Tag Archives: Carnegie Hall

Preview- Janacek, Mozart, and Schumann at Carnegie Hall (4/10)


  • MOZART Piano Concerto No. 13 in C Major, K. 415
  • JANÁCEK Concertino for Piano and Chamber Ensemble
  • SCHUMANN Piano Quintet in E-flat Major, Op. 44


  • Zankel Hall, Manhattan, NY


  • Jonathan Biss, Piano
  • Elias String Quartet: Sara Bitlloch, Violin, Donald Grant, Violin, Martin Saving, Viola, and Marie Bitlloch, Cello
  • Carol McGonnell, Clarinet
  • Eric Reed, Horn
  • Brad Balliett, Bassoon

Mozart’s Piano Concerto No.13 in C major consists of three movements: allegro, andante, and allegro. The first movement starts with a burst of energy. Although it begins in piano with the violins and violas and basses, the orchestra join in shortly after with a fanfare theme signaling its dominant presence. The second movement is more of a lyrical melody with focus on a ternary form. The last movement incorporates many musical techniques that extend the finale. It contains an adagio, repetition of themes for reinforcement, and even a recapitulation. Eventually it ends, and does so in a way that shocks the audience. “When the audience demanded the final rondo by way of an encore, he surprised everyone by offering them a free improvisation that was loudly applauded. the emperor, too, remained to the end, not leaving his box until Mozart had left the platform” (Albert 713).

Janacek’s Concertino for Piano and Chamber Ensemble was composed in the spring of 1925. This piece is separated into multiple movements with each one representing a very specific aspect. Movement 1 suggests the setting, spring, and the introduction of a hedgehog. Movement 2 reveal a squirrel running and jumping from tree to tree. It is a scene of happy playful spring animals. Movement 3 introduces an owl. The last movement combines all the animals together and features a climatic theme (Zemanova 108-110).

Schumann was one of the first few composers to successfully experiment with the piano combined with the string quartet. Piano Quintet in E- Flat Major, Op. 44 utilizes the brilliance of the two groups, piano and string quintet.  The piece is in 4 movements and quickly establish the creativity and potential of the two groups.


Albert, Herman. “Engagement and Marriage.” In W.A. Mozart. Edited by Cliff Eisen. 713. Yale University: Yale University Press, 2007.

Chissell, Joan. Schumann Piano Music. Seattle: University of Washington Press, 1972

Zemanova, Mirka. “Concertino.” In Janacek’s Uncollected Essays on Music. Edited by Mirka Zemanova. 108-110. Great Britain: Marion Boyars Publisher, 1989.

Preview – Boston Symphony Orchestra at Carnegie Hall (April 5th)


Selections from Götterdämmerung
-Siegfried’s Rhine Journey
-Siegfried’s Death and Funeral March

  • Overture to Tannhäuser
  • “Ich sah das Kind” from Parsifal
  • Prelude to Act I of Lohengrin
  • Prelude and Liebestod from Tristan und Isolde


  • Boston Symphony Orchestra
  • Daniele Gatti – Conductor
  • Michelle DeYoung, Mezzo-Soprano

Venue: Stern Auditorium / Perelman Stage, Carnegie Hall

Check it out!



Reading parts of the novel I checked out, I am led to believe that the core influence on his composure of different musical pieces was his interest in stories written by Homer, mythological pieces, and the works of Shakespeare, which then evolved into poetical and musical composition.

I find it particularly interesting how “Tristan und Isolde” came about. To make a long story short, it came about after Wagner had half written “Siegfried” when Wagner had gone through stages of depression because he had felt the works he had been writing would never be produced by the end of his life. “He hungered for a closer, an active connection with the stage, and he needed money, and so he regretfully laid aside the “Ring” scores and set to work on the poem of “Tristan und Isolde” (Henderson).This also kind of reminds me of other composers. If I remember correctly, I believe I heard in class that other composers had felt the same way about their works.
It is said the works of Parisfal was occupying the mind of Wagner in the year of 1857, and it was not completed until 1877. “Wagner told me that in the fifties, when in Zurich, he took possession of a charming new house, and that inspired by the beautiful spring weather, he wrote out the sketch that very day of the Good Friday music.” (Henderson). After coming across this excerpt, it instantly reminded me of Vivaldi’s “Spring” movement.
PS– The italics don’t seem to want to go away! Silly technology…

Henderson, William. Richard Wagner His Life and His Dreams. New York: AMS Press Inc., 1923.