Program Notes

From the Nov. 22 Playbill, Avery Fisher hall, Lincoln Center, for the cadenza Sortomme wrote on commission by New York Philharmonic principal French horn Philip Myers

“When Phil Myers asked me to compose a cadenza for his Mozart French horn concerto performances my joy led me immediately to the most important question of the commission: in what style and which tonal world should this cadenza live? Phil knows my compositions well, and he gave me total freedom to compose in the style that is true to myself. So the task began, firstly by weaving in and out of Mozart’s world. (I tried not to dwell inordinately long on that humbling thought.) I suggested adding instruments to create a ‘mini sinfonia concertante’ interjection. I mentioned viola; Phil suggested two French horns. Next it was on to thematic material. I focused on fragments from the first movement. Phil said he had always thought of introducing small and veiled quotes from the second and third movements. Done. We had our instrumental palette and a plan. What you will hear incorporates all of this, and a bit more.”