First Concert of the 27th Season

I. Pomposo: Allegro
II. Andante
III. Gavotta (Risoluto)

I. Prelude
II. Aragonaise
III. Intermezzo
IV. Seguedille
V. Les dragons d'Alcala
VI. Les Toreadors

Few works of art provide the sense of sheer delight of a Mozart symphony. The A Major abounds with charm and good humor. Scored simply for strings, oboes, and two horns, the composition has much of the flexibility and economy of a string quartet. This work ranks as one of Mozart's finest symphonies.

The first and last movements are masterful examples of sonata form. Both movements express the brilliant craftsmanship of the eighteen-year-old genius. In the second movement, muted violins initially state the lovely themes. This movement epitomizes ideal balance between logic of form and expressiveness of content. The Menuetto contains a surprising amount of dynamic contrast for a classical symphony. In general, Symphony No. 29 marked an important step for Mozart in developing the potential of symphonic form.

Martin Mailman, a graduate of the Eastman School of Music, was one of the first composers chosen in 1959 to participate in the Young Composer's Project, sponsored by the Ford Foundation. Mailman was assigned to the Jacksonville, Florida, school system. During his two years there he wrote the Gateway City Overture. Currently he is composer-in-residence at East Carolina College.

Although Gateway City Overture contains some fine lyrical sections, the dominant spirit is exuberant and energetic. Mailman employs the wind and percussion sections with great effectiveness in achieving changes of texture and building brilliant climaxes.

Carmen is widely regarded as the most popular opera ever written. Probably no other opera contains so many melodies which are familiar to the layman. Bizet's unique gift as a melodist reached its apex in the immortal Carmen. He wrote the opera at the age of 37 -- the final year of his life.

Suite No. 1 presents outstanding music form all four acts. The foreboding sounds of the "Prelude" give portent of Carmen's eventual death. With the "Aragonaise" the composer sets the stage for Act IV; this act takes place in a square in Seville, Spain. There is great excitement, for a bullfight is about to begin. The "Intermezzo" precedes the third act. Harp and flute begin the music quietly, in a mood appropriate to the solitude of the hills at night. "Sequedilla" is an aria originally sung by Carmen. It is a reckless invitation of love. "Les dragon d'Alcala" serves as an Entr'acte to Act II, which opens in a tavern. In "Les Toreadors" Bizet captures the excitement, the romance, and the Spanish color which makes the opera so universally appealing.