Above the Staff Vol. 2009 No.3 Did you know: The first performance of Schubert ‘s 9th Symphony, 10 years after his death, was conducted by Felix Mendelssohn. Stravinsky’s Concerto "Dumbarton Oaks" was commissioned by Robert Woods Bliss. Mrs. Bliss’s family fortune had come from investing in the patent medicine, Fletcher's Castoria, the phenomenal success of which made them very wealthy indeed.

Second Concert: July 7, 2009
Mozart, Schubert, Stravinsky

The 2009 Festival’s second concert presents three masterpieces one each from the 18th , 19th & 20th centuries. Although Beethoven is not on the program, his presence is felt in each piece. Mozart’s Piano Concerto No 24, was thought by Beethoven to be Mozart’s greatest piano concerto. One of only two concertos in a minor key, it is the only one to use both oboes and clarinets.

Franz Schubert

Schubert's Symphony No 9, "The Great" was written in Schubert's last year, 1828. It was thought at the time to be too long and difficult and had to wait a decade for its first public performance. When Robert Schumann heard it, he praised its "heavenly length" and claimed it the greatest instrumental work since the death of Beethoven." The Coda is immense, extending over some 180 bars. It is a most exhilarating musical experience: one hundred and eighty bars in which the thematic, key, harmonic and rhythmic essences of this masterpiece coalesce.

Pool at Dumbarton Oaks	Igor Stravinsky

On the other hand, Stravinsky's chamber concerto, Dumbarton Oaks, his last piece written in Europe, is 12 minutes of virtuosic contrapuntal music based on Bach’s Brandenburg concerto's and is representative of Stravinsky's neoclassical period.

Stephen Kovacevich, Fire-Breathing Virtuoso

BFOM Spring Auction Coming Soon! The 2009 Auction promises great fun, great prizes and great opportunities to support the festival. Friday, April 24, 2009 Lakeway Inn

Finally, Bellingham will be able to hear first hand this internationally renowned pianist whose acclaimed performances are known for their creative intensity. The Classical Source hailed his recording as "an unflinching, sometime combative view of a titanic masterpiece and a version to be spoken of with the same breath as those of Brendel, Gilels and Pollini." Don’t’ miss this opportunity to hear his “profoundly personal response to the music.”