11 Haziran 2019 Salı

Wolfgang Amadeus Mozart: Symphony No.39 in E flat major – Kaleidoscope Chamber Orchestra (HD 1080p)

Music Archive Haziran 11, 2019 Kaleidoscope Chamber Orchestra, Wolfgang Amadeus Mozart

The Kaleidoscope Chamber Orchestra performs Wolfgang Amadeus Mozart's Symphony No.39 in E flat major, K.543. The concert was recorded at Rothenberg Hall, Huntington Library, San Marino, California, on December 9, 2018.

✻

No group of Mozart's works has been the subject of more discussion than his final three symphonies, No.39 in E flat major, No.40 in G minor, and the "Jupiter" No.41 in C major. They were apparently composed within the remarkably short space of about two months during the summer of 1788, and the composer's motivation for writing them has since been vigorously debated. In common with his contemporaries, Mozart composed nearly exclusively for practical purposes, yet none has been positively identified in this instance. Still, the least plausible explanation advanced is that Mozart composed his great final symphonic trilogy as a result of some personal "inner need", the attractive romanticism of the theory being compounded by the assertion that he did not live to hear these three pinnacles of the symphonic repertoire performed. Such a theory runs counter to all we know about Mozart's working practices. In particular, he would not have had the time for such indulgence during the period concerned, a summer during which his surviving correspondence is predominantly concerned with increasingly desperate begging letters to his benefactor and fellow Freemason Michael Puchberg. More practically, it has been suggested that Mozart intended to mount a series of subscription concerts for the fall or Advent season. It was thought that these concerts never took place, but recently the scholar H.C. Robbins Landon has persuasively argued that these concerts were in fact held, with the three last symphonies as the principal new works performed at them. It also appears highly likely that Mozart took the new works on the tour of Germany he undertook the following year.

In the three symphonies of 1788 (to which must be added in this regard the "Prague" Symphony of 1786) we find the culmination of Mozart's assimilation of the contrapuntal style of Bach and Handel he had first begun to study during the early 1780s. It was this synthesis of "learned" style with the clean clarity of classicism that caused so much trouble for Mozart's contemporaries, to whom his late style became increasingly "difficult". Each of the symphonies occupies a very specific world of its own. The E flat Symphony, entered by Mozart into his thematic catalog on June 26, 1786, is often characterized as being "warm and autumnal" (Robbins Landon), a description that (as so often with Mozart) tells only part of the story; it fails to bring to attention the symphony's tensile strength and a dramatic quality that does not preclude moments of pathos more readily associated with the G minor symphony. There are four movements. The opening Allegro is prefaced (as it had been in both the "Prague" and "Linz" symphonies, its immediate numerical predecessors) by a powerful slow Adagio introduction. The following Andante has a secondary theme which is much stormier (and also subjected to considerable development) than might be expected in a "slow" movement, while the succeeding Minuet has an elegant gait set off by a rustic central trio. The final Allegro is a dazzling display of good humor and contrapuntal wizardry, its complexity skillfully masked in one of those movements in which the composer conceals his art. The Symphony is scored for flute, pairs of clarinets, bassoons, horns, trumpets, timpani, and strings.

Source: Brian Robins (allmusic.com)

Wolfgang Amadeus Mozart (1756-1791)

♪ Symphony No.39 in E flat major, K.543 (1788)

i. Adagio – Allegro
ii. Andante con moto
iii. Menuetto e Trio. Allegretto
iv. Finale: Allegro

Kaleidoscope Chamber Orchestra

Rothenberg Hall at The Huntington Library, San Marino, California, December 9, 2018

(HD 1080p)

Kaleidoscope Chamber Orchestra: About

Vision. We envision a world where our commitment to a collaborative artistic process results in profound orchestral performances that inspire people to pursue cooperation and artistry in their own creative, professional and personal lives.

Mission. Kaleidoscope is a conductorless chamber orchestra dedicated to enriching lives through exhilarating concert experiences, artistic excellence, musician leadership, and connecting with the diverse communities of Los Angeles.

Core Values
• We believe that our collective of musicians has ideas that are worthy of respect and consideration; that each member has a voice worth hearing; that every person, given the chance and tools, can help to create great art.
• We believe that pursuing a democratic process within the orchestra will improve the quality of the performance, fulfill the collective vision of the ensemble, and create a unique experience not found in traditional orchestras.
• We believe in developing an infrastructure that supports, empowers, and values its musicians.
• We believe in bringing our performances and artistic process to audiences who have little or no exposure to symphonic music with the belief that the experience will enrich the lives of both the audience and the performers.

Artistic Intent. We perform orchestral music that speaks profoundly to our community and is both representative of its time and timeless, whether written today or centuries ago. We stretch the boundaries for what is thought possible without a conductor, both by musicians and audiences, to allow us all to grow through the process. We regularly collaborate with living composers because their music represents our time. We design programs that explore less conventional concert experiences and allow audiences to feel more personally connected to music and the musicians who perform it.

Community Engagement and Education. Kaleidoscope is committed to music education for all ages and is happy to offer a "pay what you can" model to eliminate the barrier of a set ticket price. We want everyone in Los Angeles to have the opportunity to experience great classical music in person by a professional orchestra, think about what that experience means, and pay what makes them happy. We also perform many additional free concerts in schools, hospitals, shelters, and other underserved parts of our community.

We recently started a music education program at a title I elementary school in Culver City, providing music instruction to 200 students each week. With additional funding, we are planning to expand this program to other grades and other schools in the future. Not only do we want every child in Los Angeles to love listening to music, we want every child to have the opportunity to read, play, and write music, too.

Source: kco.la