CSO presents ‘Mozart & Strauss’ … and Hedwig
The Chattanooga Symphony & Opera will present works by Mozart and Strauss in its chamber concert Sunday afternoon, Jan. 27, at Chattanooga State Community College.
But the highlight of the concert is arguably the world premiere of “Four Third Streams” by Chattanoogan Douglas Hedwig.
“Four Third Streams” was written for wind quintet by Hedwig; composed, in part, while Hedwig was completing a fellowship/ residency at Brush Creek Foundation for the Arts in Wyoming during summer 2017.
“Four Third Streams” is a four-movement work for flute, oboe, clarinet, horn and bassoon, full of thematic unity and textural contrast that merges classical music and jazz, the composer describes in a release from the CSO office.
The title of the work comes from the term, “Third Stream,” coined in the 1950s by the late American composer/conductor Gunther Schuller.
“Third Stream music is a style of musical fusion that blends Western classical music forms and technique with elements of jazz. Each movement of ‘Four Third Streams’ is influenced or inspired by jazz music in some way, within a traditional chamber music ensemble setting, yet employing the composer’s unique approach to contemporary musical language and syntax,” says Andre Charitat, CSO spokesman.
The Mozart piece, String Quartet No. 19, is nicknamed “dissonance” for its intriguing use of discordant harmony. It is one of a set of six quartets Mozart dedicated to Joseph Haydn.
The concert will also feature Reger’s catchy “Serenade for Flute, Violin, & Viola” and Strauss’ “Till Eulenspiegel einmal anders,” written for violin, clarinet, horn, bassoon and bass.
Till Eulenspiegel was the name of a German peasant and practical joker upon whom Strauss is said to have based this symphonic poem. According to folk legend, Till had a reputation for always getting in trouble because of his pranks, but was usually able to escape punishment. At first, Till’s jests were innocuous, but later his adventures became more serious — a peasant’s revenge on arrogant townsmen, clergy and nobility. His pranks were aimed at putting the rich and powerful in embarrassing positions.
Strauss was careful not to connect specific passages in the music to Till’s pranks. However, in one passage the audience will hear Till riding through the market scattering pots and causing chaos. Later, a low drum roll signals Till has been brought to trial for blasphemy, for which he was condemned to hang. After the hanging, the opening theme returns to reassure Till’s immortality in music.