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Program Notes
PENNSYLVANIA SINFONIA ORCHESTRA
“An Afternoon with Mozart” March 5, 2017
Mozart (1756-1791): Symphony No. 1 in E Flat Major, K. 16
Mozart was a mere eight years old when the first symphony was composed in 1764. It was written in London while
the family, Leopold (father), Nannerl (sister), and Wolfgang were on their first Grand Tour. The tour began in 1763
in Bohemia and after Paris and performing for King Louis XV reached London, where they were received by King
George III on the 27th of April and 17th of May. Wolfgang presented and performed many of his own
compositions on the harpsichord and pipe organ. The reception has been characterized as “friendly.” Further
concerts followed in February of 1765. Wolfgang was tested by the philosopher Daines Barrington, who in 1769
furnished a report on Mozart to the Royal Society; the following “his execution was amazing, considering that his
little fingers could scarcely reach a fifth on the harpsichord, . . . he had a thorough knowledge of the fundamental
principles of composition . . . he was a great master of modulation (changing from one harmonic key to another)
and his transitions . . . were excessively natural and judicious.” The tour continued through France and into Italy
before, after many interruptions for recovery from numerous serious illnesses, reached home in Salzburg in late
1766.
Accounts of Mozart’s early stylistic developments often fail to take into account the lack of sufficient evidence for
or against Mozart’s authorship. In the case of the symphonies, this is especially apparent in the works composed
up to about 1771. His earliest works in the genre, composed before 1767, are based on models he encountered
on the Grand Tour. All are in three movements, lacking a minuet and trio, and are scored for two oboes, two horns
and strings. The first movements are in expanded binary (two part) form, in common meter (4/4) and have tempos
indicated as allegro, allegro molto, or allegro assai. Second movements, are also in binary form, 2/4 meter, marked
andante. The concluding fast movements are generally in rondo form and marked allegro, allegro assai, or presto
with 3/8 meter signatures. For the most part, these works show a remarkable grasp of the principles of J.C. Bach’s
symphonic style including dramatic contrasts and cantabile second subjects. The Symphony No. 1, K. 16 is scored
for two oboes, two horns and strings.
Dr. Edwin Schatkowski
Mozart: Serenade No. 6 in D Major, K. 239, “Serenata Notturna”
The Serenata Notturna, written in 1776 (presumably for Carnival), is an unusual work in many ways. The structure,
which begins with a march, cues the listener to expect the unusual. Also, we hear the timpani here used in a rather
comical way as a solo instrument rather than the usual support for the trumpets. The juxtaposition of two groups
(a quartet of strings including the bass against the rest of the strings without bass) adds both an elegance and a
jocular atmosphere. Both sections of the second movement (Menuetto) repeatedly use the short-long (Lombard)
rhythm, which gives the movement a quaint and appealing color. The final Rondo is a real romp, with a country
dance flavor with all the revelry implied.
Dr. Allan Birney
Mozart: Adagio in E for violin and orchestra, K. 261
Rondo in C for violin and orchestra, K. 373
These two works are related to each other by their connection to the Italian violinist Antonio Brunetti (1735-86)
who was also employed by the Prince Archbishop of Salzburg. Mozart composed for him a number of works but
held him personally in low esteem, referring to him in letters as being “ill bred and coarse and dirty” to the whole
orchestra (the Salzburg court band).
The Adagio in E K. 261, a movement for Violin Concerto No. 5 in A, K. 219, was composed in Salzburg in 1776 for
Brunetti. As a member of the archbishop's musical staff, Mozart composed church music, the primary duty of all
the archbishop's composers, but with little enthusiasm. His output between 1775 and '77 was meagre when
compared with Joseph Michael Haydn, the court composer. Instead Mozart established himself as the chief
composer in Salzburg of instrumental and secular music. Four violin concertos, four keyboard concertos,
serenades and numerous divertimenti all date from this time. Matters came to a head in the summer of 1777. In
August Mozart petitioned the archbishop for release from employment and Colloredo responded by dismissing
both father, Leopold, and son.
The Rondo in C for Violin and Orchestra, K. 373 (1781) was written during the period of Mozart's success, in
Munich, with the opera Die Entfuhrung aus dem Serail, (first performed in Vienna at the Berg Theatre 16 July 1782).
Mozart, summoned by Prince Archbishop Colloredo to Vienna for the investiture of Emperor Joseph II, was finally
permanently released from the archbishop's service, in Mozart's words, “with 'a kick in the pants.” In June 1781,
Mozart began his residence in Vienna. While still in the employ of the archbishop, Mozart was engaged to present
a concert with Brunetti, at the home of Colloredo's father, including a new Rondo, a separate piece for violin and
orchestra. It was an allegretto grazioso movement, a work of much charm, built around the soloist, but with a
quiet ending.
Dr. Edwin Schatkowski
Mozart: Symphony No. 41 in C, K. 551 “Jupiter”
This work is best known as the “Jupiter” Symphony. The origin of the nickname which, for once, is apt, is quite
unknown, but it is certain that the work was nameless as long as Mozart was alive. It is speculated that the official
christening of this symphony as “Jupiter” took place at a concert of the Royal Philharmonic Orchestra of London
on March 26, 1821; that the name was concocted by the English pianist and publisher J. B. Cramer to describe the
godlike perfection of the music. In the first movement, the first subject is stated with a pomp of trumpets and
drums that makes the nicknamed reference to the king of the gods not inappropriate.
The instrumentation of the “Jupiter” is remarkable for the absence of clarinets; originally, the score of the G minor
Symphony No. 40, K. 550 was without clarinets also. The first theme of the first movement is made up partly of
vigorous chords and partly of a soft answer in the strings. It is the opening strong figure, however, that is worked
up with immense power before the delicate second theme emerges gracefully in the strings. The development,
which begins with a change of key, is more in the dramatic vein of the opening chords than in the gentle character
of the second theme. The principal melody of the beautiful slow movement is heard in muted strings. A theme for
bassoon provides a transition to the second wonderful melody of this movement, in the oboes.
The minuet that follows is in the spirit of the eighteenth century, the graceful and flowing theme being given by
the first violins. The trio contains a delightful dialogue between wind instruments and strings and previews the
main theme of the finale. The finale, Molto Allegro, is the crown of the symphony. With phenomenal contrapuntal
skill and fugal writing, Mozart here fills the form with radiance, eloquence and power while building a structure of
cathedral grandeur—a truly final manifestation of symphonic genius and mastery.
David M. Greene (1999)