Symphony No. 35 (Mozart)

[1] Not only was he teaching, but he also had to rearrange the score of his opera Die Entführung aus dem Serail before July 28.

In addition to these demands, his proposed marriage to Constanze Weber was threatened by a number of complications, including moving to a house on the Hohe Brücke in Vienna.

According to historical evidence, it is quite possible that Mozart did not actually meet his father's deadline to have the music completed by Sigmund Haffner's ennoblement.

After asking his father to send the score of the serenade back again, Mozart was amazed at its quality, given the fact that it was composed in so short a time.

Mozart also gave the Haffner Symphony a fuller sound by adding two flutes and two clarinets to the woodwind section of the first and last movements.

[8][9] At the concert, Mozart opened matters with the first three movements of this symphony, the aria "Se il padre perdei" from Idomeneo (described in his letter to his father of March 29 that year as his Munich opera), piano concerto no.

The symphony is scored for two flutes, two oboes, two clarinets in A, two bassoons, two horns in D and G, two trumpets in D, timpani, and strings.

The exposition begins with a fake slow-introduction with all instruments in unison, until the rhythm of the 4th bar reveals the quick tempo of the movement.

This goes against the standard sonata form convention of the day, but is something that he also does in the three big symphonies which precede the Haffner (Nos.

A string of consecutive dominant sevenths (bars 119–128) then returns the music to D major to begin the recapitulation.

The G major second movement provides a welcome relief with its slow, graceful melodies announced by the woodwind section.

The brief, chorale-like passage which replaces the development is clearly punctuated by the use of syncopated accompaniment by the violins and violas.

One may notice when listening to this movement the constant tug between two main chords – the tonic and dominant keys.

According to Steinberg,[22] and Ledbetter,[23] this "Presto" movement not only bears a similar atmosphere to the overture to Le nozze di Figaro, but also provides a reminiscence of Osmin's comic aria "O wie will ich triumphieren" from Die Entführung aus dem Serail.

When providing his father, Leopold, with performance instructions for the "Presto", his advice was that this movement should be played "as fast as possible".

[24] Although the "Presto" begins at a quiet, brisk pace, the listener is immediately arrested by three beats of silence, followed by the full orchestra performing at a clear forte level in bar 9.

Permeated with silences, rapid dynamic shifts, and a bright grace note passage near the closing of the movement, one may expect the unexpected.

Karl Böhm's acclaimed 1960 recording with the Berlin Philharmonic (Deutsche Grammophon 00289 477 6134), by contrast, runs 17:47.