CARL ST.CLAIR TRIBUTE
25 YEARS AS MUSIC DIRECToR oF PACIFIC SYMPhoNY
orli Shaham, piano and harpsichord Raymond Kobler, violin Timothy Landauer, cello Paul Manaster, violin Steve Edelman, double bass Bridget Dolkas, violin Jessica Pearlman Fields, oboe Robert Becker, viola Benjamin Smolen, flute
oboe Quartet K. 370
Wolfgang Amadeus MoZART (1756 - 1791)
Allegro Adagio Rondeau: Allegro Raymond Kobler, Robert Becker Timothy Landauer, Jessica Pearlman Fields
Brandenburg Concerto Johann Sebastian BACh No. 5 in D Major, BWV 1050 (1685 - 1750) Allegro Affettuoso Allegro Raymond Kobler, Paul Manaster Benjamin Smolen, Robert Becker Timothy Landauer, Steve Edelman orli Shaham
- INTERMISSIoN Piano Quintet in F minor op. 34
Johannes BRAhMS (1833-1897)
Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto – Allegro non troppo – Presto, non troppo Raymond Kobler, Bridget Dolkas Robert Becker, Timothy Landauer orli Shaham Concert generously sponsored by Phillip N. and Mary A. Lyons Margaret M. Gates | The Dirk Family Mr. and Mrs. David Troob Exclusive Print Sponsor Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones, and other audible devices. Although rare, all dates, times, artists, programs, and prices are subject to change.
cARl st.clAiR (boggReve)
MoZARt: oboe QUARtet, K. 370 Like Brahms, Mozart made a fateful move from his hometown (Salzburg) to Vienna, one of the wealthiest and most sophisticated cultural capitols in Europe. This was quite literally a career move, and, at age 25, Mozart had much to prove—to himself, to his father, and to the politicos and concertgoers who would determine his professional future. Even for the always-prolific Mozart, it was a time of furious productivity that included the three “Early Vienna” piano concertos, Nos. 11, 12 and 13. Mozart's commission for the oboe quartet came just before the move to Vienna and was written for performance in Munich, but was professionally useful nonetheless. The previous year, the Elector of Munich, who had commissioned Mozart's great opera Idomeneo, invited Mozart to return there for a carnival; while there he became reacquainted with the oboist Friedrich Ramm, one of the most accomplished oboists of the era, whose spectacular playing was very much to the public taste for solo showmanship. In composing the quartet as a showcase for Ramm, Mozart was creating beautiful music while quite literally "playing to his public”—associating himself with a highly regarded soloist and demonstrating the abilities of both. For the same reason, Mozart composed the Early Vienna piano concertos with himself in mind as soloist. Yet, despite the career pressures he was facing, this 1781 composition bears none of the telltale signs of music written solely for commercial success. It has all the grace and melodic charm of a typical Mozart quartet and is structured in the familiar three-movement, fast-slow-fast manner, closing with a rondeau. The oboe's lines are fully integrated, with the oboe playing alongside the viola, cello and just one violin; the violin and oboe frequently share the melodic line, with the oboe both harmonizing and emerging into its own. On the other hand, Mozart does demand real virtuosity from the oboist: melting legatos and rising phrases that carry the oboe line to stratospheric high notes—a fact that certainly would not have been lost on Friedrich Ramm's contemporary admirers.
about the ProGraM
Tuesday, May 19, 2015, 8pm Irvine Barclay Theatre