Works by Telemann and Haydn as well as Mozart’s Symphony Concertante for Violin and Viola.
Soloists Danielle Sametz (violin) and Christopher Buckley (viola) with Maestro Michael Newnham
March 12, 2018
Moncton: Capitol Theatre
March 13, 2018
Fredericton: The Playhouse
March 14, 2018
Saint John: Imperial Theatre
Bravo series concerts are preceded by a pre-concert talk at 6:30pm. Performance begins at 7:30pm.
The “quixotic” comes from the famous story by Cervantes, published in 1605 and perhaps the first “Blockbuster”, as interpreted by Georg Philipp Telemann in about 1720, while the passion comes from the Mozart Symphony Concertante, K 364 for Violin and viola, which is one of the most sumptuous of Mozart’s compositions as well as Haydn’s blatantly passionate Symphony #49, La Passione”, which has elicited some impassioned interpretations over the centuries.
At the time of its composition in 1779, Mozart was on a tour of Europe that included Mannheim and Paris. Mozart had been experimenting with the sinfonia concertante genre and this work can be considered his most successful realization in this cross-over genre between symphony and concerto.
“Don Quixote” Suite
By Georg Philipp Telemann
During his long and productive life (1681-1767), Telemann became one of the most celebrated of baroque composers. His output was vast, ranging from operas and cantatas to concertos and intimate chamber works.
One of his most charming pieces is the programmatic Don Quixote suite for strings and continuo. The suite opens conventionally enough, with a formal French-style baroque overture. The movements which follow, however, depict different scenes from the adventures of Don Quixote, Cervantes’ famous knight, and his squire, Sancho Panza.
It begins with the “Awakening of Don Quixote,” with string drones evoking sleep, followed immediately by the “attack on the Windmills,” with furiously rushing string passages. “Sighs for Princess Aline” features accented descending eighth notes characteristic of 18th-century passages evoking “tender” emotions. “Sancho Panza Swindled” has a rough peasant atmosphere, depicting the squire being tossed in a blanket. “Rosinante Galloping” evokes the smooth stride of Don Quixote’s horse, while “The Gallop of Sancho Panza’s Mule” shows the ungainly “start-stop” step of the squire’s transport. The Suite closes with “Don Quixote at Rest,” also featuring string drones.