation anyone & Winds in Vienna on March 30, 1784. These the staunch opposition of his father, he tried to give a grieving father upon the loss were the first years after his move from established a tenuous career as a composer of his beloved daughter. Salzburg, and in a letter to his father back and pianist. Unable to support himself in —Greg Hettmansberger in Salzburg Mozart described the Quintet as Prague, he settled for a time in Sweden, “the best work I have composed.” Though and when he did return to head the new the young composer was perpetually Provisional Theatre he faced almost constant anxious to reassure his worried father personal and professional attacks. that he was not wasting his life in Vienna, His personal life was even more tragic. there is every reason to believe Mozart was By the age of 32 he had lost four of his sincere in this estimation. One of the most five daughters to premature death; later impressive things about the Quintet is that, he lost his wife to tuberculosis, and at the having chosen so unusual a combination age of 50 he showed the first symptoms of of instruments, Mozart writes so directly to syphilis. The disease cost him his hearing and the character of each. He gives the winds ultimately his sanity. Smetana died alone in music exactly suited to their strengths and the Prague Lunatic Asylum. limits: phrases tend to be short, and there His late string quartet, known as “From are rapid exchanges among the winds, often My Life,” with its famous piercing high note in music highly elaborated by turns and in the violin (representative of the onset other decorations. The piano, by contrast, of his deafness) interrupting the joyous supplies the fluid long lines the wind finale, is justly famous. Having learned of his instruments cannot. One of the true glories earlier trials, it is not surprising to learn that of the Quintet—and it is easy to overlook this G-Minor Trio is also autobiographical. this—is the writing for piano: it ripples and Smetana’s eldest daughter Bedriska˘ died flows gracefully throughout, complementing early in her fifth year from scarlet fever; her the winds beautifully. Another source of the father had already harbored high hopes for Quintet’s appeal is that this music is totally her musical talent. “Nothing can replace without flash or glitter—Mozart consciously Fritzi, the angel whom death has stolen from avoids showing off virtuoso skills. Here the us,” he wrote in his diary. instruments are at the service of the music, No one would argue that statement, but it rather than the reverse—this music glows is also likely that no one could have hindered rather than blazes. Smetana from trying to memorialize her in The form of this music is classical music. The first unusual aspect of this work is simplicity itself. A slow introduction leads to that each movement, albeit with intervening a sonata-form opening movement, the slow sections in different keys, stubbornly adheres movement is in ternary form, and the final to G Minor. Each movement, with the first movement is the expected rondo. In the first two being explicit in this respect, also is built movement Mozart often sets the piano and around a six-note, chromatically descending winds in opposition with the winds playing motif. It is only by inserting a triumphal as a group. In the poised Larghetto, however, version of the second theme near the close he gives them a chance to shine individually. of the first movement that an overwhelming The finale is surprisingly measured—it sense of sadness is averted. never rushes, and Mozart’s marking at the With the substantial weight of the first very beginning is the key: dolce.