Imagine all the pieces of music at one point, written in inspiration from all the glorious cities in the world. New York, London, Prague, Paris, Vienna, St. Petersburg...the list of amazing places in the world goes on, as does the amazing music written within each of these storied places.

This moves us to the penultimate installation of Symphonic Mozart. Mozart wrote two symphonies dedicated to a city that showed great inspiration and heart to him, the first one came in 1778, Symphony No.31 "Paris" in D Major, K.297 (300a) and the last one came eight years later in 1786 with the Symphony No.38 "Prague" in D Major, K.504

Both symphonies are considered two of Mozart's finest compositions in the genre and express a continuous lifetime of change for Mozart in the span between the two works. Both symphonies are roughly similar to each other, both contain three movements and are marked fast-slow-fast.

Paris

first movement performed by the Chapman Chamber Orchestra with Daniel Alfred Wachs

The symphony is scored for the large orchestras that were available to Mozart during his time in Paris: 2 flutes, 2 oboes, 2 clarinets (in A), 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

The first movement opens with a rising and accelerating D major scale in an effect known at the time as the Mannheim Rocket. An alternate version of the second movement exists.

"When Mozart Went to Paris" - A web page dedicated to this work featuring brief analysis and history behind the work.

Prague

second movement performed by the Czech Philharmonic Orchestra, conducted by Manfred Honeck

The career of Mozart in Vienna, was at times stressful on the composer as his works were often the subject of great acclaim, or great criticism. While his career was in such "up and down" status in Austria, he had a consistent crowd of devotees among the Bohemians. With a great number of people consistently dedicated to Mozart's work in Prague, he took it with such grace that he composed this symphony as well as the opera, Don Giovanni to Prague.

The second movement is a typical slow movement of Mozart's symphonic compositions of that time. While being consistent in structure, harmonically the movement is unstable but uses some polyphonic interchanges to subside that. The lack of clarinet in the score sees significant effects in this movement, although a significant usage of the flute and deep strings take the movement to another level.

The Prague Symphony has already been posted about, you can read here.

Well it was an interesting letdown having to scrap Mozart Month as none of it went as planned. So seeing as three installments of the Countdown of 100 Concertos were missed, those three will be added this week.

The Next 5: 84-80

84. Bruch Scottish Fantasy

second movement performed and conducted by Jascha Heifetz and the French National Orchestra

83. Bach Brandenburg Concerto No.6 in B-flat Major, BWV1051

Freiburg Baroque Orchestra performs the first movement

82. Mozart Oboe Concerto in C Major, K.314

Carlo Romano and the RAI National Symphony Orchestra perform the first movement

81. Telemann Concerto for Flute, Oboe d'amore and Viola d'amore

video of concerto unavailable on internet, enjoy Violin Concerto in G major instead

80. Mozart Horn Concerto No.1 in D Major, K.412

Radek Baborak performs with Daniel Barenboim conducting

I remember a time when I would shudder at the word Opera. It was a funny stage in my life when I wasn't sure about much but knew I loved piano music and Beethoven.

Opera still seemed as such a boring type of music, maybe it was to do with all the stereotypical TV shows I watched pitting opera as boring, and tiring. While I'll admit some operas still do that to me, especially if in a different tongue but in comparison, I once felt the same about the Symphony, so you can imagine the changes that occurred.

Appreciation for opera is still growing with me, the opera featured here is what sort of started that trend. Written in 1786, Le nozze di Figaro, K.492 (Translated as "The Marriage of Figaro" or "Day of Madness") is one of Mozart's most famous operas. It was based on a 1784 stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro.

The play itself was banned in Vienna because of its satire of the aristocracy but the opera has since become a pillar in Mozart's career and a cornerstone of the standard operatic repertoire as one of the most frequently performed operas today. In fact, the music faculty at my university last winter performed this work, it was an excellent production.

Scenes from the opera follow:

Cinque... dieci... venti... trenta...

First duetto between Susanna and Figaro in act one

Via, resti servita

Duetto from Act I between Susanna and Marcellina

Ah! Signor...signor

finale to Act II

Non piu andrai

Figaro's second aria

Non la trovo - Gente, gente all'armi

Final scene

Having seen this work in English makes it mildly more understandable compared to the Italian in the videos above, but the music still speaks for itself.

One could notice that every Symphony so far has chronologically advanced through Mozart's life. All of them have had a significant personal effect on Mozart's life and this weeks update continues the story.

Mozart's Symphony No.29 in A Major, K.201 comes at a time where historically, not a lot is known of his activity. After a burst in writing saw seven symphonies finished between 1772-73, Mozart receded for a while. He only composed three symphonies the next two years, of them the A Major, K.201 is probably the most remarkable. In that group as well was last week's feature, the 25th in G minor.

The Symphony is dated April 6, 1774, a date that to most musicologists stands as random as the day I posted this in comparison.

It is one of his more popular early symphonies and is possibly the best he composed until he reached his final group of five symphonies (36, 38, 39, 40 and 41). The symphony is characterized by Stanley Sadie as "a landmark ... personal in tone, indeed perhaps more individual in its combination of an intimate, chamber music style with a still fiery and impulsive manner."

1. Allegro moderato


2. Andante


3. Menuetto: Allegretto-Trio


4. Allegro con spirito


The opening Allegro is unusual among Mozart's symphonies for its inclusion of a quiet introduction; the forward drive of the main part of the movement is maintained by repeated note and tremolando figurations. Both the Andante and the Minuet which succeed it are characterized by the use of dotted-rhythms, which give the muted strings of the former a mood of dignified eloquence and the Minuet rare energy.

The final Allegro con spirito includes hunting-horn calls. Mozart's biographer Alfred Einstein described this finale as "…the richest and most dramatic Mozart had written up to this time." One might indeed go further and suggest that K. 201 is overall the finest symphony Mozart had yet composed. He obviously thought sufficiently highly of the work to continue using it in Vienna; it was one of four symphonies he requested his father Leopold to send to him after settling in the city.

Another iPod essential for Mozart lovers.

The videos feature ths UBS Verbier Festival Chamber Orchestra conducted by Maxim Vengerov at the BBC Proms 2006 at Royal Albert Hall, London.

Today's Mozart Masterclass features a piano concerto. I just couldn't go any longer without noting one of my favorites. Also it is in this week's 100 Concerto Countdown update but that hasn't been posted yet. Possibly tomorrow.

The work is Mozart's Piano Concerto No.9 “Jeunehomme” in E-flat Major, K.271. Mozart composed this concerto in 1777 whilst his stay in Salzburg. Though he was only 21 when the composition was completed, Mozart displayed great maturity and originality in the concerto, regarded by many as Mozart's first great masterpiece.

As we all know, many more followed.

The videos are of an incredible performance from Mitsuko Uchida and Jeffery Tate conducting the Mozarteum Orchestra in Salzburg, 1989.

1. Allegro


2. Andantino

Part One


Part Two

3. Rondo (Presto)


There is some speculation as to the origin of the "Jeunhomme" nickname the piece bears. It is often found that the composers themselves rarely name their pieces. To use as an example, it is probable that Mozart would have no clue what the "Jupiter" Symphony (No.41 in C Major, K.551) is.

Nicknames breed familiarity and popularity but it is seldom the wish of the composers, more often the publishers hoping to jolt sales with such a tactic.

The concerto, for the longest time was believed to have been composed for a Mlle. Jeunhomme, of whom very little is known including her first name. The little that is known about her has her as a French keyboard virtuoso who traveled to Salzburg in the Winter of 1777 and Mozart fell "in love" with.

There were always "loopholes" with this tag as scholars could not identify the woman for whom he actually wrote it for. In a recent journal, musicologist Michael Lorenz found reason to argue that the woman was actually Victoire Jenamy (1749-1812), a daughter of Jean-Gorges Noverre, a famous dancer who was one of Mozart's best friends.

For this some believe the concerto should be now known as the "Jenamy" Concerto rather than the "Jeunhomme." But for some that would be like trying to find a new nickname for Beethoven's "Emperor" Concerto or "Moonlight" sonata.

The result wouldn't be very promising. As always though, the music will never change and forever will be loved.

Today's post is about the best classical violin concerto ever written!

A concerto so simple and elegant it was the perfect composition in which Mozart finally achieved his full maturity. The Third Violin Concerto in G Major, K.216 was written in 1775 when he was only 19.

Gilles Apap performs and conducts Sinfonia Varsovia. The First movement follows below in addition to his own cadenza he wrote for the Third Movement.

First Movement


Cadenza from Third Movement

quite fantastic

The second movement holds its own distinct reputation as the sweetest and most lyrical of Mozart's concertos. The Adagio from the Clarinet Concerto could provide some competition in comparison. Christian Tetzlaff performs in the video below with Christoph von Dohnanyi and the Philharmonia Orchestra.

Second Movement

beautiful

Till next class

So last week went well with the Mozart posting, the nice effect of having a full time job had an influence in there.

I've combined both of last week's Tuesday/Thursday posts into one sort of "mega" post. As most of them corresponded with last week's "100 Concerto" post, which never got started either it kind of puts the rest of the Month and what I had planned in an awkward place. Oh well.

Today's post features four Mozart instrumental works. No piano posts??? I know it feels weird. Among them are three concertos for Oboe, Horn and Bassoon and a short work for flute and Orchestra (piano reduction in the video).

Oboe Concerto in C Major, K.314
There isn't a more widely known concerto for Oboists than the Mozart K.314 Concerto. It is one of the most celebrated concertos for the instrument. It was originally composed around 1777 for oboist Giuseppe Ferlendis.


Part 1 of 2, Heinz Hollinger (soloist) with the Lausanne Chamber Orchestra

Horn Concerto No.1 in D Major, K.412
Mozart wrote four concerti for horn and even though the D Major is labeled his first, it was actually the last of the group to be written in 1791. The work is in two movements compared to the other three which have three, and is notably simpler in range and technique in comparison. There is a rumor floating around that the second movement was completed by pupil Franz Xaver Süssmayr, after Mozart's death.


Radek Baborak performing with Daniel Barenboim conducting

Bassoon Concerto in B-flat Major, K.191
Another concerto where almost every serious bassoonist will perform this once in their career. Mozart wrote this when he was 18 in 1774 and it is believed he actually wrote three concertos for the Bassoon but only the B-flat work survived. The second movement is believed to have inspired the "Porgi, Amor" aria from The Marriage of Figaro.


Saxton Rose and the Puerto Rico Symphony Orchestra perform the 1st Movement

Andante for Flute and Orchestra in C Major, K.315

Composed in 1778 and was commissioned by Ferdinand De Jean as a possible replacement or alternative second movement for the Adagio ma non troppo from Mozart's Flute Concerto No.1, K.313.


Honk Kong Saxophonist/Flutist Zhang Zhi Yong(zhi) performing

Till next Class, hopefully Tomorrow!

Anybody who has ever seen Amadeus will immediately recognize this week's Mozart Symphony as the opening movement is played during the film's opening moments.

Mozart's Symphony No.25 in G Minor, K.183 is one of two symphonies that Mozart ever wrote in a minor key, ironically they are both in G minor. As the latter one is often his more famous one, his Symphony No.40, also known as the Great G Minor Symphony, the 25th Symphony often gets coined as the little G minor work.

It might be designated "little" but the symphony is far from that designation. It is noted for its impeccable Classical style construction and its flamboyant contrast of emotions contained herein. Chronologically Mozart was around the age of 17 when this symphony was composed.

With such a volume of work that Mozart produced, this Symphony is often overlooked. Any Mozart lover however will always have this one on their playlist. The first movement, although expressive, maintains a lightness in the sound. The orchestration in the second movement gives it a pastoral sound. The third movement opens with a unison melody which remains throughout its entirety. The finale gives you the feeling of being "rushed"...only in a good way.

A story exists that Mozart composed this work as well as the previous 24th Symphony in B flat Major just 2 days prior. Whether or not it is true that Mozart composed two Symphonies in a week has never been clearly ruled true, but with Mozart I wouldn't be surprised.

1. Allegro con brio


2. Andante


3. Menuetto


4. Allegro


This symphony is a must have for those who love Mozart.

The videos are of Karl Bohm with the Wiener/Vienna Philharmonic Orchestra.

I hear that if I ever want to see this group perform live, I should put my name on the reservation list now, it's a 16 year wait time for Weekend Concerts. I have a better chance at weekday concerts, it's only six years.

Alright so now that I have a full time job for the summer, lazing around the house playing on the gamecube and blogging just don't seem to be complete options anymore.

As a result, the first week of what I had planned for Mozart Month has been completely shot. The second Symphony update will come tomorrow at some time and I'll combine what I can of the two Masterclass Posts into one on Sunday as well as hopefully giving the next update of the 100 Concerto Countdown.

As for the Mozart history post that was supposed to come Monday. That probably won't happen as I have yet to start it and will move on to the one I had planned for this Monday.

BG

Mozart's name is reputable among the top level of composers to ever emerge from Western Music. If not recognized more for what intellect and development went into his works, it is perhaps the volume of work he created for his short lifespan of 35 years.

For Mozart and the Symphony, it began in 1765 when he was eight years old with his Symphony No.1 in E-flat Major, KV. 16. At this time in his life he was already notable in Europe as a wunderkind performer, in that he had shown dominating skills on the keyboard, but had composed little music.

1. Molto Allegro


The Symphony was written during his family's stay in Chelsea, London, where he was performing. The work shows the influence of several composers, including his father Leopold Mozart and the sons of Johann Sebastian Bach, especially Johann Christian Bach, an important early symphonist working in London whom Mozart had met during his time there.

2. Andante


The Symphony was still a young form of music beginning to mature when the First Symphony was written. It is written for two oboes, two horns and strings. It is laid out in a three-movement, quick-slow-quick form, reflecting the genre's origins in the Italian overture, and typical of the early Classical symphony.

3. Presto

The presto is perhaps, Mozart's shortest known for orchestra

The first movement of the symphony is a quick piece in something like the usual sonata form, though there is little development section to speak of. The second movement is slower, in C minor, with an almost constant accompaniment of sixteenth note triplets. The third is fast and lively, making great play of contrasts between quiet and loud passages, and parts played only by the violins and parts played by the entire orchestra.

The Symphony was a building block for Mozart. Like the ones we used to make three letter words out of in our youth (at least I did), the First Symphony contributed remarkable progress into Mozart's compositional career. It could be said that Mozart was still learning the basics of music, as his father pointed out that young Wolfgang used three parallel fifths in this symphony.

The videos feature a group known as The English Concert directed by Trevor Pinock.

The first "Masterclass" features the String Quintet in B-flat Major, K.174 and perhaps the most famous of all Mozart Concertos, the Clarinet Concerto in A Major, K.622

The String Quintet was written in December of 1773. Like all of Mozart's string quintets, the ensemble features 2 violins, 2 violas and a cello. The work followed a few months after Mozart had composed his Vienna String Quartets K. 168-173.

One observer noted: If the obvious influence on Mozart's Quartet writing was Joseph Haydn, the most likely model for the quintets is Joseph's younger brother - and Mozart's Salzburg colleage - Michael Haydn.

The First, Third and Fourth movements follow below and is performed by the Grumiaux Ensemble.

1. Allegro Moderato


3. Menuetto ma allegretto (autograph)


4. Allegro



The Clarinet Concerto in A Major, K.622 was one of Mozart's last works, and his last instrumental one as he died in the December following its completion. The concerto is frequently described as "autumnal" due to the Lyrical Adagio and the emotive passages in minor keys in the outer movements. It is without a doubt the second movement for which this concerto is most famous, if perhaps only allowing people to recognize Mozart as the composer, the same occurs with Eine Kleine Nachtmusic and parts of his Requiem Mass in D minor.

The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part).

The concerto was given its premiere by Anton Stadler in Prague on October 16, 1791. The famous second is below and the third movement can be seen here:

2. Adagio


The concerto is performed by Carelys Carreras, (Cuba) with the Vienna Philharmonic Women's Orchestra conducted by Izabella Shareyko.

Till next Class, enjoy.

Well it's the First of May! Making that the first day of what will be a month of Mozart related videos, topics and everything of sorts in the posts until May 31.

This is still a rather experimental thing. It is a bit easier as I have most of the month already planned out, it's the nerd in me I swear. So it will make the process of blogging the next month a bit less hectic. The videos I've already gone through and selected but I have yet to start researching the Monday posts, including the upcoming one.

Maybe a little pressure will make me do it, now that I also have a summer job? Who knows.

Here's how the Month will work, to the best of my ability:

Sundays and/or Mondays: In the Pursuit of Amadeus...Something related about or to Mozart that provides historical perspective and context on his works.

Tuesdays & Thursdays: Mozart Masterclass...Videos and/or recordings of various Mozart works not limited to just the piano as before.

Fridays/Saturdays: Symphonic MozartThe Symphonies of Mozart profiled.

Hope whoever reads it, enjoys it!