VistasA S E A S O N O F

N e a l G i t t l e ma n , A r t i s t i c D i re c to r a n d Con d u c to r

S AT U R DAY, N OV E M B E R 2 4 R O C K I N ’ O R C H E S T R A

The Last Waltz: Live with the DPO

N E AL G IT TLEMAN , CON DUC TOR

D E C 7/ 8 - S U P E R P O P S

Hometown Holiday

PATRICK RE YNOLDS , CON DUC TOR

S AT U R DAY, D E C E M B E R 2 9 S P E C I A L E V E N T

John Denver Rocky Mountain ChristmasJ IM CU RRY, GU EST ARTIST

M O N DAY, D E C E M B E R 3 1 S I G N AT U R E E V E N T

New Year’s Eve: Fiesta!DAY TON PH ILHARMONIC

WITH DAY TON OPER A & DAY TON BALLE T

S AT U R DAY, J A N U A R Y 5 R O C K I N ’ O R C H E S T R A

The Magic of MotownMOTORTOWN ALL-STARS ,

GU EST ENSEM B LE PATRICK RE YNOLDS ,

CON DUC TOR

J A N 1 1 / 1 2 - M A S T E R W O R K S

Griminelli: Flautista Italiano

AN DRE A G RIM IN ELLI , FLUTE N E AL G IT TLEMAN ,

CON DUC TOR

Day ton Ph i lha rmon ic O rche s t ra 2018–2019 Season Program Book 2

1819 DPO #2 Program Book Cover.indd 1 11/7/18 3:02 PM

Neal’s Notes Celebrate Good Times, Come On!

It’s Holiday Time at your Dayton Performing Arts Alliance!

As I write this, the morning after our Season-Opening Spectacular, the next holidays on the calendar are the Jewish holidays of Yom Kippur and Sukkot. But by the time you read this, the “Holiday Season” will be in full swing. And we’ve got the holidays all covered!

ThanksgivingI can think of two Thanksgiving musical traditions. But neither one’s in the orchestra’s wheelhouse.

There’s “Alice’s Restaurant”, Arlo Guthrie’s 18-minute long shaggy-dog story about his misadventures with the Thanksgiving trash and the Selective Service System. I love “Alice’s Restaurant” (the song, the movie not so much). In high school I had every word committed to memory. I still like to listen to it every Thanksgiving. But don’t look for the DPO performing “Alice’s Restaurant” this November. Some songs are best left in their original form!

Then there’s The Last Waltz, The Band’s epic final public performance on Thanksgiving Day, 1976. Martin Scorsese filmed the concert and turned it into one of the best rock-’n’-roll movies of all time. For several years a group of Dayton rock, pop, and jazz all-stars have been recreating The Last Waltz on Thanksgiving weekend. Their show (“Such a Night”) has become a yearly tradition for many The Band–loving Daytonians. Me, included.

This year, the show goes big-time, moving from the Art Institute Auditorium to the Schuster Center on November 24, with the “backup band” expanded to the full Dayton Philharmonic! It’s a big production, featuring an all-star cast of Dayton’s best rockers, including Trey Stone, Jimmy Rogers, Paige Beller, Tod Weidner, Sharon Lane, and many more (including the DPO’s own John Lardinois). This is our first home-grown presentation on the Rockin’ Orchestra Series—and it will surely be “Such a Night” not to be missed!

Christmas/Hanukkah/New Year’sDecember is one of the busiest months at the Alliance. We cover nearly every possible holiday musical tradition. (Except for the Japanese tradition of playing Beethoven’s Ninth Symphony. But we played the Ninth back in September—or just yesterday, as I write this!)

The Nutcracker: Check! Ten performances of Dayton Ballet’s beautiful production with live full-orchestra accompaniment plus a special sensory-friendly performance for families with Nutcracker lovers who need a less-stimulating performance environment. I LOVE The Nutcracker. Love it so much that last December, after our final performance on December 23, I went down to Cincinnati the next day to see theirs! (Ours was better.) Then on Christmas Day I Netflixed New York City Ballet’s production!

Messiah: Check! Wednesday, December 19, at Westminster Presbyterian Church, your Dayton Philharmonic Orchestra and Chamber Choir will perform Handel’s epic oratorio for the 16th straight year. This glorious masterwork retells the biblical Christmas story plus much, much more. I look forward to Messiah every year. I hope you do, too.

Holiday Pops Concert: Check! Associate Conductor Patrick Reynolds leads a cast of hundreds in our biennial Hometown Holiday SuperPops program, featuring local professional and amateur musicians teaming up for a rousing celebration of liturgical and popular Christmas and Hanukkah music on December 7 and 8.

New Year’s Eve Bash: Check! New Year’s Eve has been a Dayton Philharmonic tradition going back to 1995, my first season as your conductor. Now, in the Alliance era, New Year’s Eve has expanded into a not-to-be-missed evening of great music, great singing, great dancing, and great fun. This year’s edition, “Fiesta!” has a Latin flair, with music from Spain, Mexico, Puerto Rico, Argentina, and more. Worried about missing Vienna’s Blue Danube Waltzes? Can you say “El Hermoso Danubio Azul”?!?

Festivus (for the Rest of Us): Nope! No Festivus Concert this season—or any other season! But squeezing all these fabulous performances into the month of December certainly counts as one of the Festivus Feats of Strength!

2019Okay, okay. Strictly speaking, 2019 doesn’t count as a holiday. But there’s so much festive music on tap in 2019 it’s gonna feel like one. No matter which holidays you like to celebrate—or even if your favorite holiday saying is “Bah, Humbug!”—be sure to join us at the Schuster Center for more great performances!

As the title says, celebrate good times. Come on! And in the immortal words of my Aunt Fritzie, “Happy, Happy Everything!”

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Dayton Philharmonic Orchestra Personnel

1ST VIOLINSJessica Hung,

Concertmaster J. Ralph Corbett Chair

Aurelian Oprea, Associate Concertmaster Huffy Foundation Chair

William Manley, Assistant Concertmaster Sherman Standard Register Foundation Chair

Elizabeth Hofeldt Karlton Taylor*Zhe DengMikhail Baranovsky Louis Proske Katherine Ballester*Youjin NaJohn Lardinois Philip Enzweiler Dona Nouné Janet George Audrey Pride*

2ND VIOLINS Kirstin Greenlaw,

Principal Jesse Philips Chair

Kara Camfield, Assistant Principal

Ann Lin BaerGloria Fiore Scott MooreTom Fetherston Nick Naegele Lynn Rohr Yoshiko Kunimitsu William Slusser Yein JinDavid Goist

VIOLAS Sheridan Currie,

Principal F. Dean Schnacke Chair

Colleen Braid, Assistant Principal

Karen Johnson Grace Counts Finch Chair

Emilio CarloScott Schilling Lori LaMattina Mark Reis Leslie DraganTzu-Hui HungBelinda Burge

CELLOS Andra Lunde

Padrichelli, Principal Edward L. Kohnle Chair

Christina Coletta, Assistant Principal

Jonathan Lee Lucas SongMark Hofeldt Nadine

Monchecourt David HuckabyIsaac Pastor-

Chermak*Zoë Moskalew

BASSES Deborah Taylor,

Principal Dayton Philharmonic Volunteer Assn./ C. David Horine Memorial Chair

Jon Pascolini, Assistant Principal

Donald Compton Stephen Ullery Christopher Roberts James Faulkner Bleda Elibal Jack Henning*

FLUTES Rebecca Tryon

Andres, Principal Dayton Philharmonic Volunteer Assn. Chair

Jennifer Northcut Janet van Graas

PICCOLO Janet van Graas

OBOES Eileen Whalen,

Principal Catharine French Bieser Chair

Connie Ignatiou Robyn Dixon Costa

ENGLISH HORN Robyn Dixon Costa

J. Colby and Nancy Hastings King Chair

CLARINETS John Kurokawa,

Principal Rhea Beerman Peal Chair

Robert GrayChristopher Rueda

BASS CLARINET Christopher Rueda

BASSOONS Rachael Young,

Principal Robert and Elaine Stein Chair

Kristen Smith Bonnie Sherman

CONTRABASSOON Bonnie Sherman

FRENCH HORNS Aaron Brant,

Principal Frank M. Tait Memorial Chair

Jessica PinkhamTodd Fitter Amy Lassiter Sean Vore,

Assistant Principal

TRUMPETS Charles Pagnard,

Principal John W. Berry Family Chair

Alan Siebert Daniel Lewis

TROMBONES Timothy Anderson,

Principal John Reger Memorial Chair

Richard Begel Chad Arnow

BASS TROMBONE Chad Arnow

TUBA Timothy Northcut,

Principal Zachary, Rachel and Natalie Denka Chair

TIMPANI Donald Donnett,

Principal Rosenthal Family Chair in Memory of Miriam Rosenthal

PERCUSSION Michael LaMattina,

Principal Miriam Rosenthal Chair

Jeffrey Luft Richard A. and Mary T. Whitney Chair

Gerald Noble

KEYBOARD Joshua Nemith,

Principal Demirjian Family Chair

HARP Leslie Stratton,

Principal Daisy Talbott Greene Chair

*Leave of Absence

Neal Gittleman Artistic Director and Conductor

Patrick Reynolds Associate Conductor and Conductor, DPYO

Hank Dahlman Chorus Director

Jane Varella Personnel Manager

Eric Knorr Orchestra Librarian

Elizabeth Hofeldt Youth Strings Orchestra Director

Kara Camfield Junior Strings Orchestra Director

This book features two 13-year members of the Orchestra and a new member with an earlier link to the DPO.

Kara Manteufel Camfield has dual citizenship. She was born in Winnipeg, Canada but moved to North Dakota at the age of 6. She began playing the violin at the age of 9 but also played the piano, clarinet, oboe and saxophone. Kara joined the DPO in the 2005–2006 season and became Assistant Principal Second Violin in September

2012. She is active in the Orchestra’s education program, serving as Conductor of the Dayton Philharmonic Junior Strings. Kara is an adjunct violin instructor at UD and enjoys playing in the faculty Aviatori Piano Trio there. She also teaches violin at the Piano Preparatory School in Beavercreek and at her home. She earned an undergraduate degree from Minot State University in North Dakota and a Masters of Music from the University of Cincinnati’s College-Conservatory of Music (CCM). While a CCM graduate student, she performed with the Opera Theatre and Music Festival in Lucca, Italy. Throughout the year, Kara enjoys performing with the Lancaster (OH) Festival Orchestra, ProMusica Chamber Orchestra in Columbus and the Columbus Symphony. She and her husband Doug, who is a brewer at Warped Wing, are the proud parents of a daughter born in August.

William Manley has been a member of the DPO since 2005 and has served as Assistant Concertmaster since 2009. He began violin lessons at the age of eight and attended the Interlochen Arts Academy for all of his high school years. In 1990, William entered the Manhattan School of Music in New York City where he earned a Bachelor

of Musical Arts Degree, studying under Albert Markov, Oleh Krysa, Sylvia Rosenberg, and Ariana Bronne. He earned a Master’s Degree

in 1998 from the Indiana University School of Music, where he was a student of Nelli Shkolnikova. After graduation, William moved to Hong Kong for three years, where he was a member of the Hong Kong Sinfonietta and the City Chamber Orchestra of Hong Kong. He also taught extensively while there. William returned to the United States in 2003 and was a member of the Arkansas Symphony for the two years prior to joining the DPO. He is also a member of the ProMusica Chamber Orchestra of Columbus and is an Associate musician with the Columbus Symphony Orchestra. A loyal Buckeye fan, William also enjoys running, fly fishing and golf.

Zoë Moskalew has been a member of the DPO Cello section since January 2018. A graduate of DePaul University School of Music in 2009, she earned a Master of Music Degree from DePaul in 2011 and a Professional Studies Diploma from the Cleveland Institute of Music in 2015, where she studied with Stephen Gerber, former Principal

Cellist with the Cleveland Orchestra. In addition to her DPO assignment, she also is a member of the West Virginia Symphony and Canton Symphony Orchestras and a substitute Cellist with the Akron Symphony and Erie (Pa.) Philharmonic Orchestras. In addition to these assignments, Zoë teaches cello at Hathaway Brown, an all-girls private school in Cleveland Heights. She grew up in a musical family. Zoë began piano lessons at age 5 followed by cello at age 8. Her brother Peter plays piano and viola, brother Paul plays cello, and her father plays piano. Zoë’s husband, Robert, whom she married this past Labor Day weekend, is a percussionist. Away from music, Zoë enjoys reading, yoga, interior design and thrifting interesting vintage and mid-century modern gems. But most interesting is a flashback to 2004, when Zoë was the winner of the String Division of the DPO’s Young Musicians Competition.

Contributed by Dick DeLon,DPAA Honorary Trustee

Dayton Philharmonic Orchestra

Meet Your Orchestra Up Close and “Personnel”

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DPAA INNOVATION PARTNER DP&L FOUNDATION Powering Innovation in the Performing Arts

DAYTON PERFORMING ARTS ALLIANCEPremier Health

MASTERWORKS SERIESDayton Philharmonic OrchestraNeal Gittleman, Artistic Director and Conductor

Griminelli: Flautista ItalianoAndrea Griminelli, flute soloist

Gioacchino Rossini Overture to La Gazza Ladra(1792–1868)

Wolfgang Amadeus Mozart Flute Concerto No. 1(1756–1791) I. Allegro maestoso II. Adagio ma non troppo III. Rondo: Tempo di menuetto

Mr. Griminelli

– I N T E R M I S S I O N –

Béla Bartók Concerto for Orchestra(1881–1945) I. Introduction: Andante non troppo – Allegro vivace II. Game of Pairs: Allegro scherzando III. Elegy: Andante non troppo IV. Intermezzo interrotto: Allegretto V. Finale: Presto

Microphones on stage are for recording purposes only.

Series Sponsor

Military Appreciation Program Sponsor: Booz Allen Hamilton

Friday

Jan. 11,20198:00 PMSchuster Center

Saturday

Jan. 12,20198:00 PMSchuster Center

DataYard: Official Data Provider of the Dayton Opera & the Dayton PhilharmonicSeason Media Partner: Discover Classical WDPR & WDPG and ThinkTV

DP&L Foundation: DPAA Innovation Partner The Bob Ross Auto Group: Official Automobile Dealership of the Dayton Philharmonic OrchestraMarriott University of Dayton: Official Hotel of the Dayton Philharmonic Orchestra

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Andrea Griminelli Biography

Andrea Griminelli’s sensitive interpretations and astonishing technique have earned accolades and awards from every corner of the musical world—including the Grammy, the Prix de Paris and an Italian Knighthood. Legendary flutist Sir James Galway described him as “the greatest flute player who has come to the forefront of the musical scene for many years.”

Over a 34-year career as a soloist, Griminelli has performed at La Scala, Carnegie Hall and Suntory Hall, among many others in Europe, Asia and the Americas. He has worked with the Royal Philharmonic, Berlin Symphony, Munchner Rundfunkorchester, London Philharmonic, L’Orchestre de Paris, New York Philharmonic, Orchestra Nazionale della RAI, and the Los Angeles Philharmonic, to name a few.

Griminelli began playing the flute at the age of eleven. During his studies with Jean-Pierre Rampal at the Paris Conservatory, he won music competitions in Stresa and Alessandria, Italy. He was twice awarded the prestigious Prix de Paris.

In 1984, at 25, he was invited by Luciano Pavarotti to perform in the now-famous concert at New York’s Madison Square Garden. This marked the start of a collaboration between the two artists that spanned 200 concerts, including performances at London’s Hyde Park, New York’s Central Park, the Eiffel Tower in Paris and Red Square, Moscow.

In 1991 Griminelli received a knighthood from the President of the Italian Republic, and in 2003 he was made Officer of Merit of the Italian Republic. A champion of new work, he has given the world premieres of compositions for flute and orchestra by many composers worldwide. A prolific recording artist, he has been featured as soloist on more than 30 discs, including recordings with the English Chamber Orchestra, conducted by Jean-Pierre Rampal, and Camerata Academica Salzburg, led by Sir Roger Norrington. His work on behalf of charitable causes has led to frequent collaborations with artists from popular culture including Sir Elton John, James Taylor, Sting, Branford Marsalis and Ian Anderson of Jethro Tull.

Gioachino Rossini Overture to La gazza ladra

Instrumentation: Flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, trombone, timpani, 4 percussion, strings

This is the first time this work has been performed by the Dayton Philharmonic Orchestra.

Gioachino Rossini was born in Italy to a musical family: His father was a professional horn player and his mother a singer, and young Rossini followed his parents’ trades, studying both horn and voice as well as taking lessons in composition and counterpoint. His skills as a performer and composer developed quickly enough that while barely a teenager, he was working as a rehearsal pianist in regional theaters and writing arias to order.

Rossini’s compositional career began with his writing light, one-act operas with comic subjects. These so-called farse and other works in the same vein were so successful that by the 1810s he was the most popular opera composer in Italy, and as he developed as a composer, his fame soon grew to international proportions. Both serious works like Tancredi and more comedic operas like L’italiana in Algeri and Il barbiere di Siviglia entered the repertory of opera houses around the continent and in the United States.

Rossini began to follow his works abroad. He supervised the performance of Semiramide in England in 1824 and in France in 1825. The latter country in particular was congenial to him, for he settled there in 1824 and began composing works more in the French tradition, a stage in his career that culminated with his last opera, Guillaume Tell, in 1829.

Despite this string of almost uninterrupted successes—and although he was only 37 years old—after Guillaume Tell he never wrote another opera; in fact for another twenty years he did very little at all. He moved back to Italy in 1839 and tried to take some interest in the musical life of his native land, but he seemed caught in an irredeemable funk, partly brought on by his

own chronic illness and also by the deaths of his parents. Only after moving back to Paris in 1855 did he seem to recover his good temper and his desire to compose.

Despite that extended period of silence, Rossini was one of the most influential composers of the early nineteenth century. Unfortunately, later generations were not always so kind to him. The writer and music critic George Bernard Shaw, at the turn of the twentieth century, described him as “one of the greatest masters of claptrap who ever lived,” and although The Barber of Seville remained a perennial favorite among audiences, many of his more serious works disappeared completely from the operatic stage. In fact, during the middle years of the twentieth century his work was surely better known from its appearances in popular culture, the most famous probably being the use of the overture from his opera William Tell as the theme for the television show The Lone Ranger.

La gazza ladra (The Thieving Magpie) was one of Rossini’s more serious operas. The plot was inspired by the true story of a French peasant girl unjustly accused of theft who is hanged for the crime but is posthumously found innocent when the silver spoons she purportedly stole are discovered in a magpie’s nest. In Rossini’s version of the tale, Ninetta, the peasant girl, is saved at the last moment just as she climbs the scaffold.

La gazza ladra is rarely performed these days, but its overture has become a staple of the orchestral repertory and not only on the concert stage. In keeping with twentieth-century appropriations of Rossini’s music, the film director Stanley Kubrick, with magpie-like randomness, took an excerpt from the overture of La gazza ladra for use in his nightmarish dystopian film A Clockwork Orange. This performance will return the work to its proper context.

–Dennis Loranger, Lecturer in music, Wright State University

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Béla Bartók Concerto for Orchestra

Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, 4 percussion, 2 harps, strings

This work was last performed by the Dayton Philharmonic Orchestra in January 2006 with Neal Gittleman conducting.

The bloody devastation of war can seem all-consuming. Its misery, the privation of civilians, the slaughter of soldiers cannot help but seem overwhelming to us, even in retrospect. Yet in the midst of war, even one as terrible as World War II, people continue to live their lives. They go about their jobs, they fall in love, they pursue their ambitions, and if they are Béla Bartók, they compose. Such was the case with Bartók in 1940.

The war had certainly affected Bartók’s life. Alienated from the pro-Nazi Hungarian government and interested in visiting America, Bartók considered whether a permanent change of residence was possible. A prodigiously gifted pianist, he thought he could succeed as a concert performer, and in October 1940 he began a tour of the United States. But his pianistic talents were easily matched, if not outstripped, by his uncompromising artistic integrity, and he floundered as a performer. He played nothing but the most challenging repertory, and his stage deportment was so serious that even sympathetic audiences could misconstrue his sober demeanor as arrogant and aloof.

As if this artistic debacle were not enough, Bartók’s health also began to fail. He developed a persistent fever, and he grew thinner and thinner until his weight had dropped to a cadaverous 87 pounds. He was hospitalized in February of 1943 and, after some initial misdiagnoses, he was finally found to be suffering from leukemia. And the prognosis was not good.

Sick and broke, Bartók was in desperate straits. Fortunately, some of the ailing composer’s friends came to his aid and persuaded the conductor Serge Koussevitzky to commission a piece from Bartók. At the time, Koussevitsky was the conductor of the Boston Symphony Orchestra, he was a champion of new music, and he had some familiarity with Bartók’s compositions. Convinced of the composer’s artistic worth and moved by mere human decency, Koussevitsky commissioned an orchestral work, even though both he and Bartók assumed that the ailing composer was too ill to ever finish the piece. But, despite the dire expectations of both conductor and composer, the commission seemed a tonic for Bartók. He set to work immediately on writing the piece and finished what became the Concerto for Orchestra in just over fifty days. It was premiered in December 1944 by the Boston Symphony Orchestra.

Although Bartók called the work a “concerto,” the Concerto for Orchestra might more accurately be thought of as a symphonic work that gives individual sections of ensemble prominent roles in the overall orchestral texture: for example, the brass counterpoint toward the end of first movement, or the woodwind and brass duets that make up the second movement. Thus the Concerto for Orchestra sounds more like a Baroque concerto grosso, such as one of Bach’s Brandenburg concertos, and sounds less like the virtuoso soloist concertos of the nineteenth century, such as Liszt’s piano concertos or Bruch’s violin concertos. As the Spanish composer Roberto Gerhard sums it up, “Ensemble playing, the distinguishing feature of the concerto for orchestra… takes the place of the virtuoso soloist in the traditional concerto.”

Bartók’s Concerto for Orchestra remains one of the most popular orchestral works of the twentieth century, a masterpiece of symphonic color and organization and a fitting memorial of its composer’s talent and artistry.

–Dennis Loranger, Lecturer in Music, Wright State University

Wolfgang Amadeus Mozart Flute Concerto No. 1

Instrumentation: 2 flutes, 2 oboes, 2 French horns, strings

This work was last performed by the Dayton Philharmonic Orchestra in November 1985 with soloist Ransom Wilson and with Charles Wendelken-Wilson conducting.

Mozart’s Flute Concerto No. 1, considered one of the cornerstones of the literature, actually started life as an oboe concerto. But, for better than a hundred years after Mozart composed the oboe concerto, scholars thought it no longer extant. They could find only fleeting references to the work in Mozart’s correspondence, but no trace of a score or parts.

However, like a missing item that someone stumbles on after giving up the search, the oboe concerto turned out to have been in sight all along. In 1920 the scholar Berhard Paumgartner found a set of handwritten parts for an oboe concerto, parts that were virtually identical to those of the Flute Concerto No. 1. Paumgartner and other scholars credibly argued that the Oboe Concerto preceded the Flute Concerto in Mozart’s compositional history. They edited performing and scholarly editions of the work and returned the long missing Oboe Concerto to the orchestral repertory.

Mozart wrote the concerto while he was working for the Archbishop of Salzburg, and he almost certainly wrote it for the principal oboist in the Archbishop’s orchestra, Giuseppe Ferlendis. What Ferlendis thought of the work is unknown, but other performers took it up enthusiastically. One particular champion of the concerto, Friedrich Ramm, oboist in the famous Mannheim orchestra, caught the composer’s attention, and in a letter to his father, Mozart wrote:

Herr Ramm played my oboe concerto for the fifth time—the one I wrote for Ferlendis, which is proving quite the sensation here; it’s now Herr Ramm’s cheval de bataille (“war horse”).

Mozart had the opportunity to hear Ramm because he was also in Mannheim, looking for employment. At first things went well. He secured a commission to compose several works for Ferdinand de Jean, a prosperous amateur flutist. In addition, Ramm proposed that Mozart accompany him to Paris, where they should surely find even more lucrative performing and compositional opportunities. Unfortunately, Love, in the person of a young singer named Aloysia Weber, intervened in Mozart’s plans. He was so smitten by young Aloysia that he dithered over de Jean’s commission, and he bid Ramm adieu as the oboist left alone for Paris.

However, Mozart still needed the money from de Jean’s commission. He was loath to give up his apparently time-consuming wooing of Aloysia, so he thought to economize by rearranging the oboe concerto into a flute concerto, the Flute Concerto No. 1 featured on this concert. Unfortunately, de Jean moved in the same musical circles as Ramm and knew the oboe concerto very well, and he refused to pay Mozart for what seemed to him a reheated meal. And to top it off, Mozart’s relationship with Aloysia came to naught.

In both its guises, whether for flute or oboe, the work is fairly typical of concertos from the last part of the eighteenth century. It consists of three movements, broadly organized by tempo: fast, slow, and fast. The first movement introduces the theme in the orchestra first before it is taken up by the flute soloist. The second movement is an adagio and features intensely lyrical playing by the solo flute as well as attractive dialogue between the violins and flute. The last movement is a fast and cheerful rondo.

–Dennis Loranger, Lecturer in Music, Wright State University

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