Englewood Arts Presents

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November 8, 2009 - Sunday, 2:00 pm

“A MUSICAL OFFERING BY J.S. BACH"

The Rosetta Music Society
Scott O’Neil, music director
Christina Jennings, flute
Rachel Segal, violin
Silver Ainomäe, cello

The Rosetta Music Society’s Englewood Arts Presents: debut in January of 2009 was so positively received that the ensemble has been engaged for a trio of performances this season. Under the leadership of CSO Associate Conductor, Scott O’Neil, The Rosetta Music Society is comprised of a select group of some of the area’s top musicians.

The first program will feature J.S. Bach’s A Musical Offering. In 1747 at the age of 62, Johann Sebastian Bach visited his son Carl Philip Emmanuel, Court Composer to the Prussian ruler, Frederick the Great. When Bach arrived, Frederick summoned him to court and challenged him to improvise a fugue on a theme contrived by Frederick himself. Bach's response became the basis of what we now know as Ein Musicalisches Opfer (A Musical Offering). Come hear excerpts from this masterpiece, as well as the great Chaconne from J.S. Bach’s D Minor Partita (Rachel Segal, violin), and the unaccompanied A Minor Flute Sonata (Christina Jennings, flute) by C. P. E. Bach. You are also invited to participate in an interactive discussion about this unparalleled historical event and the masterpiece that it spawned.

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Note: Phone number listed on poster is incorrect. Please call 303.806.8196 for information

November 29, 2009 - Sunday, 2:00 pm

“MOZART MUSICALE”

The Up Close and Musical ensemble
With guest soloists from the Colorado Symphony Orchestra:
Catherine Peterson, flute
Monica Hanulik, oboe

  Quartet in D major for Flute & Strings
  Quartet in F major for Oboe & Strings
  Symphony No. 35 - “Haffner”

Mozart composed three quartets for flute and strings in partial fulfillment of a commission from Ferdinand de Jean, an official with the Dutch East India Company and an avid flute player. In a letter to his father, Mozart wrote “You know that I become quite powerless whenever I am obliged to write for an instrument which I cannot bear.” This last remark has pained generations of flute players. Any conclusion to be drawn from it is far from clear but the Flute Quartet in D Major, K. 285 betrays any hint of reluctance or resentment. It seems as natural and felicitous as we would normally expect of Mozart, its outer movements bright and buoyant with a central poignant Adagio. If Mozart actually disliked the flute, he certainly did not let this affect the quality of his composing.

In early 1781 at the age of 24, Mozart spent time in Munich where he composed his only quartet for oboe and strings. A master at writing for woodwinds, he was much admired by the young Beethoven. The Oboe Quartet in F Major, K. 370 is a brief but splendid work that gives a first-class oboist the opportunity to shine, demanding a fluid technique and the ability to make wide melodic skips gracefully.

The Haffner family of Salzburg has been immortalized through two compositions by Mozart: the “Haffner” Serenade, K. 250 (248b) of 1776 and the “Haffner” Symphony, K. 385 of 1782. The “Haffner” Symphony recalls the many earlier serenades Mozart had composed in Salzburg, being generally lighter in construction. The pomp of the first movement is splendidly crafted while the Andante is lush and delicately elaborate. The minuet contrasts a vigorous and festive main section, leading to a more graceful Trio and the finale seems reminiscent of Osmin’s comic aria “O wie will ich triumphieren” from The Abduction from the Seraglio ~ the perfect vehicle to send the audience home in a cheerful mood.

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