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Home , Antonio Salieri, Der Rauchfangkehrer, Don Giovanni, Joseph Haydn, Leopold Mozart, Wolfgang Amadeus Mozart

January 15, 16, 2016

Antonio Salieri Italian born: August 18, 1750, Legnago; died: May 7, 1825, ,

Der Rauchfangkehrer (The Chimney-Sweep)

These are the first performances of this work on the Classics series; duration 3 minutes

Irony can indeed be poetic. It seems the world had altogether forgotten about the of until Hollywood released the popular movie . But we must add that, although the film was very successful, the caricatures of both Mozart and Salieri were extravagant and grossly unfair. In real life, it was Salieri who had enjoyed the greater stature in Vienna -- he had several wealthy benefactors, his were widely and often performed and the finest talents of the age became his pupils, including , Schubert, Liszt and Meyerbeer. In any case, while the film (like the original stage play) tried to make a goat out of Salieri, it generated a lot of commentary in his defense. As a happy consequence, some of his forgotten scores have found renewed presence on programs and recordings - All’s well that ends well. During his lifetime, Salieri’s popularity was due largely to the successes of his many comic operas ( buffa), of which (The Chimney-Sweep) of 1781 is typical. In keeping with the theater tradition of the time, the three-act ‘comedy in music’ carries a sub- title: The Indispensable Betrayers of Their Masters’ Self-interest. As the playful subtitle suggests, the opera is a spoof on the gross disparity between the upper and lower classes of society. The story in sum: Volpino, an Italian chimney-sweep and street singer, is engaged to Lisel, a servant in the house of the lovely widow Frau von Habicht and her debutante daughter. Both ladies are in an ardent search for a husband. With charming , Volpino gets both damsels to fall in love with him, knowing there are two noblemen who want to marry them. Volpino agrees to reject their advances for a fee, which the gentlemen gladly pay. It all ends happily as the noblemen marry the damsels and Volpino has a handsome dowry for his sweetheart, Lisel. For the opening curtain, Salieri composed a brief but concise Overture, with quick-step samples from the opera’s lively scenes. Sheer delight! ------

Franz Austrian composer born: March 31, 1732, Rohrau; died: May 31, 1809, Vienna

Overture to

These are the first performances of this work on the Classics series; duration 3 minutes

In 1516, Italian poet Ludovico Ariosto wrote his epic saga, . The narrative poem has inspired countless novels, paintings, plays and operas in myriad variations. Likewise, in 1782 completed his opera Orlando Paladino as a ‘serious comedy’ based on the original story in a by Nunziato Porta (the official poet of the Esterhazy court). The storyline in sum: the saga’s principal damsel, Angelica, is pursued by three suitors, Medoro, Rodamonte and Orlando, each wildly in love with her. After Angelica pledges her heart to Medoro, rejected and heartbroken, Orlando goes completely mad, very much in the extravagant manner of Cervantes’ (more humorous than tragic). Orlando’s devoted side-kick, Pasquale (very much like Don Quixote’s loyal Sancho Panza), finds a sorceress who brings Orlando back to peaceful reality, as the opera closes ‘happily ever after.’ Along the way, Haydn provides several droll and amusing scenes, e.g. when Pasquale shows off his ability to charm any woman with his singing and vocal mimics. For his new opera, Haydn was delighted to compose arias and interludes for humorous, theatrical effect. Set in B-flat major, the Overture offers a few samples of the tuneful spirit of the opera overall. The music begins with “les trois coups” -- ‘three knocks on the stage’ -- the historic device in European theater which informs the audience that a drama is about to begin. As an aside: we note that opera have at times emulated that same theater device at the beginning of an overture (e.g. Mozart, ; Verdi, La Forza del Destino). Haydn repeats the effect several times during the Overture, which features a sprightly tune derived from the opera’s happy final scene. For reference, the term ‘Paladino’ refers to any of the virtuous knights who served Charlemagne in his famous conquests during the years 775 through about 810 in the early Medieval Age. ------

Wolfgang Amadeus Mozart Austrian composer, and violinist born: January 27, 1756, ; died: December 5, 1791, Vienna

Sinfonia Concertante in E-flat major, for , and , K.364 Allegro maestoso Andante Presto

First Classics performance: January 17, 1937, with violinist Jan Wolanek and violist Ferdinand Ressel, conducted by Franco Autori; most recent performance: February 3, 2001, with violinist Pamela Frank and violist Alexander Simionescu, conducted by JoAnn Falletta; duration 30 minutes

“As a child and a boy you were serious rather than childish and when you sat at the clavier or were otherwise intent on music, no one dared to have the slightest jest with you. Why, even your expression was so solemn that, observing the early efflorescence of your talent and your ever grave and thoughtful little face, many discerning people of different countries sadly doubted whether your life would be long.”

Thus wrote Leopold, Mozart’s father, to his son in 1778 -- curious, indeed prophetic -- a sign of both the wunderkind’s extraordinary gifts and perhaps an alarm from a worrisome parent. In any case, by the time of the barely-noticed death of Wolfgang Amadeus at the age of 35, he had created the greatest body of masterworks the world may ever receive from a single individual. Virtually every genre was enriched by his prodigious pen: operas, , string and a great variety of other , , liturgical works, and . In all, 626 entries have been indexed by Kochel (e.g. K. 364 refers to the catalog number of the current work). Index numbers and dates notwithstanding, we only know for certain when Mozart put notes to paper, because his mind was apparently capable of storing volumes of work which had been conceived and worked-out perhaps even years before they were written down. We know of this likelihood because of passing remarks in his letters and the virtual absence of work sheets or edited manuscripts. The scores are all notated in ink -- no revisions, no corrections. Moreover, it is often noted that, regardless of the medium, Mozart always composed with his spirit in opera. Listeners often feel the same about for Violin and Viola, scored in 1779. The melodies and are so clearly defined and poised that one begs to know the scenario behind the magic. To this must be added that, among serious violinists and violists, no from the firmament of is more dearly regarded - sacred to many. Amen. The curtain opens brightly in E-flat major, with an Allegro introduction which indeed seems to suggest an opera overture. The pace is lithe and sparkling, including a sketch of the themes and moods to come, with conversant interplay between the various orchestral sections. One barely notices that the soloists have entered with a liquid phrase of descending octaves. But in a moment, it is clear that the violin and viola have captured the scene with roles as lyrical as they are virtuosic, including a splendid double . Set in , the Andante which follows is one of the most poignant and intimate in all of music -- a melody of Italian intonation, with undercurrents of darkly velvet , a vision from the edge of heartache. Music more lovely does not exist, including the exquisite dialog for the soloists just before the last bars. But then -- suddenly -- a bright and breezy tone overtakes the scene as the third movement Presto brings the spirit of a lighter/brighter day, back in Alpine- bright E-flat major. Here the tunes are playful, brushed with darting rhythms and teasing trills, full of scamper and dash, clear to the close which comes too soon. Magical. ------

Wolfgang Amadeus Mozart No.5 in B-flat major, K. 22 Allegro Andante Allegro molto

These are the first performances of this work on the Classics series; duration 9 minutes

Wolfgang Amadeus was just 8 years old when he composed his Symphony No. 5 in December of 1765. At the time, he was in Holland to perform at The Hague with his sister, Nannerl, during one of their well-known childhood tours. In particular, the work was written to demonstrate Wolfgang’s prodigious gifts for the many admirers who anticipated the arrival of the extraordinary siblings. Historians have uncovered hundreds of letters by those who witnessed the wunderkinds in , especially young Master Wolfgang. For example, although his child’s voice was high-timbered and frail, it was noted that he was able to sing any part, at sight, with absolute accuracy of rhythm and pitch. Moreover, listeners often flooded with tears when Wolfgang sat at the keyboard (early , , organ) and improvised on any given tune. With regard to Symphony No. 5, the work is written in the three-movement ‘Italian manner’ of the . The music begins in B-flat major, with joyful, breezy strings under an obligato in the featured horns, supported by a pair of and full strings. For his own youthful reference, Wolfgang had recently met Spandau, the famous Amsterdam hornist whose brilliant playing set new standards for the instrument. The second movement, Andante in , is like a poetic , offering sentiments far too mature for a child to know. The passing dissonances in the harmonic flow are exquisite, with a kinship to Mozart’s scores from the years near the end of his short life at age 35. Listeners remain in awe of such a heavenly gift trusted to the hands of Salzburg’s enfant cherie. Marked Allegro molto, the brief Finale harbors a big surprise (noted by historian Brigitte Massin). The opening motif, again in the high horns, is a signature moment for opera buffs: twenty years later, Mozart borrowed the phrase for the very beginning of the Final scene for Act II of ! The symphony ends all too soon with playful joy on the wing. ------

Wolfgang Amadeus Mozart

Symphony No.39 in E-flat major, K.543 Adagio; Allegro Andante con moto Menuetto; Allegretto Finale: Allegro

First Classics performance: December 5, 1935, conducted by Lajos Shuk; most recent performance: January 25, 2009, conducted by Andreas Delfs; duration 27 minutes

Nothing written about Wolfgang Amadeus Mozart will eclipse the story of how he composed his last three symphonies (Nos. 39, 40 and 41) during a six-week interval in the summer of 1788. In sum, they comprise a golden chain of 12 glorious movements, from start to finish; no sketches; in ink; no corrections; no revisions; no commissions or fees; no expected performances; composed for the sake of the music alone; placed on the storage shelf; never to be heard by their creator. For more than two centuries this achievement has bewildered legions of admiring scholars. The intellectual feat alone has bemused Mozart buffs to ponder if perhaps he always did the Sunday crossword puzzles in ink. But there is a catch here. It is known for certain that Wolfgang Amadeus possessed what we describe as a photographic memory, which explains in part how he could compose without making corrections. (Not even Beethoven nor anyone else would ever work like that again.) We may therefore infer that the act of composition was accomplished without pen in hand, which means it cannot be known for certain just ‘when’ his various works were conceived and completed. We only know when Mozart wrote out the ‘original’ scores. With regard to Symphony No. 39, it required no more than a week and a half for the piece to be scored in full. Upon completion Mozart wrote to his friend Michael Puchberg on June 27, 1788: “I have done more work here in ten days than in all of two months at my former residence, but everything would be much better if I did not have to constantly push away my depressing thoughts.”

Moreover, one can imagine the composer’s embarrassment when, in the same letter, he found it necessary to plead with his friend for a substantial loan. From this, one would hardly expect the by-product to be a joyful and brilliant symphony. But this is Mozart, and the modus is magic. English composer and historian Sir summed the work perfectly when he wrote: “Symphony No. 39 is the locus classicus for euphony.” K. 543 opens in the slow-intro manner of ‘Papa’ Haydn (who Mozart adored). The Adagio fills the air with long, full chords in episodes over probing strokes in the , a statement at first more searching than cheerful. But soon enough, Mozart’s spirit overcomes the momentary introspection as the music vaults into the carefree breezes of the Allegro. The Andante which follows in A-flat major is marked by themes traded between strings and winds, and Mozart takes quick liberty to score some lovely cascading phrases for the , and (the latter having been used throughout the score in place of oboes). Back in E-flat, the third movement Menuetto generates a lithe and tempered balance, with a few dance-like figurations featured again in the clarinets. The final Allegro, despite its feel, is actually set in a modest -allegro form. Joyful and happy, it swirls with dash and charm, with virtuoso flights in the replied by scampers in the breezy woodwinds - delightful through the snappy close. ------Program notes by Edward Yadzinski ------