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UID:20130521T073317CEST-8818ESK9TE@artsboston.org
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DESCRIPTION:Event Name: Haydn and Schoenberg: Reinventing Vienna\nEvent Url
 : http://www.artsboston.org/event/detail/46089/Haydn_and_Schoenberg_Reinve
 nting_Vienna\nEvent Date Begin: 2010-04-17\nEvent Date End: 2010-04-17\n\n
 Schoenberg: Accompaniment to a Cinematographic (Film) Scene\, Op. 34 \nHay
 dn: Symphony Concertante arr. Schoenberg: Five Pieces for Orchestra \nHayd
 n: Symphony No. 70 \n\nSaturday\, April 17\, 2010 at 8:00 PM \nPre-concert
  lecture/discussion at 7:00 PM \nEmmanuel Church \n\nSoloists:  \nDanielle
  Maddon\, violin\; \nRafael Popper-Keizer\, violoncello\; \nPeggy Pearson\
 , oboe\; \nThomas Stephenson\, bassoon \nThe Orchestra of Emmanuel Music 
 \nJohn Harbison and Michael Beattie\, conductors \n\nThe geographical orig
 in of these composers is close\, and so is their maverick nature.  Vienna 
 must have something to do with it – the coffee\, the pastry\, the sense 
 of cultural centrality? When Richard Strauss first received Schoenberg’s
  Five Pieces\, 1909\, he declared it the first piece he had ever been unab
 le to hear and follow. Today\, especially in Schoenberg’s own chamber ve
 rsion\, it seems clear\, fresh\, and beautiful. By 1934 Schoenberg was viv
 idly imagining a powerful role for music in the still-young film industry 
 (his Op. 34). The two Haydn pieces on this program are less often played t
 hese days than the Schoenberg. They are equally bold and invigorating – 
 the Symphony (1779) with Haydn’s patented tricks and quirks\, the Sympho
 ny Concertante (1792) with its masterful illumination of its multiple solo
 ists\, the autumnal fire of his late style.\n\nStart time: 8:00 PM\nPre-co
 ncert lecture/discussion at 7:00 PM
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SUMMARY:Haydn and Schoenberg: Reinventing Vienna
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