Experience the magnificence of Wolfgang Amadeus Mozart in our three-week Winter Music Festival dedicated to the imagination, virtuosity, and influence of classical music's most prolific composer!
— Detroit Symphony Orchestra
Mozart Festival | Concert 6 of 6: Jupiter Symphony
Detroit: Saturday, February 4, 2017, 08:00 PM (EST, GMT-5)
Los Angeles: 05:00 PM
New York: 08:00 PM
Ottawa: 08:00 PM
Sunday, February 5, 2017:
Kiev: 03:00 AM
Berlin: 02:00 AM
Paris: 02:00 AM
Bucharest: 03:00 AM
Madrid: 02:00 AM
Rome: 02:00 AM
London: 01:00 AM
Prior to the #MozartFest: Eine kleine Nachtmusik webcast, Kathryn Libin will speak about Mozart from Practical to Sublime. (07:00 PM, EST, GMT-5)
Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει τη Συμφωνία αρ. 38 σε Ρε μείζονα («Συμφωνία της Πράγας»), K.504, το Κοντσέρτο για φλάουτο και άρπα σε Ντο μείζονα, K.299/297c, και τη Συμφωνία αρ. 41 σε Ντο μείζονα («Συμφωνία του Διός»), K.551, του Βόλφγκανγκ Αμαντέους Μότσαρτ.
Η συναυλία, διάρκειας δύο ωρών, θα πραγματοποιηθεί στο πλαίσιο του Φεστιβάλ Μότσαρτ (#MozartFest), στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Κυριακή 5 Φεβρουαρίου 2017, στις 03:00 πμ (ώρα Ντιτρόιτ: Σάββατο 4 Φεβρουαρίου, 08:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.
Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Mozart from Practical to Sublime».
Mozart from Practical to Sublime
Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.
Sunday, February 5, 2017, 02:00 AM (EET, UTC+02:00)
MOZART FESTIVAL | JANUARY 19 - FEBRUARY 5, 2017
Concert 6 of 6
Wolfgang Amadeus Mozart (1756-1791)
♪ Symphony No.38 in D major "Prague", K.504 (1786)
i. Adagio, Allegro
♪ Concerto for Flute and Harp in C major, K.299/297c (1778)
iii. Rondeau: Allegro
Sharon Sparrow, flute
Yolanda Kondonassis, harp
♪ Symphony No.41 in C major "Jupiter", K.551 (1788)
i. Allegro vivace
ii. Andante cantabile
iii. Menuetto: Allegretto
iv. Molto Allegro
Detroit Symphony Orchestra
Conductor: Leonard Slatkin
Live from Orchestra Hall, Max M. Fisher Music Center, Detroit
Sunday, February 5, 2017, 03:00 AM (EET, UTC+02:00)
[Detroit: Saturday, February 4, 2017, 08:00 PM (EST, GMT-5)]
Live on Livestream
|Leonard Slatkin conducts the Detroit Symphony Orchestra|
Symphony Νo.38 in D major, K.504, was written by Wolfgang Amadeus Mozart in late 1786 and premiered the following year. Because it was first performed in Prague, it is popularly known as the Prague Symphony. Although Mozart's popularity in Vienna waned, he had a devoted following in Prague. It is not known if Mozart composed this symphony with the Prague public in mind, and this has proven to be a subject of debate amongst scholars. The lavish use of wind instruments may suggest so, as the wind players of Bohemia were famed throughout Europe, and the Prague press had praised Figaro partially because of its notorious deployment of wind instruments. It is also possible that the extensive use of winds in the Prague Symphony was simply the result of experiments with orchestration that Mozart had been cultivating in the orchestral accompaniments for his piano concertos for the previous two years and the new experience he had of writing for winds would have shown up in his symphonies regardless. No matter, the use of wind instruments in the Prague Symphony represents a major advance in Mozart's symphonic technique that was imitated in his last symphonies, and also by Haydn, Beethoven, and Schubert. The Prague Symphony is in three movements in sonata form (something quite unusual for that time), and it calls for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. It is noteworthy that this work would have been known as No.37 if the so-called Symphony No.37, K.444, which is actually a work of Michael Haydn except for the slow introduction added by Mozart, had not been recognized as an authentic work of Mozart by the publisher Breitkopf & Härtel, whose original complete edition of the Mozart symphonies is the origin of the traditional numbering system.
Wolfgang Amadeus Mozart wrote his Concerto for Flute, Harp and Orchestra in C major, K. 299/297c in 1778. It is one of only two true double concertos that he wrote, as well as the only piece of music that Mozart wrote that contains the harp. It was commisioned by Adrien-Louis de Bonnières, duc de Guînes, for his use and for that of his older daughter, Marie-Louise-Philippine. At the time, the harp was still in development, and was not considered a standard instrument, and Mozart's opinion of it was at best dubious, as he never again composed for it. In fact, the harp part appears to be more like an adaptation of a piano part. The piece is essentially in the form of a Sinfonia Concertante, which was extremely popular in Paris at the time. The piece is one of the most popular such concerti in the repertoire, as well as often being found on recordings dedicated otherwise to either one of its featured instruments. Eventually Mozart came to despise the nobleman who commissioned it, who never paid the composer for this work.
Wolfgang Amadeus Mozart wrote his Symphony No.41 in C major, K.551, also called Jupiter, in 1788. The last of Mozart symphonies, and also the longest, it was also the last of a series of three symphonies that he had written in quick succession. The outstanding feature of this Symphony is its five part fugato section at the very end of the last movement, which was probably inspired by Michael Haydn's Symphony No.28. One of the themes used in this fugato section is a plainchant motiv traced back to Josquin des Prez. The Symphony is orchestrated for flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani in C and G, and strings. It is not clear if it was ever performed during Mozart's lifetime.
Sharon Sparrow (Assistant Principal Flute, Bernard and Eleanor Robertson Chair, DSO member since 1997)
Beginning with the 2014 season, Sharon Sparrow was appointed and tenured by Leonard Slatkin as Assistant Principal Flutist with the Detroit Symphony Orchestra. For the DSO, she has won the national audition and played the positions of Second Flute and Principal Flute, and can be heard and viewed as Principal Flutist on all webcasts and recordings in the 2008-2009, and 2011-2012 seasons.
Sharon is an active orchestral, solo and chamber musician in Michigan and the United States. In addition to her positions in Detroit, she has also performed with the Chicago Symphony, Pittsburgh Symphony, Baltimore Symphony, Seattle Opera Orchestra, Memphis Symphony, Fort Wayne Philharmonic and Hong Kong Philharmonic.
Sharon is a much sought-after clinician and has taught master classes all over the United States and in Canada and in France. She holds Flute Instructor positions locally at both Wayne State and Oakland University. In 2016, Theodor Presser Company published and released her book "6 Weeks to Finals" – a detailed guide to taking orchestral auditions. She is thrilled to be coaching audition candidates from all over the country to be successful.
A dedicated advocate of musical education, Sharon strives to promote awareness and enjoyment of classical music in all her endeavors, especially with children. She has written and hosted shows for both the Cuttime Players and the Detroit Symphony, and regularly performs in local schools, hospitals and retirement centers as part of the DSO's Community Enrichment program.
Sharon received her Bachelor of Music from the prestigious Juilliard School, and Master of Music at Mannes College of Music. Her three major teachers were Julius Baker, Thomas Nyfenger and Geoffrey Gilbert.
Sharon resides in Grosse Pointe, Michigan and is most proud of her two children: Hannah, a teacher and choir director at Tecumseh Middle School, and Zack, a commercial music business graduate from Belmont University in Nashville, now working for Friendemic.
Yolanda Kondonassis is celebrated as one of the world's premier solo harpists and is widely regarded as today's most recorded classical harpist. Hailed as "a brilliant and expressive player" (Dallas Morning News), she has performed around the globe as a concerto soloist and in recital, appearing with numerous major orchestras such as The New York Philharmonic, The Cleveland Orchestra, English Chamber Orchestra, and Hong Kong Philharmonic, to name a few. Also a published author, speaker, professor of harp, and environmental activist, she weaves her many passions into a vibrant and multi-faceted career.
With hundreds of thousands of albums sold worldwide, Kondonassis' extensive discography includes nineteen titles and her 2008 release, Air (Telarc), was nominated for a Grammy Award. Her next album, celebrating Ginastera's Centennial, features the Ginastera Harp Concerto and will be released in October 2016 on Oberlin Music. Her many recordings have earned universal critical praise as she continues to be a pioneering force in the harp world, striving to make her instrument more accessible to audiences and to push the boundaries of what listeners expect of the harp.
The recipient of two Solo Recitalists Grants from the National Endowment for the Arts and a 2011 recipient of the Cleveland Arts Prize, Kondonassis has been featured on CNN and PBS as well as Sirius/XM Radio's Symphony Hall, NPR's All Things Considered and Tiny Desk Concerts, St Paul Sunday Morning, and Performance Today. In addition to her active solo, chamber music, and recording schedule, Kondonassis heads the harp departments at the Oberlin Conservatory of Music and The Cleveland Institute of Music, and presents master classes around the world.
|Photo by Steve J. Sherman|
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