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The ESO’s Magnificent Mozart gives the audience a glimpse into the brilliance that was Johannes Chrysostomus Wolfgangus Theophilus Mozart. From an intimate piece that Mozart saved for himself and a small circle of music enthusiasts to his Symphony No. 40 with one of the most recognizable opening melodies, this performance will demonstrate true genius. Join guest conductor Edwin Outwater, pianist William Wolfram, and the ESO for this celebration of Mozart.
DATES, TIMES & LOCATIONS
January 10 at 7:30 pm
Prairie Center for the Arts – Schaumburg, IL
January 11 at 7:30 pm
January 12 at 2:30 pm
Hemmens Cultural Center – Elgin, IL
Edwin Outwater, conductor
William Wolfram, piano
Respighi Ancient Airs & Dances, Suite No. 1
Mozart Piano Concerto No. 23
Mozart Symphony No. 40
Prairie Center Prices: Red $65 / Green $35 – CLICK HERE to view the Prairie Center Seat Map
Hemmens Prices: Gold $85 / Red $65 / Green $35 – CLICK HERE to view the Hemmens Classics Series Seat Map
*Discount Pricing available for Groups of 10 or more! CLICK HERE for details.
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Meet Pianist William Wolfram
American pianist William Wolfram was a silver medalist at both the William Kapell and the Naumburg International Piano Competitions and a bronze
medalist at the prestigious Tchaikovsky Piano Competition in Moscow. Wolfram has appeared with many of the greatest orchestras of the world and
has developed a special reputation as the rare concerto soloist who is also equally versatile and adept as a recitalist, accompanist, and chamber musician.
In all of these genres, he is highly sought after for his special focus on the music of Franz Liszt and Beethoven and is a special champion for the music of
modernist 20th-century American composers.
His concerto debut with the Pittsburgh Symphony under the baton of Leonard Slatkin was the first in a long succession of appearances and career
relationships with numerous American conductors and orchestras. He has also appeared with the San Francisco, Saint Louis, Indianapolis, Seattle, and New
Jersey symphonies, the Buffalo Philharmonic, the National Symphony Orchestra (Washington D.C.), the Baltimore Symphony, Colorado Symphony, the Rochester Philharmonic, the Nashville Symphony, Oregon Symphony, the Utah Symphony, the San Diego Symphony, the Edmonton Symphony, the Columbus Symphony, the Florida Orchestra, and the Grand Teton and San Luis Obispo Mozart festival orchestras, among many others. He enjoys regular and ongoing close associations with the Dallas Symphony, the Milwaukee Symphony, the Phoenix Symphony, and the Minnesota Orchestra as well as the musicians of the New York Philharmonic for chamber concerts in the United States.
An enthusiastic supporter of new music, he has collaborated with and performed music by composers such as Aaron Jay Kernis, Kenneth Frazelle, Marc Andre Dalbavie, Kenji Bunch, and Paul Chihara. His world premiere performance of the Chihara re-orchestration of Chopin’s Piano Concerto No. 1, with the Milwaukee Symphony under the baton of Andreas Delfs, was met with
great critical attention and acclaim.
Other highlights include several chamber music collaborations, including recitals and recordings with Oscar Shumsky, recitals with Harvey Shapiro and numerous collaborations with Leonard Rose. He also performed Richard Straussʼs setting of the Tennyson poem Enoch Arden with the Oscar-winning actress Louise Rainer, and with actor Jeff Steitzer. Wolfram has also performed as a guest artist with prominent ballet companies including ABT, Pittsburgh Ballet, Miami City Ballet, Carolina Ballet, and Boston Ballet, working with noted choreographers including Jiri Kylian, Edward Villella, Robert Weiss, and Agnes De Mille.
Wolfram has extensive experience in the recording studio. He has recorded four titles on the Naxos label in his series of Franz Liszt Opera Transcriptions and two other chamber music titles for Naxos with violinist Philippe Quint (music of Miklos Rosza and John Corigliano).
As an educator and teacher, Mr. Wolfram is a long-standing member of the piano faculty of the Eastern Music Festival in North Carolina, and a regularly featured guest at the Colorado College Music Festival in Colorado Springs, Colorado. He also teaches a performance class and a chamber music class at the acclaimed Manhattan School of Music.
In print and other media, Wolfram was the focus of a full chapter in Joseph Horowitz’s book, The Ivory Trade: Music and the Business of Music at the Van Cliburn International Piano Competition. On television, he was a featured pianist in the documentary of the 1986 Tchaikovsky International Piano Competition.
A graduate of the Juilliard School, William Wolfram resides in New York City with his wife and two daughters and is a Yamaha artist.
Meet Guest Conductor Edwin Outwater
Edwin Outwater is a truly visionary conductor. Regularly working with orchestras and institutions throughout the world, he produces, curates and conducts unique concert experiences. He is equally adept at interpreting canonical works, and regularly premieres new commissions and connects audiences with repertoire beyond the mainstream. He is, in the words of Michael Tilson Thomas, “one of the most innovate conductors on the scene today.”
Recent guest performance highlights for him include New York Philharmonic and the Philadelphia Orchestra as well as the symphony orchestras of Baltimore, Chicago, Detroit, St. Louis, Houston, and Seattle. In Canada, he has led the National Arts Centre Orchestra and the symphonies of Toronto, Calgary, Edmonton, Winnipeg, and Victoria. International appearances include the Tokyo Metropolitan Orchestra, Tokyo Symphony, Kyoto Symphony, Nagoya Philharmonic, BBCNOW, the Brussels Philharmonic, the New Zealand Symphony, Adelaide Symphony, Malmö Symphony, Nordwestdeutsche Philharmonie, Mexico City Philharmonic, Orquesta Sinfónica de Xalapa, and Hong Kong Sinfonietta. A prolific opera conductor, Edwin Outwater also regularly works with Ryan Opera Center at the Lyric Opera of Chicago.
Outwater holds a long association with the San Francisco Symphony. The 2019/2020 season began with a hugely successful collaboration between the orchestra, Outwater and legendary metal band Metallica to celebrate the opening of the new Chase Center arena. He also regularly conducts and curates their SoundBox series, has conducted and hosted “Holiday Gaiety”, an LGBTQ holiday concert he created with drag performer Peaches Christ for the past three seasons, was the Music Director of the San Francisco Symphony Youth Orchestra, conducting them on a number of occasions including a high profile European tour, and also served as served San Francisco Symphony Director of Summer Concerts.
Outwater’s recent curations include “Sound Health,” a collaboration with soprano Renée Fleming, The Kennedy Center, and the National Institutes of Health, as well as a jazz version of Mussorgsky’s Pictures at an Exhibition, with Wynton Marsalis, the Jazz at Lincoln Center Orchestra, and the Chicago Symphony. He also appeared with the Orchestra of St. Luke’s at Carnegie Hall in a concert for families featuring a world premiere of composer Caroline Shaw, narrated by actor John Lithgow.
A native of Santa Monica, California, Edwin Outwater graduated cum laude in English literature from Harvard University, where he was music director of the Bach Society Orchestra and the a cappella group Harvard Din and Tonics, and wrote the music for the 145th annual production of the Hasty Pudding Theatricals. He received his degree in conducting from UC Santa Barbara, where he studied with Heiichiro Ohyama and Paul Polivnick, besides studying music theory and composition with John Stewart, Joel Feigin, and Leonard Stein.
NOTEworthy Concert Facts
- Mozart’s last three symphonies come from the extraordinarily creative summer of 1788. In the space of slightly over six weeks, he composed three symphonies, one of which being Symphony No. 40. It had an incredible influence on many famous composers including Ludwig van Beethoven, who copied out 29 bars from the score in one of his sketchbooks. The copied bars appear amid the sketches for Beethoven’s Fifth Symphony, whose third movement begins with a pitch sequence similar to that of Mozart’s finale.
- Symphony No. 40 was completed three years before Mozart’s death in 1791. Writers on Mozart have often suggested – or even asserted – that Mozart never heard his 40th Symphony performed. Some commentators go further, suggesting that Mozart wrote the symphony (and its companions, Nos. 39 and 41) without even intending it to be performed, but rather for posterity, as an “appeal to eternity”. However, this claim is widely disputed.
Click the picture for an audio concert highlight
Sorry, tickets to this experience are no longer available.