The oeuvre of Haydn and Mozart is inexhaustible, so new symphonies and concertos will be added to the BFO series.
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Last event date: Sunday, January 21 2024 3:30PM
Program
Wolfgang Amadeus Mozart: Symphony No. 16 in C major, K. 128
Joseph Haydn: Concerto for Cello and Orchestra No. 2, Hob. VIIb:2
Symphony No. 20 in C major, Hob. I:20
Wolfgang Amadeus Mozart: Symphony No. 35 in D major (“Haffner”), K. 385
Kian Soltani, cello
Conductor: Gérard Korsten
Austrian music from an Austrian conductor and soloist: like shoes from the shoe shop. The oeuvre of Haydn and Mozart is inexhaustible, so new symphonies and concertos will be added to the BFO series. This time the orchestra is conducted by Gérard Korsten, who, according to the Telegraph's journalist, spins and strikes like a fencer on the podium, and the orchestra perfectly takes up his speed. The concert opens with the sixteen-year-old Mozart's symphony, followed by a cello concerto, a rare genre for the time. The soloist in Haydn's piece is Kian Soltani, who has Persian ancestry and is described by a Washington Post reviewer as "the orchestra follows him like a court of lights following a candle flame". After the interval, a bright and mischievous work by the father of the symphony, followed by Mozart's symphony transformed from a serenade.
During his travels in Italy, Mozart's music was affected by many Italian influences, but on his return to Salzburg he began to shed these elements. His Symphony No. 16 was also composed at this time. The first movement, reminiscent of the sound of C. Ph. E. Bach, immediately catches the ear: the triad theme confuses the listener's sense of pulsation. After the movement, which wanders into bold sonorities, comes a slow gavotte using only strings; the three-movement work concludes with a graceful, sometimes fiery rondo.
Although he was not a virtuoso player, Haydn had an excellent sense of the instrument's characteristics. We only need to look at the Cello Concerto in D major: the soloist exploits the instrument's potential with double stops, octaves, violin heights and running up and down the fingerboard. The word that could best be used to describe the work is "leisure": Haydn gives an unusual but welcome amount of space and time to the themes of the opening movement, the dreaming of the slow movement or the unfolding of the finale, which is both pastoral and virtuoso.
Haydn sneaked a touch of mischief into many his symphonies. In the case of his Symphony in C major, it is a trick of form: both sections of the two-part finale are types of miniature sonata. Of course, this is a special joy that only the most trained ears will detect and appreciate; the composer did this mostly to entertain himself. We might well highlight the gallant style of the menuet with the trumpet and violin taking center stage, the Mozartian expressiveness of the slow movement, or the bright glamour of the opening movement, enhanced by brass.
Mozart was very busy in Vienna when he received a letter from his father: a member of the Haffner family was to receive a noble charter, and as they had liked Mozart's wedding serenade six years earlier, they wanted to celebrate with his music again. Mozart reused this new serenade as a symphony six months later, after some reworking and the omission of a few movements. With an opening movement completely devoid of drama, a light andante, a fanfare-like minuet and a finale that demands the "fastest possible" playing, there is no denying that it was once a serenade.
The world-famous Dutch harpsichordist, organist and conductor Ton Koopman, one of the most significant representatives of the international practice of the historically informed performance of early music, turns 80 this October.
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