This performance has already taken place
Lo Interesante De Este Concierto
· Este programa figura la primér sinfonía de Mozart, la cual él escribió a la edad de ocho y la sinfonía final de Haydn, escrita cuando Haydn tenía 63.
· Mozart y Haydn se hicieron amigos rápidamente en Viena en los 1870’s. Aunque Haydn era 24 años mayor que Mozart y su mentor, los siguientes trabajos de Haydn- incluyendo en este programa la Sinfonía No. 104 – fueron a su vez influenciadas por el joven prodigio.
· Un Concerto de California: Kevin Puts, alumno y compositor-en -residencia de California Simphony (1996-1999), fue comisionado por filántropo del área de la bahía para escribir este concerto de flauta. Annie Wu, del área de la bahía la toca aquí.
MozartSymphony No. 1
The Symphony No. 1 in E♭ major, K. 16, was written in 1764 by Wolfgang Amadeus Mozart at the age of eight years. By this time, he was already notable in Europe as a wunderkind performer, but had composed little music.
The piece was written on the Mozart family's Grand Tour of Europe in London when they had to move to Chelsea during the summer of 1764 due to Mozart's father Leopold's illness (throat infection). The house at 180 Ebury Street, now in the borough of Westminster, where this symphony was written, is marked with a plaque. The symphony was first performed on 21 February 1765. The work shows the influence of several composers, including his father and the sons of Johann Sebastian Bach, especially Johann Christian Bach, an important early symphonist working in London whom Mozart had met during his time there.
Movements and instrumentation
The work is in 3 movements:
In the second movement, the eight-year-old Mozart makes use of the four note motif that appears in the finale of his Jupiter symphony, No. 41. The four notes, Do, Re, Fa, Mi, make an appearance in several of Mozart's works, including his Symphony No. 33. This theme is stated by the horns in his first symphony.
In his book on the Piano Concertos, Cuthbert Girdlestone pointed out the similarity between the opening of this symphony and that of Mozart's Piano Concerto No. 22 K482, composed some twenty years later.
- Mozart, Wolfgang Amadeus (2005). Die Sinfonien I. Translated by Robinson, J. Branford. Kassel: Bärenreiter-Verlag. pp. IX. ISMN M-006-20466-3
- Sadie, Stanley, Mozart: The Early Years 1756–1781, p 64–65, Oxford University (2006), ISBN 978-0-19-816529-3
- "Fall Concert 2011". Kamuela Philharmonic Orchestra. Retrieved 29 December 2013.
- Girdlestone, C. M. (1948, p346) Mozart’s Piano Concertos. London, Cassell.
- Sinfonie in Es KV 16: Score and critical report (in German) in the Neue Mozart-Ausgabe
- Symphony No. 1: Scores at the International Music Score Library Project (IMSLP)
Puts Flute Concerto
Early life and education
Puts was born in St. Louis, Missouri, and grew up in Alma, Michigan. He studied composition and piano at the Eastman School of Music and Yale University, earning the Doctor of Musical Arts degree from Eastman School of Music. Among his teachers were Samuel Adler, Jacob Druckman, David Lang, Christopher Rouse, Joseph Schwantner, Martin Bresnick, and, in piano, . He also studied at the Tanglewood Music Festival with William Bolcom and Bernard Rands.
He is composer-in-residence at the Fort Worth Symphony and has received a commission from the Aspen Music Festival. His Cello Concerto was premiered by Yo-Yo Ma. Puts's works have been performed by the St. Louis Symphony, the Pacific Symphony, the Utah Symphony (with Evelyn Glennie as percussion soloist), the Miró Quartet, and Concertante. He is a frequent composer in residence at the Cabrillo Festival of Contemporary Music, which commissioned his fourth symphony and his flute concerto.
His alma mater reports:
- For several years, Kevin Puts received reviews describing him as a "promising composer" and "a young composer to watch". But with a flurry of recent performances and prestigious commissions, Puts can now be described as one of America’s most important composers, period.
Puts was Associate Professor of Composition at the University of Texas at Austin from 1997 to 2005 and now teaches composition at the Peabody Institute of Johns Hopkins University. His notable students include Jake Runestad.
The opera Silent Night, with score by Puts and libretto by Mark Campbell, was published by Aperto Press in 2011 and premiered by the Minnesota Opera on November 12. Puts won the annual Pulitzer Prize for Music in 2012; the citation called the piece "a stirring opera that recounts the true story of a spontaneous ceasefire [the 1914 Christmas truce] among Scottish, French and Germans during World War I, displaying versatility of style and cutting straight to the heart."
- American Academy of Arts and Letters composition prize
- 2001 Guggenheim Fellow 
- 1996-1998 Young Concert Artists Composer-in-Residence 
- 2002 Rome Prize of the American Academy in Rome.
- 2008 Opera Fund Awards, The Minnesota Opera: Silent Night 
- 2012 Pulitzer Prize for Music for Silent Night (libretto by Mark Campbell)
- Symphony No. 1 (1999), commissioned and premiered by the California Symphony Orchestra
- Inspiring Beethoven (2001)
- Millennium Canons (2001)
- Symphony No. 2, Island of Innocence (2002), commissioned by the Barlow Foundation, premiered by the Cincinnati Symphony/Paavo Jaarvi conductor and Utah Symphony/Keith Lockhart conductor
- ... this noble company (2003), commissioned and premiered by the Atlanta Symphony
- Symphony No. 3, Vespertine (2004), commissioned by Kathryn Gould and Meet the Composer through Magnum Opus, premiered by the Marin Symphony, Alasdair Neale, conductor
- (2007), commissioned by the Cabrillo Festival for Contemporary Music, premiered by the Cabrillo Festival Orchestra, Marin Alsop, conductor
- Vespertine Elegy
- Flute Concerto (2013), commissioned by Bette and Joe Hirsch, premiered by the Cabrillo Music Festival Orchestra conducted by Carolyn Kuan
- Silent Night (2011)
- The Manchurian Candidate (2015)
- Elizabeth Cree (2017)
- "The 2012 Pulitzer Prize Winners: Music". The Pulitzer Prizes. Retrieved 2013-11-20. With short biography and material on the opera including audio-video excerpt.
- Ann McCutchan, "In the moment", Symphony (magazine), March–April 2010, accessed 30 January 2015
- "Composer Kevin Puts - Cabrillo Festival of Contemporary Music". Cabrillomusic.org. Archived from the original on 2012-03-16. Retrieved 2013-11-21.
-  Archived July 25, 2011, at the Wayback Machine
-  Archived August 24, 2007, at the Wayback Machine
- "Peabody Institute Faculty/Kevin Puts". Johns Hopkins University. Retrieved December 10, 2013.
- "Kevin Matthew Puts - John Simon Guggenheim Memorial Foundation". Gf.org. Archived from the original on 2013-10-04. Retrieved 2013-11-21.
-  Archived August 29, 2010, at the Wayback Machine
- "New Music News Wire". NewMusicBox. 2008-04-07. Retrieved 2013-11-21.
HaydnSymphony No. 104
The Symphony No. 104 in D major (H. 1/104) is Joseph Haydn's final symphony. It is the last of the twelve London symphonies, and is known (somewhat arbitrarily, given the existence of eleven others) as the London Symphony. In Germany it is commonly known as the Salomon Symphony after Johann Peter Salomon, who arranged Haydn's two tours of London, even though it is one of three of the last twelve symphonies written for Viotti's Opera Concerts, rather than for Salomon.
The work was composed in 1795 while Haydn was living in London, and premiered there at the King's Theatre on 4 May 1795, in a concert featuring exclusively Haydn's own compositions and directed by the composer. The premiere was a success; Haydn wrote in his diary "The whole company was thoroughly pleased and so was I. I made 4000 gulden on this evening: such a thing is possible only in England."
The symphony opens with a slow and grand introduction in D minor, whose first two bars are as follows:
The movement is monothematic: the second theme is simply the first theme transposed to A major. The exposition is in D major, with the strings playing the first theme. The theme goes straight into A major with the woodwinds to form a second theme. The exposition closes with a codetta and is followed by the development which begins in B minor, using the rhythmic pattern of the second half of the theme. The development ends with the full orchestra. In the recapitulation, the first theme is heard again in D Major. It uses imitative patterns of the woodwinds in the second theme. The movement closes with a coda, also in D major.
This movement, in G major, opens with the main theme in the strings. After this, a brief episode highlighting A minor and D minor leads to a modified repeat of the main theme in both strings and bassoon. From here, a second section begins which modulates to various other keys, including G minor and B♭ major, but continues to feature the melody of the main theme. After arriving on the dominant of G major, the music of the first section returns. The rest of the movement consists of a modification of the first section of music, with several changes in rhythm and more prominence to the winds, especially the flute.
The third movement is a minuet and trio in D major. The minuet section consists of a rounded binary (A,B,A') form with an opening section emphasizing the tonic, while the second section visits the relative minor (B minor) and the dominant (A major). The trio is in B♭ major, and uses the oboe and bassoon extensively. Like in the minuet, this trio's B section emphasizes the relative minor (in this case, G minor). The trio ends with a transition back to dominant of the main key in preparation for the return to the minuet.
The exuberant finale, in fast tempo and in sonata form, opens in the mode of folk music using a drone bass and a theme often claimed to have originated as a Croatian folk song; for details see Haydn and folk music. The development section settles on the dominant of the main key, as is typical, but the recapitulation does not occur immediately. Instead, the development is extended with a section in F♯ minor, after which the recapitulation in D major follows immediately.
- Steinberg, Michael. "The Symphony: a listeners guide". p. 245. Oxford University Press, 1995.
- Michael Steinberg, "The Symphony: A Listeners Guide" (Oxford and New York: Oxford University Press, 1995), p. 246.
- Steinberg, Michael. "The Symphony: a listeners guide". pp. 245–47. Oxford University Press, 1995.
- Hoboken, Anthony van (1957). Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis. Main: B. Schott's Söhne. p. 221.
Annie Wu, flute