Members of the Baltimore Women’s Orchestra
Dr. Mark L. Singer, Music Director
Rivki Silver, Clarinet Soloist
Violin I Celeste Blasé, Amian Kelemer, Tzippy Wecker, Marcia Gross, Sally Grobani
Violin II Shoshana Kelmar, Chana Wecker, Zalka Angster, Chani Gottheil
Violoncello Malka Eidensohn, Devorah Rivka Gelfand
Flute Esther Newman, Chana Feldman
Oboe Barbra Bowen
French Horn Tara Johnson
Viola Aleeza Oshry
Bassoon Lynda Aldana
Selections
Clarinet Concerto, K. 622 (1791) W. A. Mozart (1756-1791)
II. Adagio I. Allegro
Symphony No. 6, Le Matin (1761) F. J. Haydn (1732-1809)
I. Adagio- Allegro
Orchestra Concert Notes
On this program we have music by two of the great triumvirate of the Classical period in music. Only the great Ludwig van Beethoven is missing. In some sense, even Beethoven is present, since Haydn was Beethoven’s composition teacher. It is hard to believe, but for a short time period, Mozart, Haydn, and Beethoven were all alive and in Vienna.
Haydn is the acknowledged “inventor” of the symphony, string quartet, piano trio and many of the other standard forms of the Classical period. Had Haydn died before his 40th birthday, he would be known as a minor footnote in music history. However, living into his seventies, he continued to develop as a composer and into his later years he continued perfecting these forms. He also was influenced by his younger colleague, Mozart, incorporating Mozart’s chromaticism and contrapuntal writing into many of his later works.
Symphony No. 6, Le Matin, movement I.
This symphony is an early symphonic work and is the first of a set of three symphonies respectively named, Le Matin, “Morning;” Le Midi, “Afternoon;” and Le Soir, “Evening.” These nicknames were not given by Haydn, but soon became strongly attached to these works and remain so today. The nickname, “Morning” given to this symphony, undoubtedly came from the soft and slow Adagio, depicting the sunrise on a quiet morning. The Allegro follows with rapid passage work in the flute and strings. Haydn, still experimenting with the symphonic form, has written a work that is in two parts, rather than the usual three of the standard Classical symphony (exposition, development, and re-capitulation). Another unusual feature is the solo writing for various instruments (particularly French horn and flute), probably meant to display the virtuosity of the members of the Esterhazy Orchestra. In fact, this symphony was the first work composed by Haydn for Price Esterhazy, Haydn’s employer for the next 30 years.
Clarinet Concerto, K. 622 (1791)
Mozart’s Clarinet Concerto is possibly one of the most sublime works in all of Mozart’s oeuvre. It certainly is one of the most sublime works written for the clarinet. The clarinet was a relatively late addition to the symphonic band of musicians we call an orchestra. In fact, the clarinet does not appear until around 1740; it was created by an instrument-maker C.H. Denner in Nuremberg, Germany.
By 1760 it becomes much more common. In fact, Johann Stamitz, the conductor of the famed Mannheim Orchestra, was a clarinet player. He incorporated a pair of clarinetists into the orchestra as full-time members in 1757.
Mozart’s Clarinet Concerto is hands-down, the most renowned work for clarinet and orchestra. Many of you may be familiar with the Adagio which was used in the epic film, “Out of Africa” with Meryl Streep and Robert Redford.
Our gifted clarinet soloist, Rivki Silver, is a former member of the BWO and now resides in Cleveland. We have missed her and are glad to welcome her back for this appearance as our soloist in the Mozart Concerto.
By Dr. Mark L. Singer, D.M.A.