If It’s Baroque …
… don’t even think of fixing it! And why should we care one way or the other about this odd Portuguese-derived word that translates as “misshapen pearl”? Well, circle up, dear readers, the Coastal Symphony of Georgia is launching its new season this month, and inquiring minds (should) want to know. There are musical pearls in this year’s program lineup, and wouldn’t it be fun to throw words like “baroque” into our everyday discourse? And actually know what we’re talking about?
Mozart’s “Symphony No. 29 in D Major” will lead off the September program, and everyone knows what a wild man Wolfgang Amadeus was during his brief life and in his 600+ compositions that continue a vibrant and highly regarded musical canon of their own into the 21st Century. And, guess what? Yes, you got it in one. Mozart’s career began near the end of what is considered the Baroque period (1580-1750) of classical music.
Mozart was one of the composers, and perhaps the most pivotal, who established the transition from Baroque, with its innovations of writing music in specific keys (C sharp minor, E flat major, for example) and instrumental ornamentation of note twists and turns often inserted by performing musicians, to Classical. Think Handel’s perennial oratorio “Messiah” and you will see what I mean, especially if you’ve ever ventured to sing one of its choral parts, or being even braver, attempted one of its arias or recitatives. Bach’s “Toccata and Fugue in D Minor,” an organ work familiar to most of us (at least in horror films from the back of beyond), shines in its “Baroqueness.”
Of course, at the time, Mozart had no idea he was closing out the Baroque period in musical history and moving us all along to the Classical era. He was just writing pieces he liked and trying to stay out of trouble with his wealthy sponsors, usually with little or no success. And obviously, a man of his creative temperament had fun with the energetic style of Baroque and its multiple, sometimes simultaneous melodies.
However, misshapen musical pearl that he was, most of Mozart’s life work was destined to fall into the category of Classical, where form, structure, and established patterns of symmetry influenced composition. His music encompasses a powerful triad of Classical composers, together with Haydn and Beethoven. In case I’ve confused anyone who is still following this illuminating discourse, including me, let us be clear: There is a specific period of music composition labeled Classical, 1750-1820, and for reasons that are beyond the scope of this treatise and way above my pay grade, Western art music is also broadly categorized as classical (sometimes as far back as Medieval and Renaissance eras).
Thanks to Maestro Luis Haza’s inspired creative genius, in the September program he additionally features Ludwig van Beethoven’s “Symphony No. 1 in C Major,” a natural progression from our friend Mozart’s early Classical contributions to Beethoven’s equally admired compositions. He loved patterns, and as one professional musician has observed, he built “huge structures from tiny ideas.” When Beethoven initially presented “Symphony No. 1,” it comes as no surprise that his program also included works by Mozart and Haydn.
One intriguing side note: Beethoven’s later works are often characterized as Romantic, the musical era that followed Classical. Now don’t worry, I’m not going to wander off into an explanation of what constitutes Romantic composition, but you may find it chronologically satisfying to know that the November concert program features precisely that category. How cool is that? Thank you, Maestro Haza!
Abandoning all things Baroque, Classical, and Romantic for a necessary moment and embracing more practical considerations, I offer the following:
In 2016-17, the Coastal Symphony of Georgia performs at Brunswick High Auditorium on Monday evenings, 8 p.m., September 26, November 7, February 6, and April 10. A few season tickets are still available. (Adult $120 and Child $20.) To be placed on a ticket waiting list for any single performance, contact the Symphony office at 912.634.2006.
On Sunday, October 23, at 4:00 p.m. pianist Terry Readdick will present in recital works by composers such as Beethoven, Debussy, and Chopin at Wesley United Methodist Church at Frederica. Tickets are $35 for general admission or $65 for a patron ticket that provides premiere seating and includes a cocktail reception following the recital. For details, contact Janice Lamattina, 912.222.7541.
The mission of the Coastal Symphony of Georgia is to engage, enrich, and inspire the Golden Isles community through artistically vibrant musical performances. Come to a performance and “Experience the excitement.” coastalsymphonyofgeorgia.org
