ANDRÁS SCHIFF - Società del Quartetto di Vicenza

SUNDAY MAY 8 th 2011, 08.30 p.m.
TEATRO OLIMPICO
Franz Joseph HAYDN (1732 - 1809)
London Symphony No. 95 in C Minor Hob.I:95
Allegro
Andante
Minuetto e trio
Finale: vivace
András SCHIFF conductor
CAPPELLA ANDREA BARCA orchestra
Franz SCHUBERT (1797 - 1828)
String Quintet in C Major op. posth. 163 D 956
Allegro ma non troppo
Adagio
Scherzo (presto) - trio (andante sostenuto)
Allegretto
Erich HÖBARTH violin
Kathrin RABUS violin
Hariolf SCHLICHTIG viola
Christoph RICHTER cello
Xenia JANKOVIC cello
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Wolfgang Amadeus MOZART (1756 - 1791)
Piano Concerto No. 25 in C Major K 503
Allegro maestoso
Andante
Allegretto
András SCHIFF piano and conductor
CAPPELLA ANDREA BARCA orchestra
When Prince Nikolaus I Esterhazy died in 1790, Haydn happened to be in the awkward situation
of being a Kapellmeister without an orchestra: the Prince’s son, Anton, in fact had disbanded
the Court orchestra but had ensured the composer a guaranteed income. In this way
Haydn, who had been entirely busy to provide music for the Court, was free and could accept,
in 1791, the invitation of the music manager Salomon to go to London, where he had a huge
reputation and he met an outstanding success with the concerts for which he composed his
last twelve symphonies, the so called London Symphonies.
In this group the Symphony No. 95 has some features: it is the only one in a minor key and
without a slow introduction. In spite of the chosen key, the work keeps the brightness which
distinguishes Haydn’s lasts symphonies: the light and shade effects don’t darken the character
and the music is direct and comprehensible; Haydn, a really experienced symphonist, is able
to flatter the audience without becoming predictable and repetitive.
In music tradition, the string quintet has always been less popular than the quartet: it is even
more unusual to find quintets with two violins, two cellos and only one viola.
If we don’t mention George Onslow, neglected by history, the 113 quintets by Boccherini are
the only important precedent to the Quintet in C major by Franz Schubert: the introduction
of a second cello instead of a second viola gives more importance to the bass voices and
achieves a deeper tone.
Schubert uses instruments to create an almost orchestral volume and the work nearly reaches
the range of a symphony, as announced by the first wide movement and strengthened by the
wonderful Trio, piece of rare depth; the slow movement arises from the contrast of two different
thematic sections: the first segment is quiet and peaceful while the other is nervous and
intense. The Quintet was published several years after Schubert’s death.
Between 1784 and 1786 Mozart wrote twelve piano concertos: the persistence on this music
genre and on this instrument reveals that the composer had found a special way to express himself;
the great series of works ends with the Concerto No. 25, K503. Unlike some other concerts,
it shows a remarkable symphonic characteristic, that can be noticed since the first bars, majestically
stressed by all instruments; so, it is closed to Prague Symphony K 504 not only because it
was composed in the same years, but for the importance given to the orchestra: this is no more
the background on which the soloist displays his outstanding virtuosity but it plays a leading
role in the work. In the final Rondo Mozart uses a theme taken from a gavotte of the ballet music
for Idomeneo, written in 1781, and he generates a movement based on the alternation of the
piano and sections of the orchestra, such as winds, creating a very close dialog.
Andrea Scarpari