Summer Classics - Beethoven/Mozart/Prokofiev
Advertisement
JULY 25, 2026 - SUMMER CLASSICS –
This accessible concert is a great opportunity to experience full classical!
Cañada College Main Theater
Saturday, July 25, 2026, 7:30 pm
4200 Farm Hill Blvd, Redwood City, CA 94061
Tickets In Advance
Adult $35
Senior: $30
Student $15
Kids under 18 free with an accompanying adult
Sergey Prokofiev - Overture on Hebrew Themes
Wolfgang Amadeus Mozart (arr. Timo Andres) - Reimagination of Piano Concerto No. 26 (“Coronation”) Featuring Louise Costigan-Kerns, piano. Bay Area Premiere
Ludwig van Beethoven - Symphony No. 1
The following program note is by Timo Andres, about his own re-composition of Mozart's 26th and penultimate piano concerto, the "Coronation," which Louise Costigan-Kerns is doing with us on July 25th. The work's premise reminds me of a similar piece we've done twice, Luciano Berio's marvelous re-composition of Schubert's incomplete Tenth Symphony, called Rendering, in which gaps in Schubert's notes are filled in with very 20th century music. The transformed Mozart concerto is a bit perplexing, with the wonderful balanced with the dubious. Read!
*********************************************************************
Notes by Timo Andres
Andrew Cyr gave me the idea to compose a new completion of the Coronation concerto. Mozart notated only a few sections of the left-hand part (intending to improvise it in performance) which I decided to replace entirely, in addition to writing new cadenzas. I approached the piece not from a scholarly or editorial perspective, but more as a sprawling playground for pianistic invention and virtuosity, taking cues from the composer-pianist tradition Mozart helped to crystallize.
A few months earlier, I had discovered a curiosity while culling through my piano teacher Eleanor Hancock’s music library: two cadenzas for Mozart concerti written by Béla Bartók. The gestural language was generally Mozart-style, but some Bartókian harmonies and piano techniques crept in at the edges. The effect is almost vertiginous— the classical ornaments remain, but the structure is replaced with something bold and modern. The challenge for me was to achieve this effect over the course of an entire concerto.
The house style of “my” Mozart concerto results from several combined strategies. The left hand gets an extended catalogue of gestures (no more tasteful, 18th-century Alberti bass). It uses imitation, counter-melodies, and canonic interplay to participate in the musical drama of the right hand (sometimes even leaping above it in register). Harmonically, new chords both thicken and undermine the existing progressions, adding allusions to music after Mozart’s time (Beethoven, Schumann, Brahms, Prokofiev, Ives, Rachmaninoff, Stravinsky, and Bartók all make appearances). The result is an almost entirely new-sounding piece, which I hope will be an antidote to the studied blandness of most existing completions.
This accessible concert is a great opportunity to experience full classical!
Cañada College Main Theater
Saturday, July 25, 2026, 7:30 pm
4200 Farm Hill Blvd, Redwood City, CA 94061
Tickets In Advance
Adult $35
Senior: $30
Student $15
Kids under 18 free with an accompanying adult
Sergey Prokofiev - Overture on Hebrew Themes
Wolfgang Amadeus Mozart (arr. Timo Andres) - Reimagination of Piano Concerto No. 26 (“Coronation”) Featuring Louise Costigan-Kerns, piano. Bay Area Premiere
Ludwig van Beethoven - Symphony No. 1
The following program note is by Timo Andres, about his own re-composition of Mozart's 26th and penultimate piano concerto, the "Coronation," which Louise Costigan-Kerns is doing with us on July 25th. The work's premise reminds me of a similar piece we've done twice, Luciano Berio's marvelous re-composition of Schubert's incomplete Tenth Symphony, called Rendering, in which gaps in Schubert's notes are filled in with very 20th century music. The transformed Mozart concerto is a bit perplexing, with the wonderful balanced with the dubious. Read!
*********************************************************************
Notes by Timo Andres
Andrew Cyr gave me the idea to compose a new completion of the Coronation concerto. Mozart notated only a few sections of the left-hand part (intending to improvise it in performance) which I decided to replace entirely, in addition to writing new cadenzas. I approached the piece not from a scholarly or editorial perspective, but more as a sprawling playground for pianistic invention and virtuosity, taking cues from the composer-pianist tradition Mozart helped to crystallize.
A few months earlier, I had discovered a curiosity while culling through my piano teacher Eleanor Hancock’s music library: two cadenzas for Mozart concerti written by Béla Bartók. The gestural language was generally Mozart-style, but some Bartókian harmonies and piano techniques crept in at the edges. The effect is almost vertiginous— the classical ornaments remain, but the structure is replaced with something bold and modern. The challenge for me was to achieve this effect over the course of an entire concerto.
The house style of “my” Mozart concerto results from several combined strategies. The left hand gets an extended catalogue of gestures (no more tasteful, 18th-century Alberti bass). It uses imitation, counter-melodies, and canonic interplay to participate in the musical drama of the right hand (sometimes even leaping above it in register). Harmonically, new chords both thicken and undermine the existing progressions, adding allusions to music after Mozart’s time (Beethoven, Schumann, Brahms, Prokofiev, Ives, Rachmaninoff, Stravinsky, and Bartók all make appearances). The result is an almost entirely new-sounding piece, which I hope will be an antidote to the studied blandness of most existing completions.
Advertisement
Where is it happening?
4200 Farm Hill Blvd, Redwood City, CA 94061-1030, United States
Event Location & Nearby Stays:
Know what’s Happening Next — before everyone else does.
Host or PublisherRedwood Symphony
