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Sales start will be announced later. The first concert of the new year is dominated by classicism: Haydn and Mozart. But Bach's son Carl Phillipp Emanuel belonged to another phase, the one often called the Age of Sensitivity.

PROGRAM C.P.E. Bach: Symphony Op. 183/3 Mozart: Flute Concerto No. 1 in G major Haydn: Introduction from Die sieben letzte Worte (orchestral version) Haydn: Symphony No. 80

PARTICIPATING Giovanni Antonini, conductor Emmanuel Pahud, flute (Artist-in-Residence)

DURATION About. 1 hour and 30 minutes, including break.

Bach had four sons who composed and are known in music history. Their music is quite different, but Carl Phillipp was the one who composed the most: 150 piano sonatas, piano concerts, symphonies, chamber music as well as oratorios, passions, cantatas and religious songs. Haydn and Mozart were influenced by Carl Phillipp. Mozart said of him: "He is the father, we are the boys. The one of us who is good at something has it from him. " His works are characterized by originality, ingenuity and a strong expression. His aesthetic-stylistic premise was that music is "the language of sensitivity." The four symphonies Wq 183 are written «with 12 obligatory voices»; to the strings are set two flutes and oboes as well as bassoon and a pair of horns. The emotional in No. 3 has a strong intensity, high-contrast whims stand next to each other and the sound combinations in the woodwinds are striking.

Mozart should not have liked the flute, but this reluctance is not noticeable in his two flute concerts. Concerto for flute and orchestra in G major (KV 313) has the usual three movements and was probably written in 1778. In the outer movements the flutist must demonstrate his virtuosity, while the slow movement has singable and almost intimate melodic arches, where the strings accompany with subdued sound .

Haydn's The Last Seven Words from the Redeemer op.51 is Good Friday Music. Originally, it included seven orchestral adagios, but Haydn adapted them into a string quartet. The orchestral version of the introduction is more recent. Haydn himself said that his instrumental music here "was expressed in such a way that it would evoke the deepest impression in the soul of the inexperienced". And the work itself is characterized by simple piety. Expressions of the complaining are always softened by peaceful melodies. We do not get the impression of a black, undoubted darkness. Six of the seven adagios sound explained in D major.

Haydn wrote 104 symphonies, Mozart 41 and Beethoven 9. That says something about the composers' changed role; but it must be added that Haydn was 42 years older than Mozart! Symphony No. 80 in D minor was written in 1784, ie before the more famous Paris Symphonies (Nos. 82-87) and those often seen as a highlight, the London Symphonies (Nos. 93-104). Symphony No. 80 has no slow introduction, like many of his other symphonies. In the first movement, we can notice that a detail (the small suggestions for the final theme) becomes the engine itself in the implementation part. The second movement is a singing adagio, the third movement a minuet where the trio part offers typical Haidian surprises. In the last movement, Haydn plays with syncopes (displacement of the emphasis), which are not so easy to distinguish. This joke, humor or wit characterizes Haydn's works. In the aesthetics of that time, the expanse was seen as spiritual, an expression of acumen.

ORGANIZER Stavanger Symphony Orchestra


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