Mozart - Rondo For Piano In A Minor K. 511

As if Mozart's documented abilities as a musician were not enough, there have been all manner of astounding attributes and feats concocted about him through the years. For example, there has been much made of Mozart's methods of composing, that he made no sketches but composed works in his head and when he put pen to paper wrote them out complete. Modern research has discovered that Mozart indeed make sketches of works in progress. There is also evidence that he composed with the assistance of a keyboard, contrary to what has been written for years.

But as myths continue to be perpetuated by some, the pendulum seldom stays exclusively on one side. Some now err on the opposite side by saying that Mozart was nothing but a slight musical talent, a hack that stole music from his contemporaries. There is enough existing proof to debunk such nonsense, but the opinion persists, specifically with an author that has written an article titled Exploding The Myth Of Mozart. I offer no link, nor do I deem it necessary to include the author's name. A quick Internet search will bring up the article, if anyone wants to see it for themselves. Evidently the same author has promised a book on the subject for quite a few years, but there is no sign it will ever be published.  Extreme views, whether on the side of turning Mozart into a God or a dunce, do nothing but create confusion, lies and nonsense.

And in the end, does it matter? Whether he used a keyboard to compose or not, whether he worked out his compositions on paper or not doesn't matter.  It is the legacy of his music that matters, and over 200 years after his death, Mozart's music is still being played and enjoyed.

Musicologists suggest that Mozart was most famous during his life as an improviser. The art of improvisation in Mozart's time was used as a measurement of the abilities of a musician. Many of the composers of the 18th and 19th centuries were also masters of improvising at the keyboard.  With Mozart's documented abilities in improvisation at the keyboard, it is no wonder that many of his compositions were for solo keyboard or included the keyboard in the ensemble. He was evidently a composer that thought musically through his fingers.

The Rondo In A Minor was the third and last Mozart wrote for solo piano. It was written in 1787, apparently not as a commissioned work.  Mozart wrote many short stand alone pieces for keyboard throughout his life, but this rondo is rather long (about ten minutes) compared to others he wrote. Mozart made more instruction to the performer in the way of dynamic and phrasing marks than usual, so perhaps this piece was written for a student. The rondo is in a melancholy mood that is lightened by the major mode in the episode sections, and Mozart varies the rondo theme slightly each time it returns.  It resembles the slower rondos of C.P.E. Bach in its ornamentation and style, and Mozart does not resolve minor key to major key in the ending, but ends the piece in the hushed home key of A minor. Mozart

Mozart - Sonata For Piano And Violin In E Minor K.304

Mozart had traveled extensively in Europe as a child prodigy, and after visiting many of the capitals of 18th century Europe between the years 1762 to 1773, he settled into a position as court musician at Salzburg. His low wages and discontent at the court prompted him (with full encouragement from his father Leopold) to travel to other areas and look for a new position.

He resigned his position at court and began a trip with his mother in September of 1777. He traveled to Mannheim, Paris and Munich and on this trip he met many other musicians and continued to compose. The trip didn't end up with any new employment, and added to that disappointment was the death of his mother in Paris in 1778.  While he was on this trip he composed seven Sonatas For Keyboard And Violin as well as other music. Six of these sonatas were published in Paris in 1778.

There was once the thought that this sonata in E minor was written after his mother had died, but there is no evidence for that. Out of 36 Sonatas For Keyboard And Violin, it is the only one written in a minor key and the only instrumental work that Mozart ever wrote in E minor. The title of all of Mozart's works in this genre is a reflection of the era in which they were written. These were essentially keyboard sonatas with violin accompaniment, but Mozart and other composers were changing the genre so that the violin was more of an equal participant. The Sonata For Piano And Violin In E Minor is in two movements:

I. Allegro -  Evidence of the equal partnership between keyboard and violin begins straight away with the first theme played in unison by both instruments:

The second dotted rhythm theme delves into G major, but the exposition is dominated by the first theme. The short development section is also concerned with the first theme. The recapitulation has the second theme modulate to the minor, and after a short coda the movement ends.

II. Tempo di minuetto - This movement also begins in E minor and makes excursions into other major keys. But it returns to the contemplative and graceful minuet melody. The middle section is music in the calming key of E major. The plaintive minuet returns and with a short coda the sonata is brought to a close.

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Mozart - Symphony No. 39 in E-flat Major K. 543

Research has shown that Mozart composed more than the 41 symphonies that have been traditionally attributed to him. There is no definite number that has been agreed upon, but it is over fifty. In 1788 from July until September, Mozart composed what is traditionally known as his final three symphonies, numbers; 39, 40 and 41, and for identification sake, it helps to think of them with those numbers, even if they're not accurate.

All three are more difficult than his previous symphonies as his style was getting more refined and his mode of expression was growing. It is hard to believe, but these three later symphonies must have been more difficult for performers and listeners alike because of their departure from conventions of the time. All three were longer than the usual symphony, just one aspect that made them the precursor of the mighty set of symphonies Beethoven was to write in his career.

I. Adagio - Allegro -  This the only mature symphony of Mozart's that does not include oboes. This gives the clarinets much more responsibility and contributes to the sound of this symphony overall. The symphony begins with a lengthy introduction, something that was rare with Mozart.

The double-dotted rhythm gives an air of majesty to the opening. It slowly moves its way until the first hesitating notes of the first theme are heard. It rapidly coalesces into the full theme. The music proceeds into the second theme group that maintains an air of majesty with a handful of motives. This enrichment of the second theme group gives Mozart more to expand upon in the development section. The exposition is repeated.

II. Andante con moto -  In A-flat major, the movement begins in the strings in a persistent dotted rhythm.

The woodwinds enter in a new section that is more energetic and dips into the minor mode. The dotted rhythm shows up throughout the movement in different instruments as transitions are made into different material. The orchestra takes a casual stroll through the movement until the A-flat major chord.

III. Menuetto - The minuet as Mozart and Haydn wrote it in their later symphonies was not the genteel, feminine dance of the Baroque era, but the forerunner of the orchestral scherzo, rhythmic and a little more rustic.

The trio shows how the clarinets make up for the lack of oboes as the melody is played by one at the top of its register while the second plays and accompaniment in its lower register.

IV. Allegro - A finale that is somewhat of a rarity for Mozart, in that the emphasis is on the main theme heard from the beginning of the movement in the violins.

The theme is subject for discussion within the orchestra, but it always returns unscathed. The Haydnesque theme does go through a dramatic phase during the development section, but it soon returns to its rapidly bright mood and ends the symphony abruptly.

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Mozart - Piano Quartet No. 2 In E-flat Major K.493

A piano quartet is any composition that is for piano and three other instruments. There have been various combinations of instruments and the piano, but the standard instrumentation is that of one violin, one viola, one cello, and piano.

As with most forms of chamber music, the piano quartet naturally evolved from sonatas for one or more instruments with a figured bass accompaniment. The first quartets with keyboard were no doubt played on the harpsichord, but in the latter part of the 18th century the added means of expression that the piano had relegated the harpsichord to disuse. So it is not any coincidence that Mozart was the first composer of high standing that composed for the piano and string trio, as he much preferred the piano.

Mozart didn't come to the form willy-nilly. His incentive to write in the form was monetary as it came as a commission to write three works for the new and novel ensemble. His first effort was the Piano Quartet In G Minor K. 478. Tradition has it that the publisher was dissatisfied with the difficulty and mood of the work and withdrew his commission. Whether that story is apocryphal or not, Mozart followed up with another piano quartet shortly after that. Both quartets were written between 1785-1786, and the form has seen many other composers turn to it since.

Mozart hit the pinnacle of his success as a composer and pianist around this time, and both of his piano quartets are as miniature piano concertos in style and three-movement form.

I. Allegro -  Mozart's first piano quartet is in the key of G minor, a key that Mozart reserved for his most passionate music. In contrast, this E-flat quartet is of a more lyrical style. But it too has its passions. The opening section sounds like the beginning of a concerto as strings and piano combine. Soon the strings separate from the piano as a wealth of themes and motives spill out into the music. Where other composers may have two or three themes in a sonata exposition, Mozart has many. His melodic gift is incredible. There has been two schools of thought on observing the repeats of an exposition. Some say take them, some say not. With Mozart for me, it is not an option. There are so many themes that I want to have a chance to hear them again before he starts to change them. And change them he does, in the development section. It is always interesting which motive he chooses to elaborate on. The recapitulation also contains some elaborations on themes as well as key changes. The viola, reported to be Mozart's choice of strings to play, has more to say in the recapitulation as well. The movement ends in a rousing short coda.

II. Larghetto - The second movement is in A-flat major, and begins with a short solo for piano. As in the first movement, the piano part is mostly a simple melodic treble with a thinly scored bass. This movement is also in sonata form. The strings provide most of the accompaniment for the lightly decorated piano part. This sweet song winds down in a short coda that ends with a delicate run for the piano.

III. Allegretto - The piano begins the rondo finale with the strings soon having their say. The mood remains of purity as the music returns to the opening rondo theme (which itself is changed here and there) after each varying episode. As with the other two movements, the music of the finale is classical chamber music at its best by one of the masters of the Classical era. Piano and strings have one last discussion about the rondo theme before the movement ends.

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Mozart - String Quintet No. 4 In G Minor K.516

A string quintet ensemble is usually made up of a string quartet; two violins, viola and cello, with the addition of another cello or viola.  On occasion a double bass may be one of the extra instruments. The two string quintets Mozart wrote in 1787 have an additional viola added, because reportedly Mozart's favorite stringed instrument to play was the viola.

The pair of quintets are a study in contrast, as the one in C major is of a decidedly more sunny disposition than the one on G minor, a key that seems to be Mozart's key of passion and deep feeling. He wrote the pair of quintets around the time of the composition of his opera Don Giovanni, as well as the final illness of his father.

I. Allegro - The movement begins straight away with a hushed, agitated theme played in the first violin to an accompaniment from the second violin and first viola:

This theme is traded between violin and viola, and is transformed into the second theme, which begins in G minor but shifts to B-flat major. Lesser motives are heard, but the minor mode lurks throughout the exposition. The development section begins with the first theme. It moves from instrument to instrument as the section remains for the most part in the minor mode. The recapitulation has both themes repeated in G minor, The conventions of the time more often as not would have called for the movement to end in the major mode, but Mozart keeps the music solidly in G minor all the way to the end.

II. Menuetto: Allegretto -  The second movement minuet is far removed from the original courtly dance. It is in G minor, and is punctuated by two loud chords heard on the 3rd beat of the 4th and 6th bar:

The trio is in G major, but still has a shade of melancholy over it.

III. Adagio ma non troppo - Played with mutes on all five instruments throughout its length, the third movement is in E-flat major. Mozart's chromatic transition to the second theme in B-flat minor is taken up again as this minor key theme transforms into B-flat major and is repeated. The music delves back into despair once more before the sweetness of E-flat major brings the movement to a close.

IV.  Adagio - Allegro - Mozart begins the final movement in the darkness of G minor once again. But after the music shifts tempo, key to G major in 6/8 time,  The preceding dark movements are balanced out by this rondo, as is in full keeping with the music aesthetic of the Classical era. 

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Mozart - Fantasia In D Minor For Piano

For any piece of music, there is only so much that can be notated on the page. It is of course the same way with language in a stage play. Stage direction can take it only so far, and to merely recite the words without the proper inflection or emotion would make for a pretty boring evening at the theater or concert hall. Of course that's where the skill, art and experience of the interpreter or performer of a piece comes into play. Within the directions given by the author or composer there exists an interpretive leeway that can make or break a performance.

There has been a slow and steady trend in music by composers to be very specific as to their intentions. Whether this is an all together good thing or not depends on the music in question and of course the listener's taste. But the music of history could be very sparse as to performing directions. Even the most basic tempo directions can be very sparse in the music of Bach. And here is one of the mysteries of Mozart's Fantasia in D Minor; It has very little performing directions outside of tempo indications, and the last ten bars are missing. Mozart evidently never got around to writing out the ending of the work or to notate more detailed dynamics or phrasing. Scholars believe that someone else besides Mozart wrote the last few bars of the work. 

The piece has three unbarred cadenzas, numerous fermatas, and changes tempo often. The name Fantasia does mean a certain amount of freedom in performance, and with the lack of direction in the piece it assures a variety of performances will happen. And they have. But to the player that is also a scholar, there are indications as to a proper performance by the time period it was written in, the composer who wrote it, and the traditions of the time.

The circumstances that have made freedom of expression so prevalent for this piece have also added to the degree of difficulty of it. If the performer doesn't have the ability to blend the sections into a whole, the seams can be heard and it becomes a string of loosely connected musical ideas that no matter how attractive some of them may be by themselves, the overall piece will suffer from sectionalization. The notes themselves are not difficult. Bringing them together and making music with them is. But that can be said for many of Mozart's works. But this particular piece is somewhat of an enigma, and remains an interpretive challenge for any pianist who chooses to tackle it.

For a more in depth analysis of the piece, I recommend the essay: W. A. Mozart: Fantasia in D minor for Piano - Paradoxes of Style and Interpretation or Fantasies about the Fantasia;by Sophia Gorlin. The essay can be found at her website.

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Mozart - Serenade No. 10 In B-flat Major 'Gran Partita' K. 361/370a

The Serenade in Mozart's time was a multi-movement work that could be written for any combination of instruments, although the majority of them written in that era were for wind instruments. They usually had more than four movements and were lighter music used for dinner parties, weddings, etc.  Serenades were very popular in the middle and late 18th century (along with the similar Divertimento) with Haydn and Mozart writing a large number of them.

The Serenade No. 10 was probably written in 1781-1782. It is written for 12 wind instruments; pairs of oboes, clarinets,  Basset horns, bassoons, four French horns and string bass or contra-bassoon. The music is typical Mozart. Brimming over with memorable melodies and ideas that make this Serenade one of Mozart's most popular.  Mozart's skill at composing for wind instruments has no better example than this Serenade. The subtitle Gran Partita was a later addition to the front cover of the autograph, but it was not in Mozart's hand, and no one knows who wrote it. A partita is nothing more than a name for a set of musical pieces. The work is in seven movements:

I. Largo- Molto Allegro - The movement begins with a short introduction that soons breaks into the allegro of the movement. This movement is an example of sonata form that utilizes only one main theme instead of the usual two or more. The theme is in B-flat major and after it is transposed to F major and modified it returns and serves as a second theme. The development continues to expand on this theme until the recapitulation begins. The theme is heard in its original guise and this time the theme is modified as before but it remains in the tonic of B-flat major.

II. Menuetto - This minuet differs from others Mozart wrote in that there are two trio sections, the first trio is in E-flat major, the second in G minor. The minuet itself is in B-flat major. The form of the movment is minuet -trio I - minuet - trio II - minuet.

III. Adagio - A gentle song played to a syncopated accompaniment. 

IV. Menuetto - Allegretto - Similar in construction to the first minuet as it also has two trios, the first in B-flat minor, the second in F major. 

V. Romanze - Adagio - Another gentle movment that provides contrast in the outer sections, but it contains a robust section that is in the minor and played allegretto. After the adagio section is played the second time there is a short coda.

VI. Tema con variazioni -  A set of six variations on a theme:

Theme - A solo clarinet plays the theme which is in B-flat major.

Variation 1 - The next variation has the oboe play the theme in triplets. 

Variation 2 - Clarinets and bassoon play the theme initially, other instruments take up parts of it.

Variation 3 - A different sonority as the theme is played by the ensemble with different accompaniments.

Variation 4 - This is the only variation to deviate from the home key of B-flat major as it is in B-flat minor.
Variation 5 - The music moves back to B-flat major as the tempo slows to adagio. There is a section where the oboe plays a variant of the theme while the clarinets and basset horns quietly play an accompaniment of arppegiated chords while the horns and bassoons play long notes. The effect is one of a gentle, throbbing accompaniment to a most beautiful oboe tune.

Variation 6 - The tempo quickens to allegretto and the time signature changes to three in a bar in this perky ending. 

VII. Finale - Molto Allegro - Instruments interplay while the bassoon adds some humorous notes to this rondo. 

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Mozart - Piano Concerto No. 23 In A Major K.488

Mozart wrote 23 original works for piano and orchestra, and the usual number of 27 includes the first 4 concertos that were arrangements by him of other composer’s music.  Mozart’s later concertos show how he overcame the problem of balancing a soloist’s material with an orchestra, and in the process he changed the genre and became the creator of a new type of concerto.

The years 1784-1786 saw Mozart gaining most of his living through performances of his music, especially the piano concertos. During this three-year period, he wrote 12 piano concertos, with the 23^rd being written in 1786. That is amazing enough, but he also kept on writing other works as well as preparing the premiere of his opera La Nozze di Figaro.

The concerts that featured the concertos were held in various locations around Vienna, with larger areas being preferred (more ticket sales).  The orchestration of the concertos reflects how Mozart took into consideration the size of the venue. The 23^rd concerto shows a reduction in forces, possibly for a smaller concert site:  one flute, two clarinets, two bassoons, two horns, soloist and strings.  It is the first major orchestral work that omits oboes entirely and replaces them with clarinets. No timpani or trumpets add to the lighter texture of the orchestra.

I. Allegro - As is customary in most of the Mozart concertos, a double exposition begins the movement with the first theme stated by the strings, and then by the woodwinds. The full orchestra plays a short development of this theme until a second theme enters. The second theme is graceful, and moves gently downward.  The winds take up the theme, and afterwards there is a tense section in a minor key that leads this somewhat brief first part of the exposition to the entrance of the soloist.

The soloist begins the second half of the double exposition by taking up the first theme, and expanding and decorating it while the orchestra accompanies.  The second theme is treated likewise until a third theme not heard in the beginning is played in the strings. The piano plays a decorated version of this theme.

The development section deals with the third theme with tonalities in major as well as minor. The development section is relatively short, and the recapitulation begins with the first theme in the home key.  The second theme is restated, and after the third theme makes an appearance the orchestra come to a pause for the soloist’s cadenza, written by Mozart and included in the score.   After the brilliant cadenza, the orchestra gently chugs to a close in the home key.

II. Adagio - Written in the key of F-sharp minor, this movement is unique to all the concertos as it is the only one written in that key. The piano begins by playing a gently rocking, melancholy theme. The orchestra comments upon it, and then the soloist expands on it. A short exchange with the orchestra and soloist switches keys from E major to B major, before a middle section emerges in the key of A major. This gives slight relief of the sadness as the piano resumes the main theme. The orchestra and piano slowly move through the secondary material until a coda is reached. With violas and basses playing pizzicato and the violins filling in off the beat, the piano plays a simple addition until the movement quietly ends in F-sharp minor. 

III. Allegro assai - Whatever sadness afflicts the 2^nd movement is swept away with the finale. The piano enters with a bouncy theme, just one of the many episodes in this movement that are exchanged between piano and orchestra.  An episode of mention has the piano play up the A major scale and triad as the 1^st and 2^nd violins along with the violas play chords pizzicato. The orchestra ends the movement in the home key and a concerto filled with Mozartean tunes and themes.

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Mozart - Piano Concerto No. 20 In D Minor K. 466

The world of modern classical music can never know how it was years ago when there was less of a distinction in public music. To be sure, there were innovations and fads as well as each era having its own ‘hits’ in the arts. Mozart himself was a popular performer and composer, at least in the realm of Vienna. His operas were popular, with arias from them becoming popular even with people that did not attend the opera, for a good tune then was just as appealing as it is now. He composed piano music, and chamber music for the playing enjoyment of amateur musicians as well. But it was the piano concerto that Mozart used for showcasing his own performing skills. 

The first 4 of the numbered 27 concertos are arrangements for orchestra and keyboard of other composer’s works. These as well as the next 6 concertos were written while he was in Salzburg. When he moved to Vienna, the writing and performing of his piano concertos contributed much to his making his living as a freelance musician. He commented upon his the first three concertos he wrote in Vienna in a letter to his father in 1782: 

These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which the connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.... In order to win applause one must write stuff which is so inane that a coachman could sing it, or so unintelligible that it pleases precisely because no sensible man can understand it.

 Clearly the concertos were written first and foremost to be pleasing to the public, and they were. Mozart held subscription concerts where he played them. As he was busy with other things as well, sometimes the music was written down at the last moment, at least the orchestral parts. Mozart saved time by not writing down the solo part, and played it from memory. For these concerts, Mozart sold the tickets, hired the musicians for the orchestra, and even had his piano moved from his apartment to the concert venue. There was time for only a hasty rehearsal, if there was one at all, and Mozart conducted from the keyboard. Musicologists believe that he must have filled in the harmonies at the keyboard when he was otherwise not playing to make up for any deficiencies in the orchestra due to lack of rehearsal or personnel. 

I. Allegro - Piano Concerto No. 20 is the first piano concerto Mozart wrote in a minor key. Beethoven admired the work, and kept it in his repertoire and wrote cadenzas for it. The romantic era went for the dramatic and passionate in music, and much of Mozart’s music was neglected. This concerto is an exception. 

It was his most popular work. And it isn’t a mystery why, as the movement begins quietly in the strings with the chord of D minor in a syncopated rhythm that adds a sense of tension. The music builds until the rapid motive that was played by the basses ascends to the violins as the 2nd violins and violas add more weight with tremolos as the winds fill out the harmony. A second theme appears in the woodwinds but is soon taken over by the initial theme. The piano enters with a solo passage that leads up to the first theme being passed from strings to piano as it is elaborated on. The second theme makes a brief appearance and leads to a new theme in F major. This theme is also elaborated upon until the piano repeats its lead in theme that signals the beginning of the development section. 

The lead-in theme plays against the opening dramatic string syncopations, and then the orchestra has a dramatic exchange that leads to the beginning of the recapitulation. The piano engages the orchestra in the change within the repeats of elements in the beginning of the movement. There are no seams that show in this movement. The various themes and motives are discernable, but blend together into a whole that not only makes musical sense, but profound musical sense.

The music gives room for the customary cadenza; the one by Beethoven is played in the performance linked. This gives an opportunity to hear one master commenting on another’s work. After the cadenza, the orchestra has the final word as the movement comes to a quietly dramatic close. 

II. Romanze - The movement begins with the solo piano playing a gracefully decorated melody in B-flat major. The music continues in a gentle and calm mood, until a middle section in G minor that gets louder and faster. After the middle section’s passionate outbursts, the music returns to the melody in B-flat major and calmly makes its way to a peaceful close. 

III. Rondo: Allegro assai - The movement begins with the piano playing an ascending figure in D minor, known as a Mannheim rocket. The music restless and makes use of the syncopated rhythm in the strings of the first movement. The movement keeps the tension from going too far by insertions of other motives and keys in more quiet music. The cadenza is reached, and then the piano gets more optimistic as it shifts to the key of D major. The concerto has gone from the darkness of D minor to the light of D major, and ends in that bright key. 

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Mozart - Symphony No. 41 In C Major, K. 551

Such was the impression that Mozart's 41'st symphony made on 18th century and early 19th century listeners, that the symphony was given the nickname 'Jupiter'. Jupiter is the largest planet in our solar system, and is the Roman equivalent of the Greek god Zeus, the god of lightning and storms.

And it is a large work in every way. It is the longest symphony Mozart wrote, and pushes at the edges of the Classical era envelope of expression, skirting ever so closely to the approaching new era of Romanticism.  The three final symphonies are a trilogy, where No. 39 is firmly rooted in the Classical era but shows flashes of expanding the style of expression, while No. 40 bounces against convention in its more outward flashes of emotion, content, and key. No. 41 is the all-around grandest of them all, and continues to attract listeners after over 200 years. 

As large and grand as it is, Mozart did not include clarinets, nor did he write a revision with them included as he did for symphony No. 40.

I. Allegro vivace - Mozart does away with any kind of introduction and jumps right into the first theme group that begins loudly and with an upward figure drenched in C major. Two bars of more quiet music immediately answer this, and then the first two measures are heard again, this time in G major. The music continues in dotted rhythmic fanfares in the woodwinds and horns, with the 1st violins sketching out the harmony while the 2nd violins and violas play rapid downward runs. There is nothing harmonically that is daring in the first few bars. Rather, it is the tried and true chord progression of tonic, dominant seventh, subdominant, in this case C major, G dominant 7th, F major. But this beginning proves that a skilled and gifted composer can make a simple chord progression sound exciting.

The two motives are developed in the next section, which leads to the second theme group, which is begun quietly in the key of G major. There is a section in C minor that is in contrast to what has proceeded, after which the music flows back into the fanfare dotted rhythms. There is a third theme to be heard, then the fanfares return and the exposition is repeated.

The music shifts to E-flat major at the beginning of the development section, and parts of the third theme are developed until Mozart pulls a little bit of a trick on the listener. The opening theme is heard softly, as an anticipation of the recapitulation, but the fanfares come back and are expanded until the true recapitulation begins with the usual changing of keys of the second theme group along with some small development. The movement ends with a final fanfare.

II. Andante cantabile - The strings are muted in this movement, a type of extended song form.

The music begins in F major. An episode follows in snatches of F minor and C minor. The first theme returns with a more decorated accompaniment. This movement is in sonata form, so Mozart inserts a repeat sign that is not always adhered to in modern performances. This movement has some of the most beautiful music Mozart ever wrote, along with some emotionally more acute sections.

III. Menuetto: Allegretto -  Another Mozart menuetto that has little resemblance to the French dance. It resembles a Ländler, and has its chromatic moments as much of late Mozart does. 

It goes stomping on its merry way until the trio. The first part of the trio is gentle in character, while the second part is in a minor key and more forceful. In the beginning of the second part of the trio, the first four notes in the flute, oboe, bassoon, and violin contain what will become a prominent theme of the upcoming final movement.

IV. Molto allegro -  The finale begins with the theme that was foreshadowed in the trio of the previous movement.

This theme proceeds until another theme is heard. After that, the first theme is fugally developed. There are a total of five primary themes in this movement. They enter alone, sometimes in counterpoint to another; sometimes each theme is treated fugally by itself.  There is ready evidence that Mozart was flexing his compositional muscle with this movement, but the most astounding is yet to come.  Just before the end of the symphony, there is a coda that includes all five of the primary themes played together, each one a voice in a 5-part fugue.

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Mozart - Symphony No. 40 In G Minor, K. 550

Not all composers keep a record of when a composition was written, but Mozart kept a catalog of his compositions, so we do know that his final three symphonies were composed over the summer of 1788.  Musicologists have disagreed whether any of the last three symphonies were performed in Mozart's time, but in the case of the 40th Symphony, it exists in two versions. The original with no clarinets, and the revision with clarinets added. It's improbable that Mozart would have revised the symphony without a performance of the original version. 

Mozart was fond of the clarinet, but at the time it hadn't become a permanent member of the orchestra. That began to change in the 1780's. Mozart had a great understanding of wind instruments and their possibilities. With its large range of notes, flexible dynamic range, and different tone colors, the clarinet became a valuable member of the orchestra in a short time.  

Mozart used the key of G minor in isolated instances in many works, but based only four major compositions on that key; String Quintet No. 4  K.516,  Piano Quartet No. 1 K.478, Symphony No. 25 K.183/173db, and Symphony No. 40. It is a key that depicts sadness, tragedy, sometimes even rage, in Mozart's music.

I. Molto allegro - The symphony begins with the disquieting murmur of the violas playing an accompaniment three quarters of a bar before the theme itself begins. The theme is a simple one of slurred eighth notes and quarter notes that sigh out the theme with an occasional louder outburst. The second theme is chromatic in nature, but is rooted in the key of B-flat major.

The first theme is heard again, and is shortly developed into the key of B-flat major, and the exposition is repeated.  The development begins strangely in the key of F-sharp, and snippets of the first theme go through numerous transformations of key and sections of intensity alternating with sections of quiet tension. The recapitulation has the return of the first theme in G minor, and a longer section that segues to the second theme, this time played in the home key of G minor. A coda includes a rising, syncopated section that leads to the final statement of part of the first theme, and the closing chord in G minor. 

II. Andante -  The movement is in E-flat major, and begins with a lyrical theme that weaves its way contrapuntally through the orchestra. It is written in sonata form and has a chromatic character to the music similar to the first movement. There is an increase in volume and tension in the development section. The recapitulation plays through the music until the music ends calmly.

III.  Menuetto - Allegretto - The key of G minor returns with the next movement. Although marked a 'menuetto', it bears no resemblance to the refined dance. It is gruff, off the beat accented music that begins with two irregular three-bar phrases. This music also has a fair amount of chromaticism going on, which in this case adds to the terseness.

 The trio is in marked contrast, and has a dialogue between strings and winds, in the key of G major.

IV. Finale - Allegro assai -  The finale begins with a Mannheim rocket in the first violins. This quiet snippet is followed by a louder answer in the orchestra. 

The theme alternates from piano statement to forte answer, until a section of running eighth notes leads to the second theme in B-flat major which leads to the exposition being repeated. 

The lead-in to the development is an astounding eight bars of music that begins with the Mannheim rocket in B-flat major that suddenly loses all sense of key. In 1788, Mozart wrote a section of music that carries on the chromaticism of the 3 previous movements to the ultimate extreme as all the notes but one of the chromatic scale are played over 4 octaves in unison by the full orchestra.

The only note left out of this tonal and rhythmic chaos is G natural, as if to disorient the listener even more by denying the sounding of the tonic note. The development continues with chromaticism that must have been alarming to listeners at the time. The music turns borderline violent as themes are stated against each other in counterpoint, when suddenly the first theme returns with the recapitulation. The second theme appears in G minor, and running eighth notes keep up the severity until the closing G minor chord. 

Mozart 

Mozart - Piano Sonata No. 14 In C Minor K.457

The last ten years of Mozart's life were spent in Vienna as a free-lance composer. He supported himself by teaching as well as composing. He wrote the last six of his piano sonata while in Vienna, and the piano sonata in C minor was dedicated to one of his students, Therese von Trattner, whose husband was a publisher in Vienna and Mozart's landlord.

Mozart's Piano Sonata No. 14 In C Minor is one of two sonatas in a minor key (the other being the Piano Sonata No. 8 In A Minor K.310/300d).

I. Molto allegro -  The sonata begins with the bare notes of a broken C minor chord in an upward direction, the first theme:

This was a device made popular by the orchestra in Mannheim, Germany, in the middle of the 18th century. This orchestra was highly disciplined and played music by composers such as Johann Stamitz and others that used new and novel effects such as extended crescendos, tremolos, and rapidly rising melodies. Mozart's opening of the sonata is an example of one of those rising motives that was called a Mannheim rocket.  Beethoven knew Mozart's music very well from his early days in Bonn where he played some of the piano music as well as the viola in the court opera orchestra in Mozart's operas. Musicologists have thought Beethoven used this sonata as a model for his own Piano Sonata No. 8 in C minor due to similarities in key, structure and intensity. The second theme of the movement is in the relative key of E-flat major. The exposition is repeated. The short development section uses parts of the two themes in the keys of C major, F minor, and G minor before the recapitulation returns to the home key of C minor. Both themes are played in the home key. An agitated coda brings the movement to a close.

II. Adagio - The  slow movement is in E-flat major:

The first section has the initial theme played through twice, with the second hearing being more decorated.  The second section has a different theme that is played through twice with transitional material that leads back to the initial theme that is repeated in an even more decorated form. A coda finishes out the movement.

III.  Allegro assai -  Mozart changes the usual final movement of a sonata from fast and light to more serious and tense:

The first theme is in two distinct parts; the first part is quiet and creates an undercurrent of tension with the right hand having the first and third beats of the measure tied across the bar line. The second part of the theme i8s louder and with more passion. The second subject is in the major and is accompanied by an Alberti bass.  The middle section is a short episode that leads back to the second theme that ushers back the first theme. A coda consists of material from the short episode and the movement ends in C minor. 

Mozart

Mozart - String Quartet No. 15 in D Minor, K. 421

M

Joseph Haydn was not the first composer to write for two violins, viola and cello, but he did develop the ensemble into a form that has engaged many composers from his time to the present. His 68 string quartets show an unending imagination and creativity. They became the standard to which all other string quartets were judged by.

Mozart's first of 26 string quartets was written in 1770 when he was 14 years of age. As his experience and expertise grew, his quartets began to be inspired by those of Haydn. From 1782-1784 Mozart wrote a set of six string quartets that was dedicated to Haydn. They were published in Vienna in 1785 as Mozart's opus 10, and carried the following dedication from Mozart to Haydn:

To my dear friend Haydn:   A father who had resolved to send his children out into the great world took it to be his duty to confide them to the protection and guidance of a very celebrated Man, especially when the latter by good fortune was at the same time his best Friend. Here they are then, O great Man and dearest Friend, these six children of mine. They are, it is true, the fruit of a long and laborious endeavor, yet the hope inspired in me by several Friends that it may be at least partly compensated encourages me, and I flatter myself that this offspring will serve to afford me solace one day. You, yourself, dearest friend, told me of your satisfaction with them during your last Visit to this Capital. It is this indulgence above all which urges me to commend them to you and encourages me to hope that they will not seem to you altogether unworthy of your favour. May it therefore please you to receive them kindly and to be their Father, Guide and Friend! From this moment I resign to you all my rights in them, begging you however to look indulgently upon the defects which the partiality of a Father's eye may have concealed from me, and in spite of them to continue in your generous Friendship for him who so greatly values it, in expectation of which I am, with all of my Heart, my dearest Friend, your most Sincere Friend,     W.A. Mozart

Haydn himself began the tradition of releasing string quartets in sets of six, which was also followed by Beethoven with his first six quartets. There was usually one quartet in a set that was in a minor key, and Mozart's 15th string quartet, the second one of opus 10,is in the key of D minor. It consists of 4 movements:

I. Allegro moderato - Each of the 6 quartets dedicated to Haydn are individual works in character and spirit, with this one being defined to a great extent by its D minor tonality. The first movement begins with a theme in the first violin with an octave drop on the home note of D:

Mozart seldom has only two contrasting themes in his sonata form developments. Such is his gift of melody, he uses what is called theme groups, and the contrast can come between these groups. Minor and major keys are juxtaposed and create a variety of emotion and tension in the exposition, and are expanded naturally in the development section, in some sections contrapuntally. The recapitulation emphasizes minor over major, and some of the brightness of the second theme group has been darkened as a result. The movement ends in D minor.

II. Andante -  The first movement goes from dark to light and back to dark again, and despite being in the key of F major, the second movement is not all sunshine. The music doesn't flow as smoothly, and seems a tad disjointed. The middle section is in the minor, and the mood turns accordingly. But it is a brief time before the music turns back to the mood of the beginning of the movement.

III. Menuetto: Allegretto - The third movement returns to D minor in a rather serious minuet punctuated by chromaticism:

The trio is in D major, and is in stark contrast to the minuet in the delicacy of the theme played in the first violin to pizzicato accompaniment. When the minuet returns, it sounds even more stark after the gentle trio.

IV. Allegretto ma non troppo -  The final movement is a set of variations on a theme in 6/8 time. Only one variation, the last one, is in a different key from the tonic. This final variation is in D major, and gives a little bit of solace before the sadness returns in a coda that adds intensity and drama to the theme. At the very last, the music shifts to D major and ends with a picardy third, which oddly enough adds a feeling of irony and resignation instead of brightness.

Mozart - Two Lieder For Soprano And Piano

The lieder of  Mozart, Haydn, and other composers of the 18th and early 19th centuries were generally strophic songs that were not considered serious compositions, but were meant for the domestic consumption of amateur singers and musicians. That doesn't mean that there weren't fine examples of early German lieder. Beethoven especially set the stage for the development of the German art song as practiced by Schubert. And an early composer such as Mozart was capable of writing fine music in any form he chose, including lieder.

Song of Separation  (Das Lied der Trennung) K 519

The Song of Separation was written to a poem by Klamer Eberhard Karl Schmidt, a lawyer and minor poet. The song was written in 1787, right around the same time as the composition of the opera Don Giovanni.  The music of this song is in C minor, and a work in a minor key is usually an indication of a more serious work by Mozart. The words deal with the familiar lost love subject, but Mozart gives an emotional and passionate setting to the words. Most of the song is written in the usual strophic form but there is a section in the song that is through-composed, after which the song returns to the strophic melody of the beginning.

God's angels weep
when lovers part.
O maiden,
how will I be able to live without you?
A stranger to all joys,
henceforth I shall live to suffer.
And you? And you?
Perhaps Louisa will forget me for ever!
Perhaps she will forget me for ever!

I cannot forget her;
everywhere I am plagued by her hands

Klamer Eberhard Karl Schmidt

pressing mine lovingly.
I tremble to take hold of her
and find myself abandoned.
And you? And you?
Perhaps Louisa will forget me for ever!
Perhaps she will forget me for ever!

I cannot forget her;
my heart, wounded by her,
seems to sigh and ask me:
"O friend, remember me!"
Oh I will remember you
until I am lowered into my grave.
And you? And you?
Perhaps Louisa will forget me for ever!
Perhaps she will forget me for ever!

Oblivion steals in hours
what love takes years to confer.
As a hand can turn,
so hearts may change.
The new attentions of others
have banished my image from her mind.
O God! Perhaps Louisa will forget me for ever!
Ah, think of our parting!
May this tearless silence,
may this rising and falling
of the heart oppress you
like a powerful spectre,
should you ever love someone else.
If you should ever forget me,
for get God and yourself.

Ah, think of our parting!
Let this memorial,
imprinted on my lips by our kisses,
judge both you and me!
With this reminder on my lips
I shall come to the witching hour
and present myself with a warning,
if Louisa should forget me,
if she should forget me.

To Chloë  K 524

The style and feeling of this lied is more in keeping with a love song, but Mozart does put his own special feeling into the text with his music. The poem is by Johann Georg Jacobi, a poet whose works were looked down upon by the intellectuals of the time. He was appointed to the University of Freiburg as a professor of letters in 1784, and when he died in 1814 his funeral was attended by many dignataries, citizens and students.

When love shines out
from your bright blue eyes

Johann Georg Jacobi

I gaze into them
and my heart pounds and glows.

I hold you close to me
and kiss your warm red cheeks.
Sweet girl, I hold you
trembling in my arms.

Dear girl, dear girl,
I hold you close to me,
and not until the last moment
can death separate us.

A dark cloud casts a shadow
over my enchanted gaze
and I sit next to you,
exhausted but contented.

Mozart