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Saturday, 13th May 2023
Alderley Edge Festival Hall
BERLIOZ Overture: King Lear

MOZART Oboe Concerto in C major, K.314
Soloist: 
EDWARD CLYNES

BRAHMS Symphony No 3 in F major

Conductor
JUAN ORTUñO
Tickets: Adult  £15; Under 18: £2
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Mozart only composed a single Oboe Concerto and it was very popular during his lifetime. He wrote it for the new oboist in the Salzburg archbishop’s orchestra, Giuseppe Ferlendis, in 1777, but it subsequently made a greater sensation in the hands of Friedrich Ramm, oboist of the reknowned Mannheim Orchestra.  However, the warhorse was believed lost after a copy was sent to Haydn’s oboist in the Esterháza Orchestra in 1783. In 1920 it was rediscovered, marked ‘Concerto in C/Oboe Principale’ by the director of the Salzburg Mozarteum archives, who recognized it as a transposition of Mozart’s familiar Flute Concerto in D major. But it then turned out that it was the Flute Concerto that was the remake: it was a recycled transposition for an amateur French flutist when Mozart was desperate for money in Paris in the winter of 1777-78.

Berlioz’s King Lear Overture, which opens the programme, had an even more unusual origin.    Berlioz had just arrived in Rome as winner of the Prix de Rome in 1830, but then left abruptly at the beginning of April to go to Florence where he stayed awaiting news of his fiancée, the pianist Camille Moke. On receiving a letter from Camille Moke’s mother in which she broke off the engagement, Berlioz decided on revenge: he would return to Paris and assassinate Camille, her treacherous mother, and Camille Pleyel, Camille’s new fiancé. On reaching Nice Berlioz had second thoughts and gave up the attempt: instead he stayed there for a month and among other activities composed the overture to King Lear.

Johannes Brahms was a harsh self-critic who held himself to tough standards and honed his material until he was satisfied. He composed up to 30 string quartets besides the three he finally published, burning the ones that didn’t make the grade.

Meanwhile, the music world expected him to write a symphony. It was 14 years before he composed his First Symphony, which was instantly recognized as the greatest symphony of the previous half-century, since Beethoven’s Ninth Symphony had first been heard in 1824.

Brahms knew now that he could get it right. In less than a year he turned out a second symphony. A Third Symphony, featured in this evening’s concert, followed the second six years later. During that interval, Brahms discovered the subtleties of orchestral language and his emotional range. If his first two symphonies revealed Brahms exploring what he could do with an orchestra, the many orchestral works that followed show him increasingly at ease as he consolidated his art.

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Edward Clynes developed an interest in music at an early age, starting lessons on Oboe when he was 9 years old. He is currently tutored by Rachael Clegg at Chetham’s School of Music in Manchester, where he has been schooled since September 2015. He also plays Clarinet and Piano, and is tutored by Andrew Wilson for Clarinet and Marta Karbownicka for Piano.
Edward has played principal oboe in several orchestral works including Rachmaninoff’s Second Symphony, Ruth Gipps’ Second Symphony, and Stravinsky’s Rite of Spring. He also played in several chamber ensembles, and has performed works such as Nieslen Wind Quintet, and Gordon Jacob Oboe Trio.
Edward is also a keen mathematician, and made it to the ‘Kangaroo’ stage of both the intermediate and senior UK maths challenges.
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