BOSTON SYMPHONY CHAMBER PLAYERS Sunday, March 7, 2004, at 3 P.M

BOSTON SYMPHONY CHAMBER PLAYERS Sunday, March 7, 2004, at 3 p.m. at Jordan Hall

BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin Jules Eskin, cello Haldan Martinson, violin William R. Hudgins, clarinet Steven Ansell, viola James Sommerville, horn joined by Martha Babcock, BSO assistant principal cello with GARRICK OHLSSON, piano ROBERT SPANO, piano

MOZART Quartet in G minor for piano and strings, K.478 Allegro Andante Rondo: Allegro

Messrs. OHLSSON, LOWE, ANSELL, and ESKIN

SCHUMANN Andante and Variations in B-flat for two pianos, two cellos, and horn, Opus 46

Messrs. OHLSSON and SPANO; Mr. ESKIN and Ms. BABCOCK; and Mr. SOMMERVILLE

INTERMISSION

MOZART Sonata in D for two pianos, K.448(375a)

Allegro con spirito Andante Molto Allegro

Messrs. OHLSSON and SPANO

MOZART Quintet in A for clarinet and strings, K.581 Allegro Larghetto Menuetto Allegretto con Variazioni

Messrs. HUDGINS, LOWE, MARTINSON, ANSELL, and ESKIN

Steinway and Sons Piano

Nonesuch, Deutsche Grammophon, Philips, RCA, and New World records — —

Wolfgang Amade Mozart (1756-1791) Quartet in G minor for piano and strings, K.478

The key of G minor seemed to have a special resonance for Mozart. When he chose to use it, the music that resulted was always of a special impassioned character, whether it was in the early symphony, K.183, the string quintet K.516, the later and incomparably greater Symphony No. 40, K.550, or Pamina's aria, "Ach ich fuhl's," from The Magic Flute. And, of course, the Piano Quartet, K.478. With this piece Mozart virtually created the genre of piano quartet and established it as a useful chamber ensemble (though a dangerous one, since in the hands of a composer with an ear less acute than Mozart's the piano inevitably tends to overbalance the strings). The quartet was apparently composed on commission from the publisher Franz Anton Hoffmeister, who requested three pieces in this medium. The first to be composed was the present G minor quartet (it was completed on October 16, 1785); the public didn't buy it, finding it much too difficult to play, and Hoffmeister decided to cancel the commission rather than to waste money publishing more works that were beyond the abilities of the average chamber performer. (Mozart did, in the end, write one more piano quartet about nine months later, but it was published by Artaria rather than Hoffmeister.)

The first movement, an imperious Allegro in G minor, features a powerful opening in octaves that plays a strong motivic role throughout the movement. Adroitly placed sforzandi stretch the phrases of the second theme in a charmingly unexpected way. The Andante, in the closely related key of B-flat, has a wonderful harmonic richness decorated by elaborate runs for each of the four instruments in turn. It comes as a bit of a surprise that the final movement turns to the conventional "happy ending" of the major key after such expressive weight in the first two movements. But though it is undeniably lighter in mood than what preceded it, the frequent passing chromatic notes, entering already in the first measure, show that the finale, too, is cut from the same expressive cloth and is not merely a bow to custom. With this quartet and its later companion piece (K.493), Mozart at one stroke set a standard for the new medium that has been aimed at but never surpassed.

Internationally acclaimed since he won the 1970 Chopin International Piano Com- petition, Garrick Ohlsson has in recent seasons performed recital series devoted to the music and transcriptions of Liszt, Rachmaninoff, and Busoni. He also commis- sioned and premiered a new work for solo piano American Berserk by John Adams and a piano concerto by the noted young composer Michael Hersch» Highlights of 2003-04 include appearances in New York with the Royal Philharmonic Orchestra under Daniele Gatti, with the New York Philharmonic under David Robertson, and in recital at Avery Fisher Hall. He also joins Mr. Gatti and the RPO on a tour of the United States, and appears with other orchestras across the continent and through- out Europe, as well as in Japan and Hong Kong. As a chamber musician, Mr. Ohlsson has collaborated with the Cleveland, Emerson, Takacs, and Tokyo string quartets,

among other ensembles. With violinist Jorj a Fleezanis and cellist Michael Grebanier,

he is a founding member of the San Francisco-based FOG Trio. Mr. Ohlsson is cur- rently recording the complete Beethoven sonatas. He has recorded the complete solo works of Chopin, works by Prokofiev, Bartok, Webern, and Barber, and the Copland Piano Concerto, among many other releases. Garrick Ohlsson made his BSO debut at Tanglewood in 1971 and his BSO subscription series debut in 1981. He has since appeared many times with the orchestra both in Boston and at Tanglewood. This is

Mr. Ohlsson's first appearance with the Boston Symphony Chamber Players* with, proves thoroughly convincing once Schumann Robert Schumann (1810-1856) begins working his changes as the variations proceed—a point that speaks clearly to the composer's skill in using his chosen Andante and Variations in B-flat fot two pianos, two cellos, and horn, Opus 46 instruments, and to his feel for their specific colors and capabilities. The original guise of the Generally speaking, Schumann's output in the early years of his career followed a pattern. theme recurs twice—once midway through the 20-minute piece (though Schumann 1840, the year he finally married his sweetheart Clara after extended opposition from her eliminated that recurrence from the two-piano version) and again at the end to prepare the father Friedrich Wieck (with whom Robert studied piano), was his so-called "year of song." quiet, wistful close. for larger works, 1841 was After encouragement from Clara to start building a reputation Overall, the structure suggests earlier piano works of Schumann—say, Carnaval, from Schumann's "symphonic year" (including his First Symphony; the original version of the 1833-35, and the Davidsbundlenanzler and Phantasiestiicke, both from 1837—in which con- symphony later revised in 1851 as his Fourth; and a piece for piano and orchestra that trasting sections provide a sense of individual "character pieces" to make up the whole. ultimately became the first movement of his Piano Concerto). 1842 brought forth cham- (Schumann biographer John Daverio points to the specific link between the Andante ber music, including his three string quartets (published collectively as his Opus 41), his theme and the second of the composer's Opus 16 Kreisleriana, an 1838 set of eight fantasies Opus 44 Piano Quintet, and his Opus 47 Piano Quartet. Today, the two works for piano for piano.) At the same time, the contrasting sections hint at the two "alter ego" personali- and strings receive occasional hearings; the three string quartets and Schumann's three ties associated with Schumann's literary and poetic inclinations—the extrovert Horestan piano trios (the first two from 1847, the third from 1851) are hardly known to general and the more subdued Eusebius (each of whom gets his own episode in the aforementioned audiences. Carnaval). Aside from the quicker-moving variations, most of the music in this piece is The work on today's program—Schumann's Andante and Variations in B-flat for the thoughtful, contemplative, perhaps even melancholic in mood, contributing on the whole very unusual combination of two pianos, two cellos, and horn—is a rarity indeed. In fact, to the sense of rich atmosphere and emotional warmth so meaningfully heightened by the though Schumann composed it in 1843—drafting it between January 26 and February 7, darker hues of the horn and cellos. 1843, just beyond the calendar limit of his "chamber music year"—it remained unpub- lished until 1893, a half-century later (nearly four decades after his death), at which time Wolfgang Amade Mozart Johannes Brahms, who was assisting his dear friend Clara Schumann (1819-1896) in Sonata in D for two pianos, K.448(375a) preparing an edition of Robert's works, pressed for its inclusion. Rather than publish the In early 1781, Mozart requested discharge from the service of his Salzburg patron, Arch- Andante and Variations in its original form, Robert had instead chosen to rework it for bishop Colloredo, having grown impatient with the constraints his employment his two pianos, comparing the reworked version to "a somewhat delicate plant" in a letter of put on abilities and his freedom to apply them. His request was refused at first, but a month later he September 7, 1843, to his publishers Breitkopf & Hartel. The first public performance of

was finally given his leave, with, as he put it in writing to his father, "a kick in arse. . . the two-piano version was given by Clara with Felix Mendelssohn (who was critical of the my by order of our worthy Prince Archbishop." Once free he moved permanently to Vienna, work's original instrumentation) on August 19, 1843, the work then being published as where he was faced with the problem of earning a living. Schumann's Opus 46 by the end of that year. The obvious immediate choice was to give lessons in piano and composition. By the fall he was doing moderately well One of the most striking things about the Andante and Variations in its original form is with three or four regular pupils. One of these was a young woman named Josepha von of course the scoring, which, though it may strike the listener as somewhat odd to begin Auernhammer, who conceived a passion for her teacher that was not returned. Josepha had the misfortune to be very ill-favored as regards physical beauty, and, when she evidently started Robert Spano is music director of the Atlanta Symphony Orchestra and the Brook' rumors that she and Mozart were going to be married, he retaliated—and defended lyn Philharmonic, and director of the 2003 and 2004 Festivals of Contemporary himself to his father—by describing her in repulsive, even cruel, terms. In spite of this, Music at the Boston Symphony Orchestra's Tanglewood Music Center. His recent achievements include two 2003 Grammy awards for Vaughan Williams's A Sea Sym- phony, recorded with the Atlanta Symphony Orchestra and Chorus. This season, Mr. Spano's final year as music director of the Brooklyn Philharmonic, he conducts that orchestra in John Adams's The Death of KMnghoffer to help celebrate the ensemble's y£_ Tanglewood BOSTON fiftieth anniversary. Also this season he makes guest appearances with the Minnesota iB>[s>< Orchestra, Los Angeles Philharmonic, St. Paul Chamber Orchestra, and New World Symphony, and, in Europe, the Oslo, Royal Liverpool, and Stockholm philharmonics. THE BSO ONLINE Robert Spano's recordings with the Atlanta Symphony include Rimsky-Korsakov's Boston Symphony and Boston Pops fans with access to the Internet can visit the orches- Scheherazade, the Grammy-winning A Sea Symphony, and "Rainbow Body," works by tra's official home page (http://www.bso.org). The BSO web site not only provides up-to- contemporary American composers. An all-Jennifer Higdon disc and the Berlioz the-minute information about all of the orchestra's activities, but also allows you to buy Requiem will be released in spring 2004- Robert Spano is a graduate of the Oberlin tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, Conservatory of Music and the Curtis Institute of Music. He has been featured on CBS "Late Night with David Letterman," CBS "Sunday Morning," A&.E "Breakfast the web site offers a wide range of information on other BSO activities, biographies of with the Arts," and PBS "City Arts." Mr. Spano made his BSO debut at Symphony BSO musicians and guest artists, current press releases, historical facts and figures, helpful Hall in February 1991, at which time he was a BSO assistant conductor to Seiji telephone numbers, and information on auditions and job openings. Since the BSO web Ozawa. This is his first performance with the Boston Symphony Chamber Players. site is updated on a regular basis, we invite you to check in frequently. Mozart regarded her as a talented pianist, and she became a true friend to the composer, and they contribute to the special color of Symphony No. 39. But most of all Mozart wrote through the press. In three works in which the clarinet is especially featured: the "Kegelstatt" Trio, K.298, in 1786, even to the point, it seems, of seeing some of his compositions November 1781 he dedicated to her a set of six sonatas for violin and piano. In the same the present quintet in 1789, and the Clarinet Concerto, K.622, not quite two months before month he wrote his sonata in D for two pianos for her, and it was probably this piece that his death in 1791. the two played in a private concert that month. In his earlier chamber works matching flute or oboe with stringed instruments, the color The two-piano sonata that Mozart composed for Josepha and played with her is, in the of the woodwind instrument virtually forced Mozart to write in a concertante style, i.e., the opinion of the great Mozart scholar Alfred Einstein, a high point of concertante style—that wind instrument opposed to the strings. But he had learned in the trio, K.498, how elegantly of or its evidently is, of a kind of music that involves the intimate and brilliant interaction two more the clarinet could blend with a viola in the middle of range, and this suggested instruments, each having equality of importance, yet constantly supporting and responding a rather different treatment of the wind instrument when he came to write the Clarinet to the other. This response may take the form of a complete echo of the other's musical Quintet three years later. The quintet, which Mozart himself called "Stadler's Quintet," was statement, or it may be so simple (and witty) a touch as the occasional insertion of a single completed on September 29, 1789; Stadler, of course, played the first public performance, note, as when, in the first movement, piano II introduces the second theme, leaving a sin- on December 22 that year, with Mozart taking part on the viola; it was a benefit concert gle beat's rest at the end of each phrase, and piano I plays in that moment of silence just given in Vienna by the Society of Musicians for the benefit of widows and orphans. one note, as if to say, "Go on, I'm listening!" The high spirits and sheer pleasure of ensem- From beginning to end the quintet celebrates that particular passion for sheerly beautiful ble music-making throughout make this one of Mozart's most delightful works, and it can sound that Mozart cultivated in his last years. At the same time he exploits with rare effi- only be because we rarely hear two-piano recitals that it is not more often performed. cacy the special characteristics of the clarinet, from its shimmering arpeggios in the develop-

ment section of the first movement to the large skips in the first variation of the finale. At Wolfgang Amade Mozart the same time, though the clarinet prominently characterizes the piece, Mozart does not let

Quintet in A for clarinet and strings, K.581 it dominate the proceedings entirely. The first Trio in the third movement is for strings alone

in a pure quartet character, strikingly varied then by the dialogue between first violin and Clarinet: the very name of the instrument tells us that its earliest proponents considered clarinet in the second Trio. This work, like the Clarinet Concerto that followed, is one it a "little clarino," a substitute in some sense for the brilliant high trumpets (clarini) of of Mozart's autumnal scores, and it exercised (especially in the Larghetto movement) a the Baroque era: and for most of its early history (extending through virtually the entire strong influence on a similarly elegiac Clarinet Quintet by a later master Johannes Brahms. eighteenth century), players tended to specialize in either the high or low end of the instru- — ment, known as the clarinet and chalumeau registers respectively. No modern instrument —Notes by Steven Ledbetter (Mozart) owes more to the imagination of a single composer than the clarinet does to Mozart, who and Marc Mandel (Schumann) wrote for his friend, clarinetist Anton Stadler, music that exploits both registers of the instrument and at the same time gives it a real personality. From the time he composed

Idomeneo in 1 780, clarinets became an essential and memorable part of his opera orchestra,

ALSO THIS SEASON AT JORDAN HALL

Sunday, April 18, at 3 p.m. BOSTON SYMPHONY CHAMBER PLAYERS with Jonathan Biss, piano

HARBISON Six American Painters, for oboe and string trio • BRAHMS Trio in E-flat for horn, violin, and piano, Opus 40; Serenade No. 1 in D minor, Opus 11, arranged for nine winds and strings by Alan Boustead Symphony Shopping Sunday, May 2, at 3 p.m. TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor

The Tanglewood Festival Chorus's debut concert at Jordan Hall Visit the Symphony Shop

BRUCKNER Christus factus est; Virga Jesse • MARTIN Mass for double chorus • in the Cohen Wing TALLIS Spem in alium, Motet in forty parts • BAX Mater orafilium • BRITTEN at the West Entrance Five Flower Songs • ELGAR Four Unaccompanied Part-songs, Opus 53 on Huntington Avenue. Single tickets at $30, $22, and $17 for both of these concerts can be purchased at the Hours: Tuesday through Friday, 1 1-4,- Symphony Hall box office, by calling SymphonyCharge at (617) 266-1200, or at BOSTON SYMPHONY OICHBSTKA Saturday, 12—6,- from one hour before www.bso.org. each On the day of the concert, tickets are available only at the Jordan Hall concert through intermission,- and for up box office. 'to thirty minutes after each BSO concert.