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Symphonette to Present Opening
Concert on Saturday, Sept. 30

Posted September 18, 2000

HOLLAND -- The Hope College Symphonette, under the direction of Richard Piippo, will present its opening concert of the 2000-01 season on Saturday, Sept. 30, at 8 p.m. in Dimnent Memorial Chapel.

The public is invited. Admission is free.

The program will include works by Haydn, Bach, Stravinsky and Mozart.

To open the program, the Symphonette will perform Haydn's Symphony No. 60. "This symphony comes from a period of Haydn's development that is marked by a new richness in tonal language and a bigger palette of sounds and effects," noted Piippo, who is an associate professor of music at Hope. "Stemming from Haydn's forays into the composition of dramatic music, this work, with its agitated tremolandi, syncopations, dynamic extremes and disjunct melodies, is grouped into the Enlightenment-Classical period."

The second work on the program will feature the strings of the Symphonette in a performance of the Brandenburg Concerto No. 3 in G Major. Bach wrote six of the concertos, which were dedicated to His Royal Highness Monseigneur Christian Ludwig Margrave of Brandenburg, who Bach served as Kapellmeister.

Third on the program will be the Suites No. 1 and 2 by Igor Stravinsky. "All through his life, Stravinsky wrote for small orchestras, prompted by his liking for wind instruments, his taste for Baroque-style strings, his appreciation for jazz, and his endless fascination with making instruments play together," Piippo noted. According to Piippo, dances fill the suites, based on easy piano duets that the composer wrote during 1914-17 partly for his children and partly to try out the use of musical models.

The second suite includes portraits of Diaghilev, the Italian composer Alfredo Casella and Satie. "But the real subjects of both suites are their dance patterns," Piippo said.

To conclude the program, the Symphonette will perform Mozart's Symphony No. 25 in G minor. Mozart wrote the symphony in Salzburg when he was 17, after he and his father, Leopold, had come back from a two-and-a-half-month stay in Vienna.

"This symphony represents great strides forward for Mozart in technique and expression," Piippo noted. "There is much imitative writing, and far more writing of interest in the inner parts than had been his custom. The symphony is darkly dramatic in nature. The influence of Haydn, whose part writing had become quite rich, is evident."

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