Featuring principal flutist, Kim Reighley, and principal harpist, Sarah Fuller, the orchestra will be conducted by David Amado. The evening begins with Prokofiev's Symphony No. 1, beautifully making way to Mozart's Concerto for Flute and Harp and concluding with Beethoven's famous 5th Symphony.
Not all protest is angry and violent. Prokofiev, working against the tide of ever-larger, more complex, and dissonant musical forms, looked back to the buttoned-up decorum of the 18th Century as inspiration for his ebullient Symphony No. 1. It is a 20th Century take on Classical-era values, amped up with hyper-virtuosity and occasional flashes of bitter and ironic modern harmony and wit.
Mozart’s second trip to Paris yielded, among many things, the Concerto for Flute and Harp. It is the only piece in which he wrote for the harp. There is no rebellion here. Rather, Mozart is the darling of the very society that Beethoven, and so many, would push back so violently in only a few decades. The concerto is of another era—refined, sometimes appealingly formulaic, and always with manners before all else. These values are precisely why Beethoven’s 5th is so explosive, subversive and bracingly new. We’ll feature our wonderful principal flutist, Kim Reighley, and our principal harpist, Sarah Fuller. How lucky we are to have such talent in our midst.
Beethoven, deeply moved by the values that fueled the American and French Revolutions, saw music not as the pursuit of the 1%, but as a powerful expression of solidarity with the masses. We close this first concert with the 5th Symphony, with its famous opening notes, which has become the musical analog for triumph over adversity.