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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall
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CARNEGIE HALL PRESENTS

Orchestra of St. Luke’s

Thursday, February 28, 2019 8 PM Stern Auditorium / Perelman Stage
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Bernard Labadie by Dario Acosta, Ying Fang by Arthur Moeller, Paul Lewis by Josep Molina
Haydn’s craftsmanship, melodic mastery, and sharp wit inspired generations of composers after him, including Mozart and Beethoven. Haydn’s “Farewell” Symphony was the composer’s way of telling his boss, Prince Nikolaus Esterházy, that the court musicians wanted to return to their families after an unexpectedly long period of employment from which they were not permitted leave—after three bustling movements, it winds down to silence to deliver the message. Haydn’s “children” have their say as well: Beethoven’s concerto bubbles over with wit and high spirits, while Mozart’s melodically splendid concert aria weaves voice and obbligato violin into a pseudo operatic duet.

Part of: Orchestra of St. Luke’s

Orchestra of St. Luke's is also performing October 5, October 25, and April 18.

Bernard Labadie is also performing October 25 and May 7.

Performers

Orchestra of St. Luke's
Bernard Labadie, Principal Conductor
Ying Fang, Soprano
Paul Lewis, Piano

Program

HAYDN Overture to L'Isola disabitata
BEETHOVEN Piano Concerto No. 2
MOZART "Non temer, amato bene," K. 490
HAYDN Symphony No. 45, "Farewell"

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

At a Glance

Joseph Haydn’s reputation as one of the most influential composers of symphonic and chamber music often overshadows the nearly two dozen Italian-style operas he wrote, many of them for the Esterházy family. While his 1779 opera L’isola disabitata was quickly forgotten, the overture has enjoyed an independent life of its own, its theatrical style making for a thrilling concert opener. Beethoven was still living in his hometown of Bonn when he wrote the first two movements of his Piano Concerto No. 2 in B-flat Major. Three years later, he moved to Vienna to study with Haydn, eventually finishing the concerto in time for his public performance debut in 1795. A youthful work, the concerto displays Haydn’s influence, especially in the musical “joke” in the third movement, as well as Beethoven’s ability to reinterpret the influences of his teacher and Mozart into his own dramatic and distinctive musical vernacular.

Mozart wrote the Rondo aria “Non temer, amato bene” for the second production of his opera Idomeneo in 1786, five years after the work premiered in Munich. Now typically sung as a concert aria for tenor or soprano, the work is a meltingly melodic showpiece for the singer and a virtuosic display for the featured violinist. Haydn’s “Farewell” Symphony was the composer’s response to Prince Nicholas I Esterházy’s narrow-sighted demands to delay his musicians’ hard-earned vacation. Written in the same Sturm und Drang style as the overture from L’isola disabitata, the “Farewell” Symphony is full of drama, passion, and emotion; rather than racing to a brilliant resolution, however, the second half of the fourth movement slows down. One by one, each musician stops playing, until the symphony has been reduced to a violin duet.

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