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Telemann, Schubert & Fung

(B)eyond Classics

Telemann, Schubert & Fung

The WSO trumpet section is made up of some envious talent, and it’s with this in mind that we open this concert with Telemann’s Concerto for 3 trumpets  featuring Chris Fensom, Paul Jeffrey and Isaac Pulford.

No stranger to WSO audiences, Canadian composer Vivian Fung offers her witty take on Baroque with Baroque Melting incorporating a chorale by Bach.

We’ll turn to Bach next with his cantata Wachet auf, ruft uns die Stimme. Known widely as Sleepers Awake.

And to round out the evening, Franz Schubert‘s Symphony No. 5 in B-flat Major, the Austrian composer’s homage to the Classical masters Mozart and Haydn.

ARTIST

Daniel Raiskin

Conductor

Chris Fensom

Trumpet

Paul Jeffrey

Trumpet

Isaac Pulford

Trumpet

WORKS

Concerto for 3 Trumpets in D Major

George Philipp Telemann

Chorale Wachet auf ruftuns die Stimme (Sleepers Awake)

Johann Sebastian Bach

Baroque Melting

Vivian Fung

Symphony No.5 in B-flat Major

Franz Schubert

Get more acquainted

  • Trumpets are 3,500 years old! Trumpet-like instruments date back to at least 1500 BCE, with trumpets found in Tutankhamun’s burial chamber in Egypt. Artwork depictions of trumpets have been dated back to 300 BCE.

 

  • Vivian Fung likens Baroque Melting to Salvador Dali’s melting clock in Persistence of Memory. “This is the heart of Baroque Melting, in which I take familiar Baroque musical ideas and motives, recognizable elements accentuated by the harpsichord, contort them, bending pitches and phrases out of shape, and then twist them back into focus again. The apotheosis comes at the end, when a quotation of a Bach chorale, “Wär Gott Nicht mit uns diese Zeit” from Cantata BWV 14, is warped, fading the work out to end on a quiet and contemplative note.

 

  • Known widely as Sleepers Awake, Wachet auf, ruft uns die Stimme is possibly the best known of all J.S. Bach’s cantatas. It was one of the first to be published and, apparently, one of the few to be performed with some regularity in the years after his death. It was written for performance on the twenty-seventh Sunday after Trinity, an event which is dependent upon the dates of Easter; consequently it occurred only occasionally. It happened twice during Bach’s period of tenure at Leipzig, 1731 and 1742. This cantata was written for the first of these occasions and probably reprised on the second.

 

  • A Vienna native, Franz Schubert grew up with the figure of Ludwig van Beethoven, also a Viennese resident at the time, looming large. And indeed, Schubert’s Symphony No. 4 (which he entitled “The Tragic”) was clearly the work of a young composer still under a Beethovenian spell, a young man struggling with the shadow cast by Vienna’s resident 800-pound musical gorilla. His Symphony No. 5, written only a few months after No. 4, was Schubert’s moment of breaking free from the symphonic domination of Beethoven. The Symphony is often described as a work which pays homage to the Classical masters Mozart and Haydn.
Dates DATES

May 1, 2021 | 7:30 pm
Livestream only

Length LENGTH

Approximately 60 minutes with no intermission

Series Sponsor:
BMO Financial Group

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