Prepared for SNB by guest conductor Maestra Tania.
April 16, 2018
Moncton: Capitol Theatre
April 17, 2018
Fredericton: The Playhouse
April 18, 2018
Saint John: Imperial Theatre
Bravo series concerts are preceded by a pre-concert talk at 6:30pm. Performance begins at 7:30pm.
This delightful Spring concert “A Baroque Banquet” has been prepared for SNB with careful thought given to both the orchestra and the audiences by Maestra Tania Miller.
Works by Geminiani, Handel and Corelli will be prepared and the concert will finish with Mozart’s famous Linz Symphony.
In 2016-2017 Tania Miller celebrates her 14th season as Music Director of the Victoria Symphony in a position that she has occupied with distinction and acclaim. She has been a driving force behind new growth, innovation and quality for the Victoria Symphony, and has gained a national reputation as a highly effective advocate and communicator for the arts. As curator, she has distinguished herself in Canada as a visionary leader and innovator.
On the podium, Maestra Miller projects authority, dynamism and sheer love of the experience of making music. As one critic put it, she delivers “a calm intensity . . . expressive, colourful and full of life . . . her experience and charisma are audible” Others call her performances “technically immaculate, vivid and stirring”.
Mozart’s Symphony No. 36, K. 425, also known as the Linz Symphony, was written during a stopover in the Austrian town of Linz on his way back home to Vienna from Salzburg in late 1783, where Mozart and his wife Constanze spent several days at the invitation of a family friend, Count Thun-Hohenstein. Delighted to have Mozart present in his town, the Count decided to host a concert. Mozart wrote to his father: “On Tuesday, November 4, there will be a concert in the theater here and, as I have not a single symphony with me, I am writing a new one at breakneck speed.” Four days later, the symphony was finished, and it premiered as scheduled.
The Linz Symphony, would mark the beginning of a new and magnificent phase for Mozart, in which he would write his five great final symphonies. From its tension-filled introduction to the wittily elegant Minuet and Trio and a dazzling finale, the maturity and greatness of this work belie the haste in which it was created. The characters in the piece reflect the graceful and cheerful surroundings of Linz, and the therapeutic effect it had on Mozart.
Geminiani Concerto Grosso No. 12 in d “after Corelli’s sonata La Follia”
Handel Water Music Suite No. 1
Corelli Concerto Grosso No. 1 op. 6 in D
Mozart Symphony No. 36 “Linz”