"Windscapes"

May 17, 2021

7:30 pm

(reservations open May 1, 2021 by email request only)

Laurel Heights Church

Anton Nel, piano 

Mark Teplitsky, flute

Paul Lueders, oboe 

Ilya Shterenberg, clarinet 

Sharon Kuster, bassoon 

Jeff Garza, horn

For artist bios, click on the name

Program:

 

György Ligeti: Six Bagatelles for Wind quintet

I. Allegro con Spirito

II. Rubato. Lamentoso

III. Allegro Grazioso

IV. Presto Ruvido

V. Adagio. Mesto

VI. Molto Vivace. Capriccioso

Ludwig Thuille - Sextet in B-flat Major Op. 6 for Piano and Woodwind Quintet 

I. Allegro moderato 

II. Larghetto 

III. Gavotte. Andante, quasi Allegretto 

IV. Finale. Molto vivace 

INTERMISSION

Carl Reinecke: Trio for horn, oboe, piano

I. Allegro Moderato

II. Scherzo. Molto Vivace

III. Adagio

IV. Finale. Allegro ma non troppo

Theodor Blumer: Sextet for piano and wind quintet

I. Theme

II. Improvisation

III. Capriccio

IV. Pastorale

V. Slavic Dances

VI. Romanze

VII. Humoreske

VIII. Finale

This performance is made possible in part by a generous grant from the Russell Hill Rogers Fund for the Arts, and concert sponsors Steven Alan Bennett and Dr. Elaine Melotti Schmidt.

Program Notes, written by Mark Teplitsky

György Sándor Ligeti (1923-2006)
Six Bagatelles for Wind Quintet

Hungarian born composer György Ligeti spent a significant portion of his life living under the rule of Eastern European totalitarianism. Ligeti knew that much of his music would not be performed or even acknowledged in an Era where dissonance, modernism, micropolyphomy, and any expiremental music in general was categorized as sacrilegious by the then authoritarian government. Still Ligeti's music did not go unnoticed in his lifetime as his works "Atmospheres," "Lux Aeterna," and "Requiem" were all used in Stanley Kubrick's: 2001 A Space Odyssey. The Six Bagatelles for Woodwind Quintet are borrowed from a larger twelve movement piano work Ligeti composed two years prior in 1951. Despite the purposeful dissonances and a minimal amount of different notes used per movement the bagatelles are surprisingly expressive and accessible. It is worth noting that the first Bagatelle consists of four pitches, the fifth Bagatelle is dedicated to Béla Bartok, and the final is marked "as though insane."

Carl Reinecke (1824-1910)
Trio for Horn, Oboe and Piano

In his own time, Carl Reinecke, conductor of the world famous Gewandhaus Orchestra and director of the Leipzig Conservatory, stood shoulder to shoulder with his Romantic contemporaries. Sadly, not much is remembered of this productive, creative composer who taught Edvard Grieg, Leos Janacek, Isaac Albeniz, Max Bruch, and many more.  The three hundred major compositions Reinecke has left the world to explore have recently come to light, including some works recorded by the composer himself. These piano rolls brand Reinecke with the honor of being the earliest concerticizing pianist to have some of his performances preserved. The Trio for Horn, Oboe, and Piano is one of a few Reinecke wrote for such unusual instrumentation and was written specifically for his Conservatory colleagues who complained of their instruments' lack of chamber repertoire. Composed in 1887, the Trio is in Reinecke's favorite four movement form with the Scherzo ordered as the second instead of the standard third. 

Theodor Anton Blumer (1881-1964)
Sextet for Piano and Wind Quintet

Composed for the illustrious Dresden Woodwind Quintet, the "Sextet" for piano and wind quintet was of high importance to the German composer Theodore Blumer who performed the piano part in concert himself. Born in Dresden, Blumer spent his entire life moving around Germany as a performing pianist, composition teacher, and conductor. In addition to the standard repertoire expected of a successful composer ranging from piano to opera, Blumer showed a fondness for the woodwind instruments writing quite a few works for them as solo and ensemble. With the influence of his teacher, Felix Draeske, a prominent figure in the late Romantic German clique, Blumer's "Sextet" draws upon the music of Strauss quite often. The theme of the work is introduced by the woodwinds alone with the next section of the work played in retaliation by solo piano. The variations that follow the opening theme are aptly named to fit their character: Capriccio, Pastorale, Slavonic Dance, Romance, and Humoresque. The finale is unnamed, begins with a fugue and ends with a March.

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