In addition to Mozart’s Sinfonia Concertante in Eb Flat Major K297b, the concert includes Cambini ‘s Woodwind Quintet #3 in F Major and Poulenc’s Sextet for Piano and Winds, Opus 100. Pianist Craig Murray, the 2016 Bronx Arts Ensemble Young Artist Competition Co-Winner, will perform Rachmaninoff’s Prelude in G minor, Opus 23, No. 5 and Schubert’s Impromptu No. 3 in G-flat Major, D. 899. Bronx Arts Ensemble performers will be Adrienne Kim, piano; Theresa Norris, flute; Marsha Heller, oboe; Mitchell Kriegler, clarinet; Atsuko Sato, bassoon and Sharon Moe, french horn. Impressionist-style paintings by oboist Marsha Heller will be shown during the concert.
When Mozart was in Paris in 1778 he composed a Sinfonia Concertante flute, oboe, horn, bassoon, and orchestra. Mozart wrote to his father about the outstanding quality of the four soloists, and his eagerness to have his work performed at the Concert Spirituel series for which it was commissioned. Italian composer Guiseppe Cambini managed to get Mozart’s new Sinfonia Concertante replaced with his own composition, just days before the concert. Mozart’s work was never performed and the manuscript vanished; yet a sinfonia concertante believed to be by Mozart emerged in the 19th century for oboe (not flute), clarinet, horn, bassoon, and orchestra. The Bronx Arts Ensemble will perform the work, Sinfonia Concertante in Eb Flat Major K297b, in a version reconstructed by musicologist Robert Levin, which includes the original scoring for flute, not oboe, and piano accompaniment. It was Mr. Levin who helped untangle the mystery surrounding the work in his 1999 book Who Wrote the Mozart Four-Wind Concertante? Paired with the Mozart will be Cambini‘s Woodwind Quintet #3 in F Major — ironically his infamous Sinfonia Concertante for four winds does not survive.
The Schubert and Rachmaninoff pieces are beloved piano works from the early and then latter part of the Romantic era. The lush, long melodic phrases of Schubert’s Impromptu No. 3 in G-flat Major, D. 899, are accompanied by a constantly moving figure in the pianist’s left hand. The rapid march-like chords that pervade the beginning and closing sections of Rachmaninoff’s Prelude in G minor, Opus 23, No. 5 are offset with the lyrical melody of the middle section, one of longing and desire that is reminiscent of Rachmaninoff’s piano concertos.
Francis Poulenc’s Sextet for Piano and Winds, Opus 100 (1932), references composers of various periods including Mozart. This post-impressionist composition will be performed alongside a screening of a montage of paintings by BAE oboist and post-impressionist painter, Marsha Heller.