Mozart's Piano Concerto No. 24
Sergei Prokofiev (1891-1953)
Classical Symphony, Op. 25
Allegro con brio – Larghetto – Gavotte: Non troppo allegro – Finale: Molto vivace
In the summer of 1917, as revolution raged through the streets of Petrograd, the young Sergei Prokofiev was in a world of his own. He looked back to the 18th century and decided to compose…well, not quite a symphony in the style of Haydn. “It seemed to me that if Haydn still lived in our day he would have kept his own character, while accepting something of the new at the same time” he explained, years later. “That was the kind of symphony I wanted to write.” Two outer movements in crisp sonata form frame relaxed but exquisitely-crafted central movements (one of them a dance): this is classicism wearing 20th century fashions.
But like a good revolutionary Prokofiev smashes classical rules with gleeful abandon (classical symphonies, for example, are supposed to have a graceful Minuet, not a deadpan Gavotte). The whole thing fizzes away with unstoppable energy and wit. “When I saw that my idea was beginning to work” recalled Prokofiev, “I called it the Classical Symphony; in the first place, because that was simpler, and secondly, for the fun of it, to ‘tease the geese’ – and in the secret hope that it really would turn out to be a classic”. He needn’t have worried on that score.
Wolfgang Amadeus Mozart (1756-1791)
Piano Concerto No. 24 in C minor
Allegro – Larghetto – Allegretto
Mozart was the ultimate multi-tasker. composer, pianist and even concert-promoter. On 7 April 1786, Mozart gave just such a concert at the Burgtheater in Vienna – one of a series that he’d planned to tide himself over until his opera The Marriage of Figaro opened. Naturally, he was the soloist, and equally naturally, he performed a new concerto of his own (his audience expected no less), and it might well have been this one, which he’d completed on 24 March 1786. We know no more about its origins than that – but for as long as it’s been played, it has been recognised as something special.
And rightly so, because it’s masterful. A huge, tragic first movement is followed by a slow Larghetto in which the piano treads serenely through a glowing nocturnal landscape, shaped and subtly coloured by Mozart’s expanded woodwind section (he’ll have known each player individually, and written to suit their strengths). And then, to finish, a terse, foursquare dance melody is treated to a series of searching variations, brightened only occasionally by the woodwinds’ sweetness: light mingling with ever more eloquent shade. “We shall never be able to do anything like that” commented Ludwig van Beethoven, in admiration.
Wolfgang Amadeus Mozart (1756-1791)
Symphony No. 35 in D, K. 385 ‘Haffner’
Allegro con spirito – Andante – Menuetto – Finale: Presto
Sigmund Haffner (1699-1772) was Mayor of Salzburg from 1768 to 1772. His son (another Sigmund) inherited immense wealth and was ennobled in a lavish ceremony in July 1782. Naturally, that required music, and equally naturally, Haffner asked the senior local composer Leopold Mozart to approach his brilliant 26-year old son Wolfgang – who, since the previous summer, had been carving out a freelance career as a composer and pianist 180 miles away in Vienna.
As it turned out, it was a bad moment: Wolfgang had just premiered his opera Die Entführung aus dem Serail. “I’m extremely busy” he wrote back to Leopold. “Well, since it’s you, father, I’ll just have to work through the night”. In February 1783 Mozart retrieved the score, cut it down to a four-movement symphony, added flutes and clarinets…and was pleasantly surprised: “My new Haffner Symphony has positively amazed me, for I had forgotten every single note of it”. This is Mozart at the peak of his youthful powers, from its flamboyant opening – perfect for a celebration – through two elegant central movements to a finale in which Mozart recycles an aria from Die Entführung – Oh! wie will ich triumphieren: “Oh, how I shall triumph!”. Confidence that was (as it turned out) entirely justified.
Igor Stravinsky (1882-1971)
Pulcinella Suite
Sinfonia (Overture) – Serenata – Scherzino-Allegro-Andantino – Tarantella – Toccata -Gavotta con due variazioni – Duetto – Minuetto e Finale
By the end of the Great War, Igor Stravinsky and Serge Diaghilev had drifted apart. Diaghilev was piqued, and – ever the seducer – began to woo back the starriest of “his” composers. As the two men strolled in the Place de la Concorde, Paris, one afternoon in the spring of 1919, he made a completely new proposal. “I have an idea that I think will amuse you. I want you to look at some delightful eighteenth-century music with the idea of orchestrating it for a ballet”.
In a nutshell: it worked. Diaghilev’s ballet Pulcinella, with music by Stravinsky, opened at the Paris Opéra on 15 May 1920. Stravinsky’s score was derived from the music of Pergolesi (1710-1736) (or so he thought – early 20th century publishers had a habit of misattributing unfamiliar baroque works to Pergolesi). He didn’t just orchestrate Pergolesi’s music: with imaginative adjustments to harmony and rhythm, he invented it afresh. Pulcinella was an immediate success “It is gay, amorous, tender, yet indescribably cool” reported one London critic when it crossed the Channel in June 1920. Always ready to capitalise on a hit, Stravinsky created an orchestral concert suite in 1922, using eight purely orchestral movements from the ballet. And of course, it all ends in laughter.
Maria Włoszczowska
Polish violinist Maria Włoszczowska is recognised for her versatile musicianship, performing as a soloist, director and chamber musician, in addition to her roles as Artistic Partner of the Royal Northern Sinfonia and Director and Leader of the Chamber Orchestra of Europe.
Recent career highlights include Maria’s solo debut at the BBC Proms with the Royal Northern Sinfonia and conductor Dinis Sousa, directing the Chamber Orchestra of Europe at Mozartwoche Salzburg and in Kronberg, directing the Orquesta Sinfónica de Tenerife, performing Beethoven’s Violin Concerto with the Bournemouth Symphony Orchestra and Mozart’s Violin Concerto No.5 with Orquestra XXI, and concertos by Vivaldi, Bach and Telemann with Neues Bachisches Collegium Musicum under the baton of Reinhard Goebel at Leipzig’s Gewandhaus. In the 2024/25 season, Maria will perform as soloist and director with, among others, the Orchestre de Chambre de Paris, the Estonian National Symphony Orchestra and Amsterdam Sinfonietta, as well as returning to the Chamber Orchestra of Europe for several projects as their newly appointed Director and Leader.
Maria appears frequently at Wigmore Hall and at international festivals such as Musikdorf Ernen, Lockenhaus Festival, Lammermuir Festival and IMS Prussia Cove as well as in residency at Yellow Barn, Vermont. Distinguished artists such as Jeremy Denk, Alasdair Beatson and Dinis Sousa regularly join Maria in recital and recent highlights include her New York recital debut presenting all six Bach Sonatas for violin and keyboard and performing Ives’ complete cycle of Violin Sonatas at Wigmore Hall and Lammermuir Festival alongside Jeremy Denk.
Maria plays on a violin by Francesco Stradivari.
Martin Helmchen
German pianist Martin Helmchen has been performing on the world’s most prestigious stages for two decades and is one of the most sought-after pianists of today. His originality and intensity of interpretation, which he presents with impressive tonal sensitivity and technical finesse, sets him apart as a musician. In 2020 he was honored with the prestigious Gramophone Classical Music Award.
Martin Helmchen has performed with numerous renowned international orchestras, including the Vienna and Berlin Philharmonic, the Concertgebouworkest, the Gewandhaus Orchestra Leipzig, the Staatskapelle Dresden, the Tonhalle Orchestra Zurich, the NDR Elbphilharmonie Orchestra, the Orchestre de Paris, the Vienna Symphony, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the New York Philharmonic, and The Cleveland Orchestra. He regularly collaborates with conductors such as Herbert Blomstedt, Christoph von Dohnányi, Alan Gilbert, Bernard Haitink, Manfred Honeck, Jakub Hrůša, Paavo Järvi, Vladimir Jurowski, Fabio Luisi, Andrew Manze, Klaus Mäkelä, Andris Nelsons, Sakari Oramo, Tarmo Peltokoski, and Kazuki Yamada.
Chamber music holds a special place for him – a passion for which Boris Pergamenschikow provided significant inspiration. His close chamber music partners include Marie-Elisabeth Hecker, Frank Peter Zimmermann, Julian Prégardien, Augustin Hadelich, and Antje Weithaas. He is a guest at renowned festivals such as the BBC Proms, Tanglewood, Schubertiade, Lockenhaus and Lucerne Festival, as well as the Marlboro and Aspen Music Festivals. He is additionally the co-founder and co-artistic director of the Fliessen International Chambermusic Festival alongside Marie-Elisabeth Hecker.
Royal Northern Sinfonia
Internationally renowned, calling Gateshead home.
37 musicians at the top of their game. Electrifying music, old and new. All the talent, determination, and creativity of the North East on a worldwide stage. From their home at The Glasshouse International Centre for Music, Royal Northern Sinfonia share the joy and wonder of orchestral music with thousands of people across the North of England – and beyond – every year.
From symphonies to string quartets, film soundtracks to choral masses, and original performances with awesome artists from Sheku Kanneh-Mason to Self Esteem, the orchestra’s members have got one of the most varied jobs there is. They’re always looking for fresh new sounds from up-and-coming composers, inviting local communities to share a stage, and doing everything they can to inspire and prepare the musicians of tomorrow to one day take their place.
They’re also working hard to smash the barriers that can stop brilliant people getting into classical music. They’ve teamed up with national partners to support women conductors to develop their careers, to help global majority musicians get vital experience in the orchestra world, and to celebrate disabled and non-disabled musicians breaking new ground together in inclusive ensemble RNS Moves. And they bring new musical opportunities to the region, headlining the first-ever BBC Proms weekend outside London.
Because they whole-heartedly believe orchestral music is for anyone – big cities and rural villages, tiny babies and life-long listeners, die-hard fans and curious minds – they travel far and wide to make sure there’s top-notch classical music on offer for anyone ready to say “I’ll give that a go”. You’ll find them in churches, castles, and community venues across the North, as well as leading the charge in Carlisle, Kendal, Middlesbrough, and Sunderland.
With 65 years of success to build on, they’ve signed a dynamic artistic leadership – Music Director Dinis Sousa, Artistic Partner Maria Włoszczowska, Principal Guest Conductor Nil Venditti and Associate Conductor Ellie Slorach – to lead the way into a bold, bright future.
Wherever the orchestra play and whoever they share a stage with, every performance is a chance to see, hear and feel the music.
