The spirit of Bach—particularly his Mass in B Minor—informs the grand choral writing of Mozart’s Mass in C Minor. The influence of the florid Italian operatic style is also evident in solo passages, gloriously so in the “Laudamus te,” a coloratura mezzo-soprano showpiece, and in the tender soprano aria “Et incarnatus est.” Beethoven took his own path, but his Symphony No. 1 honors Haydn’s symphonic model with more adventurous harmonies—especially in its opening—and a more robust role for winds and brass.
Orchestra of St. Luke's Pablo Heras-Casado, Conductor Laureate Camilla Tilling, Soprano Susanna Phillips, Soprano Thomas Cooley, Tenor Michael Sumuel, Bass-Baritone Westminster Symphonic Choir Joe Miller, Conductor
Mozart brings the Classical symphony to a glorious apotheosis, while Beethoven heralds a new age of violin concertos. The “Jupiter”—Mozart’s final symphony—has grandeur in its opening movement, tenderness in its Andante, grace and wit in the Menuetto, and propulsive joy in its finale. The antecedents of the large scale, athletic violin concertos of the Romantic era are found in Beethoven’s masterpiece. His Violin Concerto is broader in scope, more opulently orchestrated, and features a solo part unlike anything that came before it. There is also a rarely performed work by Mozart’s Swedish contemporary, Joseph Martin Kraus.
Orchestra of St. Luke's Bernard Labadie, Principal Conductor Designate Augustin Hadelich, Violin
KRAUS Olympie Overture
MOZART Symphony No. 41, "Jupiter"
BEETHOVEN Violin Concerto
BACH Andante from Solo Violin Sonata No. 2 in A Minor, BWV 1003
Mozart’s final symphonies are pinnacles of Classicism that boldly point to the Romantics. His Symphony No. 40 opens in a state of nervous agitation and culminates in an edge-of-your-seat finale that Wagner called “exuberant with rapture and audacity.” The “Emperor” Piano Concerto is grandly virtuosic and heroic in spirit—a towering landmark where Beethoven the master pianist and symphonist are brilliantly fused. There’s also new songs from Bryce Dessner, co-commisioned by Carnegie Hall, setting the deeply moving poetry of Argentinian writer Alfonsina Storni.
Orchestra of St. Luke's Robert Spano, Conductor Kelley O'Connor, Mezzo-Soprano Jeremy Denk, Piano
MOZART Symphony No. 40
BRYCE DESSNER Voy a dormir (World Premiere, co-commissioned by Carnegie Hall)