|
Local Broadcast:
Rafael Frühbeck de Burgos Conducts Mozart and Mahler

Update Browser Your browser is not supported by nyphil.org and may cause performance issues. For best results, please update your browser: Firefox, Chrome, Safari.

Rafael Frühbeck de Burgos Conducts Mozart and Mahler
This concert is now past.
Location: Avery Fisher Hall  (Directions)
Price Range: $41.00 - $123.00
 
Thu, Oct, 25, 2012
7:30 PM
 
Fri, Oct, 26, 2012
2:00 PM
 
Sat, Oct, 27, 2012
8:00 PM

Engage at the Atrium
Dive deep into the music with post-concert talks at the David Rubenstein Atrium, on Columbus between 62nd and 63rd Streets. Attendance is FREE!

Immediately after New York Philharmonic Friday 2:00 p.m. matinee concerts, head over to the Atrium to join fellow Philharmonic concertgoers in a lively conversation about the music you just heard, facilitated by Lincoln Center’s Performing Arts Docents.

Bring your Philharmonic concert ticket and take 10% off your order at ’wichcraft.

To find out more about the Atrium docent events, visit www.lincolncenter.org/docents

Rafael Frühbeck de Burgos

Program

  (Click the red play button to listen)
Serenade No. 6 in D major, Serenata notturna
WOLGANG AMADEUS MOZART (1756-1791)
Serenade No. 6 in D Major, Serenata notturna, K. 239 (1776)

The instrumentation of Wolfgang Amadeus Mozart's wonderful "nocturnal serenade" may put listeners in mind of the Baroque concerto grosso, in which a small group of players (the "concertino") — here comprised of violins, viola, and double bass-are the foil for a larger group, appropriately called the "ripieno" (Italian for "full") — here an ensemble of strings and timpani. When it came to serenades there could be from three players to a small orchestra, and the number of movements could vary from three to as many as ten. The title "serenata" (Italian for "evening) recalls the splendid outdoor entertainments that provided background music for eating, drinking, lively bantering, and celebrating in the 18th century. Such music accompanied wedding receptions, graduation parties, and congenial gathering of all types. (But it could as well provide entertainment for indoor feasts.) Serenades were traditionally scored for winds because these instruments could be heard more easily outdoors. They started and ended with marches — a sort of traveling music for players entering and exiting the premises. But since this serenade is scored for strings — including a double bass — and timpani, the opening march movement has no "logistical" function and seems like a mere allusion to the wind serenades where musicians did, indeed, march and play. Following the second movement, a country dance Menuetto, the rondo finale takes a delightful theme and repeats it several times, and after a great dramatic drum roll/cadenza, for a final time. Then, like a tip of the hat to the march that's "supposed to" be there, Mozart concludes with a super-abbreviated march melody, as if to say, "I know that serenades are supposed to end with a march." The only mystery? Who was the patron who commissioned this ingratiating work and for what happy occasion?
Horn Concerto No. 3
WOLGANG AMADEUS MOZART (1756-1791)
Horn Concerto No. 3, K. 447 (1786 or 1887)

Wolfgang Amadeus Mozart composed his four horn concertos (plus a horn quintet and a concert rondo for horn and piano) for Joseph Ignaz Leutgeb (1732-1811), his colleague in the court orchestra of Hieronymus Colloredo, the Prince-Archbishop of Salzburg. Leutgeb, a Salzburger who had known Mozart from childhood, eventually moved to Vienna in 1777 to work in the cheese business owned by his wife's family, but pursued music as a sideline. And when Mozart himself moved to Austria's capital in 1781 the two men reestablished their friendship. Ever the prankster, Mozart enjoyed making Leutgeb the butt of some rather strange jokes — both musical and otherwise. For example, in the manuscripts of the horn concertos Mozart included crazy directions and remarks to the soloist, drew a sketch of Leutgeb, or used red, blue, green, and black inks for the Fourth Horn Concerto. Mozart composed all the concertos between 1783 and 1891, at a time when the modern valved horn had not yet been invented; so Leutgeb performed them on the valveless or "natural" horn of the time — not an easy instrument to play by any means. Though the exact date of the present concerto is not known, it is generally placed between 1786 and 1787. Commentators agree that the Third Horn Concerto is the finest of the four and certainly the best known: its sound is rich, subtle, and burnished. The second movement, entitled Romanze, enchants with its long, sustained lines of the most serene melodies. And in the final Allegro Mozart evokes the robust sound of hunting horns — a perfect choice, since hunting horns were also valveless. (Pop culture fun fact: the last movement of this concerto was used in the movie Fame.)
GUSTAV MAHLER (1860-1911)
Symphony No. 1 (1887 to 1888)

"These emotions became so powerful in me that they gushed forth like an impetuous torrent...At a single blow, all the floodgates were opened within me! ...For six weeks I have scarcely left my worktable!" So wrote Gustav Mahler to a friend after he completed his "Symphonic Poem in Two Parts." But the initial reception was less than favorable, and five years later he revised it, now calling it a symphony with the subtitle "Titan," after a novel by Jean Paul, but which he dropped after 1896. Though he provided a "program" for this heart-stopping masterpiece, he later rejected the notion of words being necessary to understand his music. "As long as my experience can be summed up in words, I write no music about it; my need to express myself musically — symphonically — begins where dark feelings hold sway, at the door that leads to the other world — the world where things are no longer separated by time and space." But when the new version was premiered in 1894, it still had difficulties gaining acceptance: "My symphony was received with furious opposition by some and with wholehearted approval by others." Mahler led the US premiere shortly after beginning his two-year tenure as principal conductor of the New York Philharmonic (1909-1911). Things to listen for on this epic journey include the mysterious awakening of nature (he had marked the score "like a sound of nature"); quotations from Mahler's song cycle, Songs of a Wayfarer; the tune "Bruder Martin," aka "Frère Jacques," in the guise of a funeral march sounding eerie and parodistic in the minor mode and played in the upper register by a solo string bass, with a steady timpani accompaniment. Mahler created a remarkable work-one so big that it requires augmented orchestral forces. And hang on when the seven horn players — bells turned up on their instruments — proclaim the breathtaking, jubilant finale.

Artists

Rafael Fruhbeck du Burgos by CAMI

Rafael Frühbeck de Burgos is a regular guest with North America's top orchestras. He is also conducting The Philadelphia Orchestra, Los Angeles Philharmonic, and the Cincinnati, Boston, Pittsburgh, St. Louis, and Montreal symphony orchestras. He appears annually at the Tanglewood Music Festival and regularly with the National, Chicago and Toronto symphony orchestras.

Born in Burgos, Spain, in 1933, Mr. Frühbeck studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid, and conducting at Munich's Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic, and in the 2012–13 season will begin his post as chief conductor of the Danish National Orchestra.

Mr. Frühbeck has made extensive tours with such ensembles as the Philharmonia of London, London Symphony Orchestra, National Orchestra of Madrid, and Swedish Radio Orchestra. He has toured North America with the Vienna Symphony, Spanish National Orchestra, and the Dresden Philharmonic.

Named Conductor of the Year by Musical America in 2011, Mr. Frühbeck's other numerous honors and distinctions have included the Gold Medal of the City of Vienna, Bundesverdienstkreutz of the Republic of Austria and Germany, Gold Medal from the Gustav Mahler International Society, and Jacinto Guerrero Prize, Spain's most important musical award, conferred in 1997 by the Queen of Spain. In 1998 he was appointed Emeritus Conductor by the Spanish National Orchestra. He has received an honorary doctorate from the University of Navarra in Spain. Since 1975 he has been a member of the Royal Academy of Fine Arts of San Fernando.

Rafael Frühbeck de Burgos has recorded extensively for the EMI, Decca, Deutsche Gramophone, Spanish Columbia, and Orfeo labels. Several of his recordings are considered to be classics, including his interpretations of Mendelssohn's Elijah and St. Paul, Mozart's Requiem, Orff's Carmina burana, Bizet's Carmen, and the complete works of Manual de Falla.

Philip Myers

Philip Myers joined the Philharmonic as Principal French Horn (The Ruth F. and Alan J. Broder Chair) in January 1980, and made his solo debut with the Orchestra that month in the premiere of William Schuman’s Three Colloquies for French Horn and Orchestra. He has since appeared as a Philharmonic soloist often, most recently performing Mozart’s Horn Concerto No. 2, conducted by Lorin Maazel, in New York in January 2008 and again in February 2008 in Kaohsiung, Taiwan, and Shanghai, China. Mr. Myers began his orchestral career in 1971 with a three-year term as principal horn of the Atlantic Symphony in Halifax, Nova Scotia. He was third horn with the Pittsburgh Symphony from 1974 until 1977. As principal horn of the Minnesota Orchestra for a season and a half, he made a solo debut with that ensemble in 1979, performing Richard Strauss’s Horn Concerto No. 1, Sir Neville Marriner conducting. A native of Elkhart, Indiana, Mr. Myers holds two degrees from Carnegie–Mellon University in Pittsburgh. He plays Engelbert Schmid French horns.

Watch

Plan Your Visit

Reserve your table at any of 1,200+ New York restaurants, courtesy of Opentable.com.

Get directions to your event.

Concert Duration

2 hours

Donors Get More

Discounted tickets. Insider access to the best seats. Behind-the-scenes events. Exclusive ticket exchange privileges. All this — and more — can be yours when you give generously!

JOIN TODAY

Special Thanks

Rafael Frubeck de Burgos' appearance is made possible through the Charles A. Dana Distinguished Conductors Endowment Fund.

Purchase 3 or more eligible concerts & save.

About Create Your Own Series:

Pick three (or more) concerts and and enjoy exclusive Subscriber Benefits including unlimited free ticket exchange. Ideal for concertgoers who want the ultimate in flexibility and the benefits of being a subscriber.

Subscriber Benefits:

  • Free, easy ticket exchange (available online or by phone)
  • Save on subscription concerts all year long
  • Priority notice on special events

How it Works:

  1. Look for the Create Your Own Series icon CYO eligible icon next to a concert and add it to your cart.
  2. Simply follow the directions in the shopping cart and enter the promo code on your brochure at check out.