program Musical Analysis I. Allegro aperto — Although the opening movement is in traditional sonata form, Mozart offers many inventive touches that vary the basic structure. The opening, ascending motif, played by the orchestra, turns out not to be the main theme, but merely its accompaniment! The soloist enters with a reflective Adagio episode before launching into the Allegro presentation of the various themes. The brief development journeys into the minor, but the recapitulation and solo cadenza recapture the high spirits with which the movement began. II. Adagio — When one listens to the seamless flow of this gorgeous Adagio, it is remarkable to contemplate that, according to Leopold Mozart, Antonio Brunetti found it “too studied.” Wolfgang accommodated Brunetti by composing the Adagio in E Major, K. 261. Mozart himself preferred this original Adagio. Cast in A—B—A form, the movement is based upon the extended, graceful melody introduced first by the orchestra and then repeated, to sighing accompaniment, by the soloist. The melancholy, central “B” section provides contrast prior to the reprise of the Adagio’s opening portion, the soloist’s cadenza and the orchestra’s final bars. III. Rondeau. Tempo di Menuetto — The Rondo finale begins with the soloist’s presentation of the principal theme, cast in the form of an elegant minuet. The theme returns with great frequency, alternating with spirited, contrasting episodes. Most conspicuous is a lengthy Allegro set in duple meter, that makes use of the “Turkish” effects popular in Mozart’s day. Here, Mozart incorporates stark, percussive music that appeared in a ballet, Le gelosie del serraglio (1772), and used as an entr’acte for his opera of the same year, Lucio Silla. The Rondo concludes with a return to the principal minuet theme, and the simplest but most striking of effects; a series of five ascending grace notes, played by the soloist.
Serenade No. 12 in C minor, K. 388 (384a) (1782) The Serenade in C minor is scored for two oboes, two clarinets, two bassoons and two horns. Approximate performance time is twenty-four minutes. These are the first ASO Classical Subscription Performances.
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ozart expressed his singular musical genius in a remarkably wide range of forms and styles. In addition to his mastery of concert music, both instrumental and vocal, Mozart was a prolific composer of “occasional” pieces — works intended as background entertainment for social and political functions.
One might be tempted to assume that Mozart approached his “occasional” music with less seriousness of purpose than his concert works. In fact, these pieces display incredible variety, invention and substance. Perhaps Mozart took heed of the advice offered by his father, Leopold, who wrote that “(w)hat is slight can still be great if it is written in a natural, flowing and easy style — and at the same time bears the mark of sound composition.” Atlanta’s Performing Arts Publication 23