illiam H. Scheide - Scheide Concerts

his is a very special night. We are celebrating Bill’s 97th birthday on the 255th birthdayof Wolfgang Amadeus Mozart. Therefore our concert tonight is all Mozart. Bill and I aredelighted to welcome back our favorite conductor, Mark Laycock, leading the renownedZurich Chamber Orchestra, here for the first time. Bill has chosen two brilliant artists tointerpret Mozart, soprano Jihye Son, and clarinetist Dimitri Ashkenazy.We are also delighted to honor Princeton HealthCare System whose mission to providean outstanding community health system holds special significance to us. We have beenimpressed by the University Medical Center at Princeton’s commitment to care for theunderinsured through the Outpatient Clinic and were inspired to create the Jim and FannieFloyd endowment to enhance that commitment. Watching the new hospital campus arise onRoute 1, Bill and I are excited about all the good work (including superb geriatric care!) thatwill take place there, making the Princeton community more vibrant than ever.And finally, tonight we celebrate Bill’s life. As he enters his 98th year, I am continually struckby his love of music, his sense of humor, his zest for living, and above all, his care for others.Mozart, Princeton HealthCare System and Bill. Tonight we celebrate all three. Thank you forcoming to this very special evening. ENJOY!Happy birthday Bill — and Wolfgang!Judith McCartin Scheide1

illiam H. ScheidePhilanthropist and humanitarian, Bill Scheide has a passion for supporting the work of thosewho help people and communities thrive. Bill’s philanthropy reaches back over 60 yearswhen he began to be a quiet force for civil rights and became a generous advocate for theNAACP Legal Defense Fund. He embraced the truth behind the sentiment of the ancientAthenian jurist, Solon, who wrote “Justice will not come until those who are not hurt feeljust as indignant as those who are hurt.”His vision for an enlightened community, however, did not stop with civil rights.Throughout the years, his generosity has extended to the arts, education, health, andpoverty relief. An only child, William H. Scheide was born on January 6, 1914. He grewup in a household passionate about music, culture, rare books and the well-being ofhumanity. His father played the piano, and his mother was a singer. At age 6, Bill beganpiano lessons, and his passion for music has not diminished. Bill majored in history atPrinceton University (Class of 1936) because there was no music department, and in 1940earned an M.A. in music at Columbia where he became a Bach scholar. He was the firstAmerican to be published in the Bach Jahrbuch, a journal of Bach scholarship. In 1946,Bill founded and directed the Bach Aria Group, a vocal and instrumental ensemble thatperformed and recorded for 34 years under his direction.Renowned for his interest in and collection of rare books, Bill is the owner of the ScheideLibrary, now housed in Firestone Library, which contains books and manuscripts that hisgrandfather, William T. Scheide; his father, John H. Scheide (Princeton Class of 1896); andhe acquired. The Scheide Library holds copies of the first four Bibles ever printed; materialson the invention and history of printing; books and manuscripts on early voyages to theAmericas; and musical manuscripts of J.S. Bach, Beethoven, Mozart, Schubert, and Wagner,among other items.In 1994, Princeton University awarded Scheide an honorary doctorate of humane letters,recognizing him as an “advocate, scholar, student, benefactor, and friend.”2

In 2008, Bill and Judith Scheide established The Fannie and James A. Floyd ClinicEndowment Fund to support the Outpatient Clinic at the University Medical Center atPrinceton, which provides healthcare for the uninsured as well as the underinsured in NewJersey. This endowment addresses a fundamental need by supporting many area familiesat the same time that it honors Bill and Judy’s dear friends, the Floyds, for their long anddedicated service to the Princeton Community.3

inceton HealthCare SystemPrinceton HealthCare System (PHCS) has a long tradition of service to the central NewJersey community. Princeton Hospital first opened its doors in 1919, residing in an oldfarmhouse with 22 beds. Today PHCS has grown into one of the most comprehensivehealthcare systems in the state. Our full continuum of care includes acute care hospitalservices, acute rehabilitation, home care, hospice, ambulatory surgery, behavioralhealthcare, and fitness/wellness. PHCS has 477 licensed beds, 2,800 employees,45 residents and fellows, and 1,000 affiliated physicians, 97% of whom have achievedboard certification—the hallmark of professional excellence.What was originally Princeton Hospital became the University Medical Center at Princeton(UMCP) in 2004. UMCP is a community teaching hospital affiliated with UMDNJ-RobertWood Johnson MedicalSchool, as well as a researchaffiliate of the CancerInstitute of New Jersey,and recently establisheda partnership with theChildren’s Hospital ofPhiladelphia (CHOP) tobring world-class pediatriccare to the community. In2009, UMCP also becamethe first hospital in MercerCounty to open an AcuteCare of the Elderly (ACE)unit to meet the needs ofthe older adult patient.When the community was suffering through a terrible flu epidemic in1919, Moses Taylor Pyne donated his house and 10 acres to care forthe sick, and in doing so created the Princeton Hospital.4

PHCS’s mission is to be a comprehensive community health system that responds to thehealthcare needs of our service area residents. As a non-profit institution, a commitmentto excellent health care for all is integral to our mission and PHCS provided $9.3 millionof unreimbursed charity care in 2009 alone. The PHCS Foundation, established in 1978,develops and strengthens philanthropic support to PHCS from individuals, corporationsand foundations.Architect’s rendering of the new University Medical Center of Princeton at Plainsboro (UMCPP)5

he New Hospital ProjectIn 2012, the doors will open for the new University Medical Center of Princeton atPlainsboro (UMCPP)—an extraordinary $447 million, 636,000 square foot, state-of-thearthospital at U.S. Route 1 and Plainsboro Road. To plan this new facility, PHCS leaderstraveled the country to visit and select features of some of the best hospitals—then addedseveral of their own. Two international architectural firms, HOK and RMJM Hillier, formeda unique partnership venture to design the new hospital. The innovative building will bebased on “evidence-based design,” which means there is a great deal of research to confirmthat everything about a hospital—its architecture, internal layout, materials, landscaping, andeven colors—can reduce stress, empower families and caregivers, and accelerate the healingprocess. The new UMCPP is expected to be a national model, transforming the way care isdelivered in a community hospital.In addition to the evidence-based design, great care is being taken to build the hospital in anenvironmentally responsible way and to conserve energy, minimize impact on surroundingsand provide the best conditions for patients. PHCS is committing $60 million to incorporatenumerous sustainability/green initiatives, including an on-site co-generation plant, an energyefficient curtain wall system, water-saving measures, photovoltaic panels, high-efficiencymotors and environmental systems. The building will follow U.S. Green Building Councilguidelines for the Leadership in Energy and Environmental Design (LEED) standard tobecome at minimum a LEED silver-equivalent building.The new hospital, just 2.5 miles from the center of Princeton, will be the centerpiece of anentire campus devoted to health care. In addition to the hospital’s 50 acres, another 120 acreswill be developed according to a coordinated plan that corresponds with community goals.In addition to the acute care hospital, central New Jersey residents, employees and visitorswill benefit from a modern medical office building attached to the hospital, a world-classeducation center, a health and fitness center, long term acute care, an outpatient pediatricpavilion managed by Children’s Hospital of Philadelphia and a beautiful 32-acre public park.6

The project will also significantly benefit our region’s economy. During the constructionphase, more than 2,600 jobs are being created, with $153 million in payrolls and $186million in material purchases. When the site reaches full build-out, a total of 3,600 peoplewill be employed full time on site, with annual payrolls totaling $164 million. The campus,when fully developed, will yield assessment and property tax revenues that are 3.34 timesthose of the former occupant, FMC Corporation. The full economic impact of the projectis estimated to exceed one billion dollars.7

esign for Healing CampaignDesign for Healing, a $115 million campaign that runs through 2013, is the most ambitiousfundraising effort in the history of the Princeton HealthCare System. The success of thecampaign, which will fund over 30% of the project, depends on the support of individualsand organizations that share the vision for an outstanding health care environment forcentral New Jersey.“We have a once-in-a-lifetime opportunity to get this right—to build the best regionalhospital in the country,” says Bill Schreyer, former CEO and Chairman of Merrill Lynchand honorary Co-Chair of the Campaign. “We can’t afford to be spectators, because thisinvestment is going to change a lot of lives.”ecent Accolades for UMCP• Named a Top Hospital for patient safety (one of only 37 in the country) by LeapfrogGroup 2008, 2009, and 2010• Five-star rated by HealthGrades® for overall joint replacement and knee replacementsurgery for four years in a row (2007–2010)• Ranked by HealthGrades among the top 5% of hospitals nationwide for maternity careservices for four years in a row and received HealthGrades 2008/2009 Maternity CareExcellence Award TM• State-recognized Primary Stroke Center• First hospital in Mercer County, and one of only a handful in NJ, to open an Acute Careof the Elderly (ACE) unit to meet the needs of the older adult patient• One of only 30 hospitals nationwide to be accepted into the American Organization ofNurse Executives Transforming Care at the Bedside initiative8

In celebration of the 97th birthday of William H. ScheideZurich Chamber OrchestraMark Laycock, conductorJihye Son, sopranoDimitri Ashkenazy, clarinetW. A. MozartOverture to Cosi Fan Tutte, K. 588“Mia speranza adorata!… Ah non sai qual pena sia”, K. 416“No, che non sei capace”, K. 419Jihye SonClarinet Concerto in A Major, K. 622I. AllegroII. AdagioIII. Rondo: AllegroDimitri AshkenazyIntermissionW. A. MozartLaycock, arr.Symphony No. 35, in D Major, “Haffner”, K. 385I. Allegro con spiritoII. AndanteIII. MenuettoIV. PrestoEin Musikalischer Geburtstags Spaß, K. 9710

Maestro Mark LaycockMark Laycock’s international orchestral and operaappearances have included those in London, Paris, Vienna,Moscow, Kiev, Montréal, Mexico City, Seoul, Taipei,Bogotà and Lisbon, among others. Maestro Laycock’sEuropean engagements include numerous appearances withthe Wiener KammerOrchester, Bochmer Symphonikerand Kammerorchester Schloss Britz in Germany, and theGeorges Enescu Philharmonic in Bucharest. Additionalrecent engagements include those with the DeutschesNationaltheater and Staatskapelle Weimar, FestivalStrings Lucerne, Jenaer Philharmonie, Neubrandenburg Philharmonie, BayerischeKammerPhilharmonie, Bach-Collegium Stuttgart and the Stavanger Symphony Orchestrain Norway. In July 2009 he returned to the United States to conduct Beethoven’s 9thSymphony with the New Jersey Symphony Orchestra, and in summer 2010 to conductCarl Orff’s “Carmina Burana” with the New Jersey Symphony Orchestra and productions of“Don Pasquale” with Opera New Jersey. Maestro Laycock will return to Opera New Jerseythis coming summer for productions of “The Barber of Seville” as well as to the New JerseySymphony Orchestra.Maestro Laycock made his conducting début with the Philadelphia Orchestra at age 21,returning to lead the Orchestra on numerous occasions. His multiple re-engagements alsoinclude those with L’Orchestre Symphonique d’Montréal, the Philharmonia Orchestra ofLondon at Royal Festival Hall and the Barbican Centre, and the St. Paul Chamber Orchestra.Maestro Laycock was Music Director of the Princeton Symphony Orchestra for morethan 20 years, transforming that orchestra from a small chamber orchestra into a full andcritically acclaimed professional symphony orchestra awarded Citations of Excellence fortwo consecutive years from the State Arts Council of New Jersey for “exhibiting the higheststandards of artistic excellence.” Mark Laycock and his family now make their home in Berlin.12

Zurich Chamber OrchestraFounded immediately after the Second World War by Edmond de Stoutz, the ZurichChamber Orchestra is now one of the leading ensembles of its kind. During the ten-yearleadership of Howard Griffiths, which began in the mid-1990s, the ensemble solidified itsstatus as a chamber orchestra of international importance. Muhai Tang was appointed theorchestra’s Artistic Director and Principal Conductor at the beginning of the 2006/2007season. With the advent of the 2011/2012 season, the Zurich Chamber Orchestra willwelcome Sir Roger Norrington as Principal Conductor.Regular invitations to international festivals, performances in the major musical centres ofEurope, extended concert tours through various European countries, as well as the UnitedStates and China, bear witness to the Zurich Chamber Orchestra’s worldwide reputation.Numerous critically acclaimed CDs document the ensemble’s artistic work.Besides cultivating a broad repertoire ranging from baroque to classical and from romantic tocontemporary music, the Zurich Chamber Orchestra not only frequently attracts attentionby rediscovering forgotten composers, but also by collaborating with musicians from othergenres such as jazz, folk music, and popular entertainment. The encouragement of younginstrumentalists and prospective lovers of classical music (by way of children’s concerts)is as important to the Zurich Chamber Orchestra as is the continuous collaboration withinternationally celebrated soloists such as Vladimir Ashkenazy, Sir James Galway, Hilary Hahn,Mischa Maisky, Güher and Süher Pekinel, Mikhail Pletnev, Fazil Say, and Andreas Scholl.13

Dimitri Ashkenazy, clarinetBorn in 1969 in New York, Dimitri Ashkenazybegan playing the piano at the age of sixand then switched to the clarinet under thetutelage of Giambattista Sisini, with whomhe continued studying when he entered theConservatory of Lucerne in 1989. Sincecompleting his studies, he has gone on toperform widely, both as soloist and chambermusician. On tour, he has appeared at theRoyal Festival Hall in London with the Royal Philharmonic Orchestra, at the HollywoodBowl with the Deutsches Symphonie-Orchester Berlin, at the Sydney Opera House withthe SBS Youth Orchestra, at the Casals Festival in Puerto Rico with the Czech PhilharmonicOrchestra and in Japan with the Japan Philharmonic, Tokyo Metropolitan Symphony andMito Chamber Orchestras.In addition to the major concertos for the clarinet, his repertoire extends to includecontemporary works such as Peter Maxwell Davies’ Strathclyde Concerto No.4, which hehas performed with the composer himself conducting both in London and Santiago deCompostela, and Krzysztof Penderecki’s own transcription of his Viola Concerto with thecomposer himself conducting both in Poland and on tour in Spain. He also gave the worldpremiere performances of concertos by Marco Tutino (with the Filarmonici della Scala,Milan) and Filippo del Corno (with the orchestra I Pomeriggi Musicali), and of PeterMaxwell Davies’ Clarinet Quintet Hymn to Artemis Locheia (with the Brodsky Quartet at theLucerne Festival). An active chamber musician, he has performed with the Kodály and FaustQuartets and with partners such as Barbara Bonney, Helmut Deutsch, David Golub, EditaGruberova, Ariane Haering, Antonio Meneses, Cristina Ortiz, Maria João Pires, and ofcourse his brother Vovka and his father Vladimir Ashkenazy.Mr. Ashkenazy’s 2010–2011 season includes appearances with the Sydney SymphonyOrchestra, the Belgrade Philharmonic, the Göttinger Symphonie-Orchester, the NeuesZürcher Orchester and the Philharmonie Baden-Baden, as well as chamber concerts inAustralia, Germany, Switzerland, Austria, Norway, Italy, and France.15

A Note of Special InterestPredating by a generation England’s celebrated literary figures the Brontë sisters, were theWeber sisters of Mannheim: Josephina, Aloysia, Constanze, and Sophie, all holding a specialconnection to Mozart. With the exception of Constanze (of whom Mozart said she possesseda fine musical ear), all of the sisters were trained and very gifted singers. In 1778 Mozart metthe Weber family and fell in love with the second daughter Aloysia, writing several concertarias for her (including those on tonight’s program), and became a lodger with the Weberfamily in Vienna in 1781. Although Aloysia did not accept Mozart’s “overtures”, the twoeventually renewed their friendship and Mozart continued to write arias designed for herexceptional vocal range, a trait which she shared with her older sister Josephina (Mozart’sfamous “Queen of the Night” aria from The Magic Flute was written for the eldest sister,who made that operatic role her own over a lengthy period of time).In 1782, Mozart married the third daughter Constanze and completed the “Haffner”Symphony that same month. In the following year the work received its public premiere in aconcert at the Burgtheater in Vienna. For that performance Mozart chose to open the concertwith the first three movements of the Haffner Symphony and then present a cornucopia ofhis works, including the aria “Mia speranza adorata” sung by Aloysia, before bringing theconcert to a close with the last movement of the Symphony.If you’re wondering about the youngest sister, Sophie was also an object of Mozart’sflirtations, and she sang in the Burgtheater during their 1780/1781 season, though she didnot experience the lengthy career that her sisters did. Mozart wrote in a letter that she was“good-natured but feather-brained”, but ultimately she helped care for him in his declininghealth and eventually moved to Salzburg to live with her sister Constanze until the midnineteenthcentury.I hope you will enjoy and savor this concert of Mozart’s most celebratory and sublime musicas a toast and tribute to two men who have made our lives and the lives of countless othersimmeasurably more meaningful and more beautiful.Happy Birthday Mozart and Happy Birthday Bill!Mark Laycock16

Wolfgang Amadeus MozartBorn January 27, 1756 in Salzburg, AustriaDied December 5, 1791 in Vienna, AustriaOverture to Così fan tutte, K. 588Composed 1790First Performance: January 26, 1790 at the Burgtheater inVienna conducted by MozartInstrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons,2 horns, 2 trumpets, timpani, and stringsCosì fan tutte (1790) is the third of the three great operas composed by Mozart withlibrettist Lorenzo da Ponte (1749–1838). The others are The Marriage of Figaro (1786)and Don Giovanni (1787). An approximate translation of the title is “Thus do all women”(The finale in tutte is feminine plural), or even “Women are like that.” Perhaps the title wassuggested by an aria from The Marriage of Figaro (Act 1, No. 7) where Don Basilio sings“Così fan tutte le belle, non c’e alcuna novita.” (“All women are like that, there’s nothing newabout it.”)In Così fan tutte two young men, Ferrando and Guglielmo, are engaged to sisters Dorabellaand Fiordiligi. They boast to the old philosopher Don Alfonso of their virtue. Don Alfonsoenrages them by saying that faithful women do not exist. Alfonso wagers that the sisterswould not be able to remain faithful for even a day’s absence. He hatches a plot where themen go off to military duty. The men return so heavily disguised that the women do notrecognize them. At first the women are standoffish but soon find no sin in a little flirtation.Hilarity ensues.17

The overture is in C major and is in two parts: Andante (comfortably flowing) then Presto(fast and lively), which is the main part of the overture. The overture hints at the plot. Theandante begins with a lyrical oboe solo that is punctuated by interjections (the womenobjecting to the advances of the disguised men?). After the second oboe phrase we hear the“Così fan tutte” phrase from Don Alfonso’s Act II aria “Tutti accusan le donne” in whichAlfonso advises the men togo ahead with their marriageplans since they still lovethe sisters. He tells them tonot blame the women fortheir “essential” nature. Theyrepeat after him “Così fantutte” to this melody.The long presto sectionbegins with the first offour distinct phrases whichfeatures soft scurryingeighth notes that build in intensity to a syncopated motif played by the full orchestra. This isfollowed by quiet phrases that are tossed between the winds suggesting whispers exchangedbetween the women. Then after a brief return of the first two phrases comes the fourth andfinal phrase played by the strings which bears a strong resemblance to the opening of TheMarriage of Figaro over the syncopated rhythm of the second phrase. Mozart then treatsus to an artful development of these phrases before the “Così” phrase returns (m. 228) withthe durations doubled—indicating the presto should be linked directly in tempo to thebeginning andante—to conclude the overture.18

Concert Arias for Soprano and Orchestra, K. 416 and K. 419Composed 1782Having left his position due to the lack of opportunityfor advancement at the Salzburg court of ArchbishopHieronymus Count von Colloredo, Mozart needed anew source of income. With Paris intended as a finaldestination, Mozart and his mother departed Salzburgon September 23, 1777 to embark on a journey to findgainful employment. They planned a stay in Mannheim,which is not only the midpoint of the journey but was thehome of the famed court orchestra where the crescendowas invented. They arrived in Mannheim on October30 and remained there for several months while Mozarttried to secure a position at the Mannheim court. Manyof the Mannheim musicians held him in high esteem,remembering his astonishing talent from his previousvisits. His social engineering efforts were in vain, for evenwith the endorsement of several Mannheim musicians(e.g. Stamitz’ successor Cannabich), he was not engaged.1783 Portrait by Joseph Lange—Aloysia’s husbandDuring this Mannheim stay he was in need of a copyist. His friends recommended FridolinWeber, copyist, violinist, bass singer and theater prompter at the Mannheim court. It was thisWeber who was also Carl Maria von Weber’s uncle. In January 1778 Mozart took a monthlong trip to nearby Kirchheimbolanden with Fridolin Weber and his 17 year old daughterAloysia (1760?–1839).During this trip Mozart became enamored of Aloysia who, in addition to her physical beauty,was a gifted pianist and soprano. Aloysia was probably Mozart’s first love. After returningto Mannheim, he composed the first of many arias for Aloysia on February 24, Alcandro,lo confesso, K. 294. Mozart and his mother left Mannheim on March 14 and arrived inParis on March 23. In June he composed his second aria for Aloysia, Popoli di TessagliaK. 316/300b. His mother died in Paris on July 3 but Mozart remained there until September.On November 6 he arrived in Mannheim but Aloysia was no longer there.19

After the death of Maximilian III Joseph, theElector of Bavaria, his successor Karl Theodorleft Mannheim for Munich. With this moveto Munich, all of the Mannheim musiciansincluding the Webers were uncertain of theirfuture. In July 1778, Aloysia sang in a concertwhere the director of the Munich NationalTheater heard her. The Weber family thenrelocated to Munich. On December 25, Mozartarrived at the Weber’s new home in Munichintending to present Aloysia with Popoli diTessaglia. According to Mozart’s first biographer,Georg Nikolaus von Nissen (who marriedConstanze in 1809), Mozart had an unexpectedwelcome: “When he entered, she appeared nolonger to know him, for whom she previouslyhad wept.” After Mozart moved to Vienna in1781, he lodged with the Webers who had movedAloysia Weber Langethere when Aloysia was hired by the GermanNational Theater. On October 31, 1780, Aloysia had married Joseph Lange who painted thefamous unfinished portrait of Mozart. With Aloysia’s rejection now complete, Mozart fell inlove with Constanze whom he later married. Mozart continued to write music for Aloysia,including the two arias sung this evening.20

“Mia speranza adorata…Ah, non sai qual pena”, K. 416Completed January 8, 1783 in ViennaText Author: Gaetano SertorFirst Performance: January 11, 1783 at the Mehlgrube in ViennaInstrumentation: Soprano, 2 oboes, 2 bassoons, 2 horns, stringsToday we may think it to be a bizarre practice but in Mozart’s time it was common to insertarias written by one composer into another composer’s opera. Mozart wrote several of these“insertion (or substitution) arias” for Neapolitan composer Pasquale Anfossi (1727–1797).The text is from Anfossi’s opera Zemira which premiered in Venice in 1781. Aloysiaperformed this scene—a recitative and aria—in her own concert at the Mehlgrube, a concertroom near the flour market and site of premieres of many of Mozart’s piano concertos, onJanuary 11—only 3 days after Mozart completed it! She sang it again at Mozart’s academyon March 23 at the Burgtheater (This was the program with the “Haffner” Symphonymentioned in the preface to these notes). The recitative and aria are about Gandarte andhis wife Zemira who have been captured by the Mongol Emperor Akbar. The emperor haschosen Zemira to be his, well, “companion.” Gandarte is lamenting this loss and bids farewellto Zemira.The halting recitative is lightly scored for only the strings with a languid solo oboe floatingabove. The aria is a rondo—the music for the phrase “Ah non sai qual pena” keeps returning.The aria combines lyricism with coloratura runs that repeatedly reach to high F setting thewords “il doverti … lasciar” (to have to leave you).21

“No, no, che non sei capace”, K. 419Completed June 1783 in ViennaText Author: UnknownFirst Performance: June 1783 at the Burgtheater in ViennaInstrumentation: Soprano, 2 oboes, 2 horns, 2 trumpets, timpani and stringsMozart wrote this for Aloysia as an insertion aria for her Vienna debut with the Italian OperaCompany in Pasquale Anfossi’s opera Il curioso indiscreto (The indiscreet snoop). This ariais in two parts—an Allegro (“quickly”), scored for strings with brief interjections from thewinds and an Allegro assai (allegro, and I mean it this time) when she sings the words “Go! Iabhor you” which is answered by tutti strings reinforced by forceful winds.In a story similar to Così fan tutte, the Marquess Calandrano decides to test the fidelityof his fiancée Clorinda by sending his friend, the Count of Ripaverde, to try to seduceher. Although Clorinda rebuffs the Count, his wounded male ego would not allow him toadmit his failure to the Marquess. When Clorinda hears this canard she angrily protests herinnocence with this fiery “rage aria.” The virtuosic runs into the stratosphere where the hightessitura (where the notes are written regarding the range of the voice or instrument) remainsfor long stretches recalling another famous rage aria sung by the Queen of the Night in theMagic Flute.22

Concerto for Clarinet and Orchestra, K. 622Composed October 1791First Performance: October 16th, 1791 in Prague at the Royal Old City Theater with A. StadlerInstrumentation: 2 flutes, 2 bassoons, 2 horns and stringsAnton Stadler (1753–1812) was a virtuoso who played clarinet in the Viennese imperialcourt orchestra. Around 1770 a relative of the clarinet was invented called the basset horn.It was larger than a clarinet, had a curved neck like a sax, and was capable of lower pitches.In 1789 Mozart wrote 199 measures of a piece for this instrument before abandoning it.But he did include it in his Requiem, the Magic Flute, and the Masonic Funeral Music.Stadler was friends with instrument maker Theodor Lotz (1747–1792) who is credited withimproving the basset horn. On Feb 20, 1788 Lotz introduced a new instrument that hecalled a Bass-Klarinette which extended the range downward to d below middle c. Today thisinstrument is called the “basset clarinet” or “basset horn.”On October 7, 1791, Mozart wrote to Constanze that he had “orchestrated almost the wholeof Stadler’s rondo.” Mozart gave Stadler the completed concerto 2 or 3 days later, right beforeStadler left for a trip to Prague to perform the concerto in a benefit concert. Unfortunately,the autograph manuscript was lost by Stadler on this trip. The version we have today is basedon the one published a decade after Mozart’s death by his friend, Johann Anton Andre. Thisedition made the concerto playable without the lower notes which Stadler’s instrument wascapable of playing. This remained the “standard” until the Neue Mozart-Ausgabe version waspublished in the late 1970s. A few modern instrument makers produce basset clarinets, butlike the sopranino sax used in Ravel’s Bolero, most players substitute a modern clarinet in A,as is the case in tonight’s performance.The concerto is set in A Major as is the Clarinet Quintet K. 581 (1789) which was alsowritten for Stadler. The instrumentation of the concerto is only slightly expanded overthe Quintet. Mozart adds just pairs of flutes, bassoons and horns to the strings. Thus hisorchestration avoids the edgy timbre of the oboe, the drama of trumpets and timpani, andcompetition from other clarinets. There are three movements:, Allegro (4/4), Adagio (3/4),and Rondo: Allegro (6/8).23

The first movement is constructed in a traditional (sonata) form, yet the opening ritornello(a statement that alternates with the solo material)—in this as well as in other concertosby Mozart—presents an abundance of material with a series of short motifs. Instead ofthe textbook example of an exposition with two themes, here Mozart lays out no fewerthan five distinct melodic elements, all in A Major. All of these motifs will return laterin the movement in differing incarnations. When the soloist appears we hear the initialtheme but soon it veers to the parallel minor key with brand new material. The so called“second subject” appears followed by a brief ritornello with which the development begins,elaborating the main theme. We are treated to a surprise modulation to C# Major andthen up to D for a brand new theme. The ritornello returns in F# minor which then slidesback to D to prepare for the arrival in the home key. Mozart did not write cadenzas for thesoloist, instead he provided three places in the concerto where a dominant chord is sustained(fermatas) which would invite cadenzas. For the first fermata the soloist usually plays a simpleflourish rather than a full-blown cadenza, reserving that for the second fermata which iswhere Mr. Ashkenazy will play an original cadenza tonight. In the recapitulation the A minorclarinet theme returns but then—again surprisingly—moves briefly to C major. The secondsubject returns in A major to lead into the closing ritornello.The sublime adagio second movement is a simple song form (ABA) in D major. Themovement begins without introduction with the soloist playing a lyrical melody aboveundulating strings. The strings are mostly relegated to background, but do notice that theends of the soloist’s phrases are wonderfully dovetailed by a continuation in the strings. Themiddle section is very lightly scored to allow the soloist to come to the foreground. Thesection concludes with a fermata which is an opportunity for the soloist to play a cadenza.Mr. Ashkenazy will play a cadenza based on the second movement of the Clarinet Quintet,K. 581. The first theme then reappears over a soft string accompaniment to close themovement.The rondo finale returns to A major with the soloist introducing a jaunty 6/8 theme. Thisopening section is itself an ABA form with the statements of the rondo theme sandwichinga middle section where the soloist plays sixteenth notes almost exclusively. There are 3“episodes”, so the bird’s eye view of the rondo is ABACADA—although Mozart does“subdivide” each section. The sunny and playful chirpiness of the rondo theme is balancedin the episodes by something a bit darker, with visits to E minor and then F# minor.24

The movement does have a Hollywood ending with soloist skipping happily off into thesunset playing the rondo theme. The concerto’s sadness which underlies its outwardlycheerful disposition was noted by H. C. Robbins Landon who writes that “there are timeswhen an unbearable sadness seems to linger in the music, the more profound and tragicbecause it smilingly emerges from the serenity of a bright major key.’”One published review of the 1791 premiere stated that “If any fault had to be found inMozart, it could surely be only this: that such abundance of beauty almost tires the soul, andthe effect of the whole is sometimes obscured thereby. But happy the artist whose only faultlies in all too great perfection.”25

Symphony No. 35 in D major, K. 385 (“Haffner”)Composed July 20–August 7, 1782First Performance: March 23, 1783 at the Vienna Burgtheater conducted by MozartInstrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,timpani, and stringsIn July 1782 Mozart received a letter from his father requesting music for a party celebratingthe ennoblement of his childhood friend Sigmund Haffner the younger (1756–1787) whowas the son of the late Salzburg mayor Sigmund Haffner (1699–1772). This was not the firsttime that the Haffner family sought music from Mozart. Haffner had commissioned Mozartto compose music for a party on the wedding day of his sister Marie Elisabeth on July 29,1776. That is the Haffner Serenade, K. 250. The timing couldn’t be worse. He wrote to Papa:“Well, I am up to my eyes in work. By Sunday I have to arrange my opera [Seraglio] for windinstruments, otherwise somebody else will beat me to it and get the profits. And now you askme to write a symphony too! How on earth am I to do so?”Mozart was not exaggerating. In addition to his wind arrangements and being occupiedwith students, he had just premiered his opera Die Entführung aus dem Serail K. 384 onJuly 16th. On July 23rd he was to move into a new house in preparation for his marriageto Constanze on August 4 (a fact which he kept from Papa). But he did comply and sentmovements to his father starting July 27 and ending August 7, adding “I only hope that allwill reach you in good time, and be to your taste.” Papa received a 6 movement serenadesymphonyin D Major.Months later, in March 1783, Mozart decided to include the serenade-symphony in a concertof his works at the Burgtheater scheduled during Lent. Mozart repeatedly asked his father tosend him the score in a series of letters dated between December and February. Mozart seemsto have surprised himself, for he wrote: “My new ‘Haffner’ Symphony has positively amazedme, for I had forgotten every single note of it. It must surely produce a good effect.” For theViennese audience Mozart made several changes. He dropped the serenade’s march (perhapsit is K. 408 No. 2?) and one of the minuets—which is now lost—in order to present theexpected 4 movement symphony. He also filled out the orchestration by adding pairs of flutesand clarinets to the first and last movements.26

The March 23, 1783 concert contained an abundance of Mozart’s music. One thing thatwould seem strange to us—besides the length of the program—was that it began with thefirst three movements of the Haffner Symphony but the finale was not heard until the endof the concert several hours later! The symphony is in four movements: Allegro con spirito(4/4), Andante (2/4), Menuetto (3/4), and Presto (2/2).The first movement Allegro con spirito begins with a striking upward leap played in unison.It then proceeds with dramatic silences that outline an irregular 5 measure phrase (3 plus2). The movement is in Sonata Allegro form but perhaps taking a cue from Haydn, thismovement is monothematic (there is no second theme, which breaks from the custom ofthe period). There is the expected contrasting second subject, but closer inspection revealsthat it is really the first theme wearing different clothes. The movement veers headlong intothe development section without repeating the exposition. Everything seems to derive fromthe opening theme with its dramatic leaps and easily recognizable rhythmic pattern. Mozartwrote that “The first allegro must be played with great fire.”The longest movement is the second movement G major Andante. It is in song form witha trio that begins with chords in the winds with the melody in the low strings before beingtaken up by the violins. The brief third movement Minuet is not the sort of too-preciouscourtly dance but is more like a bumptious rhythmic country dance that is interrupted by acontrastingly legato trio.Mozart wrote that he wanted the Presto finale “played as fast as possible.” It is a sortof sonata-rondo form where the main theme is taken from the aria “Ha, wie will ichtriumphieren” sung by the harem keeper Osmin in Die Entführung aus dem Serail whichmust have still been ringing in his ears.The symphony was well received. He wrote to Papa “The theater could not have beenmore crowded; every box was full. But what pleased me most of all was that His Majestythe Emperor [Joseph II] was present and, goodness! — how delighted he was and how heapplauded me!”Program Notes by Gene De Lisa(Expanded mobile-friendly versions available online at http://genedelisa.com)27

William H. Scheide’s97th Birthday ConcertMariam Nazarian, ProducerJill Arbetter, Arbetter Artists SwitzerlandNatashaDSchommer.com, Poster & Program DesignTaft and Partners, Publicity & WebsiteLinda Davis Pizzico, Front & Center Productions,Intermission Video & Stage ManagementTelequest, Video ProductionZürcher KammerOrchesterMuhai Tang, Artistic Director &Principal ConductorMichael Bühler, Managing DirectorFrances Maunder, Artist AdministrationMay Naka, Artist Administration & LibraryIngrid Susanne Lüthi, TicketingSilvan Hürlimann, Orchestra Manager &ZKO-House AdministrationBianca Veraguth, Marketing & Public RelationsPeter Jörg, Finance & HRMMatthias Kägi, Stage ManagerGisela Stäheli, GFZKO Administration & TicketingPrinceton HealthCareSystem FoundationBeth Crutcher, Senior Director of DevelopmentTim Mathiasen, Director of Principal GiftsRichardson Auditoriumin Alexander HallTom Myers, DirectorMilo Lanoue, Associate DirectorGina Holland, Assistant DirectorChristopher Gorzelnik, Production SupervisorJohn Burton, Production TechnicianLiz Lammer, Production TechnicianBill Pierce, Production TechnicianJames Allington, Audio EngineerMary Kemler, Assistant Director ofUniversity TicketingSharon Maselli, Ticket ManagerWe would also like to acknowledge the timeand dedication of the following:Judith McCartin ScheideAnne O’NeillMelanie ThompsonGene De LisaJulia Flesch, Joss and Jules CateringPaul Needham, Scheide LibraryMozart Autograph manuscript, Klaviersonata III ca. 1781-1783 from the Scheide LibraryHerbarium images from the Hortus sanitatis ( Mainz, 1491 ) Scheide LibraryMozart Signature from The Schubert Club Museum, St.Paul, MinnesotaAll photographs copyright Natasha D’Schommer28