classical

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Wolfgang Amadeus Mozart's String Quartet No. 17 in B-flat major, K. 458, nicknamed "The Hunt", is the fourth of the Quartets dedicated to Haydn. It was completed in 1784. It is in four movements:

Allegro vivace assai
Menuetto and Trio. Moderato
Adagio, in E-flat major
Allegro assai

Neither Mozart nor Artaria called this piece "The Hunt." "For Mozart's contemporaries, the first movement of K.458 evidently evoked the 'chasse' topic, the main components of which were a 6/8 time signature (sometimes featuring a strong upbeat) and triadic melodies based largely around tonic and dominant chords (doubtless stemming from the physical limitations of the actual hunting horns to notes of the harmonic series)."According to Irving, Mozart's first intention was to conclude with a polonaise and sketched 65 bars (p. 17).

Its popularity is reflected in its use in various films, such as The Adventures of Huckleberry Finn, Mystery Date, The Royal Tenenbaums and Star Trek: Insurrection.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Mozart - The Essential Collection

Spotify

Quartet No. 17 in B-Flat Major, L. 458 "The Hunt": III. Adagio

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Audius

Quartet No. 17 in B-Flat Major, L. 458 "The Hunt": I. Allegro Vivace Assai

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Wolfgang Amadeus Mozart's String Quartet No. 15 in D minor, K. 421/417b is the second of the Quartets dedicated to Haydn and the only one of the set in a minor key. Though undated in the autograph, it is believed to have been completed in 1783, while his wife Constanze Mozart was in labour with her first child Raimund.

Constanze stated that the rising string figures in the second movement corresponded to her cries from the other room. 

It is in four movements:

Allegro moderato
Andante (F major)
Menuetto and Trio (the latter in D major). Allegretto
Allegretto ma non troppo

The first movement is characterized by a sharp contrast between the aperiodicity of the first subject group, characterized by Arnold Schoenberg as "prose-like," and the "wholly periodic" second subject group.In the Andante and the Minuet, "normal expectations of phraseology are confounded."

The main part of the Minuet is in minuet sonata form, while "the contrasting major-mode Trio ... is ... almost embarrassingly lightweight on its own ... [but] makes a wonderful foil to the darker character of the Minuet."The last movement is a set of variations.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Amazon

Quartet No. 15 in D-Minor, K. 421: III. Menuetto, Allegro

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Wolfgang Amadeus Mozart's String Quartet No. 15 in D minor, K. 421/417b is the second of the Quartets dedicated to Haydn and the only one of the set in a minor key. 

Though undated in the autograph, it is believed to have been completed in 1783, while his wife Constanze Mozart was in labour with her first child Raimund. Constanze stated that the rising string figures in the second movement corresponded to her cries from the other room. 

It is in four movements:

Allegro moderato
Andante (F major)
Menuetto and Trio (the latter in D major). Allegretto
Allegretto ma non troppo

The first movement is characterized by a sharp contrast between the aperiodicity of the first subject group, characterized by Arnold Schoenberg as "prose-like," and the "wholly periodic" second subject group. In the Andante and the Minuet, "normal expectations of phraseology are confounded."

The main part of the Minuet is in minuet sonata form,[ while "the contrasting major-mode Trio ... is ... almost embarrassingly lightweight on its own ... [but] makes a wonderful foil to the darker character of the Minuet."The last movement is a set of variations.

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http://www.mndigital.com/content-experience/music_content/albums/378851987/Wolfgang_Amadeus_Mozart/Mozart_The_Essential_Collection/

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Tidal

Quartet No. 15 in D-Minor, K. 421: I. Allegro Moderato

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The Piano Sonata No. 12 in F major by Wolfgang Amadeus Mozart, K. 332/300k, was written at the same time as the Piano Sonata, K. 330 and Piano Sonata, K. 331 (Alla turca), Mozart numbering them as a set from one to three. They were once believed to have been written in the late 1770s in Paris, but it is now thought more likely that they date from 1783, by which time Mozart had moved to Vienna.

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Some believe, however that Mozart wrote this and the other sonatas during a summer 1783 visit to Salzburg made for the purpose of introducing his wife, Constanze to his father, Leopold. All three sonatas were published in Vienna in 1784.

Adagio - The second movement is a slow movement in the key of B flat major with two halves repeated. In the autograph, the second half is essentially a repeat of its initial presentation with some minor tonal adjustments. In the earliest printed editions, however, it is considerably elaborated.

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http://www.mndigital.com/content-experience/music_content/albums/378851987/Wolfgang_Amadeus_Mozart/Mozart_The_Essential_Collection/

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Piano Sonata No.12 in F-Major, K. 332: II. Adagio

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Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. It was the last symphony that he composed, and also the longest.

The work is nicknamed the Jupiter Symphony. This name stems not from Mozart but rather was likely coined by the impresario Johann Peter Salomon in an early arrangement for piano.

The four movements are arranged in the traditional symphonic form of the Classical era:

Allegro vivace, 4/4
Andante cantabile, 3/4 in F major
Menuetto: Allegretto - Trio, 3/4
Molto allegro, 2/2

The symphony typically has a duration of about 33 minutes.

The third movement, a Menuetto marked allegretto is similar to a Ländler, a popular Austrian folk dance form. Midway through the movement there is a chromatic progression in which sparse imitative textures are presented by the woodwinds (bars 43 to 51) before the full orchestra returns. 

In the trio section of the movement, the four-note figure that will form the main theme of the last movement appears prominently (bars 68 to 71), but on the seventh degree of the scale rather than the first, and in a minor key rather than a major, giving it a very different character.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Mozart - Symphonies, Sonatas, Serenades, Concertos & Overtures

Symphony No. 41 in C-Major, K. 551: ‘Jupiter’ III. Menuetto, Allegretto

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Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only extant minor key symphonies Mozart wrote.

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

Molto allegro, 2/2
Andante in E-flat major, 6/8
Menuetto. Allegretto – Trio, 3/4
Finale. Allegro assai, 2/2

Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form.

The first movement begins darkly, not with its first theme but with accompaniment, played by the lower strings with divided violas. The technique of beginning a work with an accompaniment figure was later used by Mozart in his last piano concerto (KV. 595) and later became a favourite of the Romantics.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.40 in G-Minor, K. 550: ‘Great’ I. Molto Allegro

Napster

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The Symphony No. 36 in C major, K. 425, (known as the Linz Symphony) was written by Wolfgang Amadeus Mozart during a stopover in the Austrian town of Linz on his and his wife's way back home to Vienna from Salzburg in late 1783.

The entire symphony was written in four days to accommodate the local count's announcement, upon hearing of the Mozarts' arrival in Linz, of a concert. The première in Linz took place on 4 November 1783. 

The composition was also premièred in Vienna on 1 April 1784.The autograph score of the "Linz Symphony" was not preserved.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No. 36 in C-Major, K. 425: ‘Linz’ I. Allegro con Spirito

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Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. 

The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776.

IV. Presto

The last movement, labeled "Presto", maintains just as much fire as the first movement. According to Steinberg, and Ledbetter, 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. 

This opera was first performed just two weeks before the composition of this finale. Hence, it may explain why there exist such similarities. When providing his father, Leopold, with performance instructions for the "Presto", his advice was that this movement should be played "as fast as possible".

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. Such musical surprises appear throughout this movement. 

Like the first movement, this movement is in the key of D major, and the form of the "Presto" movement is clearly in sonata-rondo form. Permeated with silences, rapid dynamic shifts, and a bright grace-note passage near the closing of the movement, one may expect the unexpected.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.35 in D-Major, K. 385: ‘Haffner’ IV. Presto

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Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. 

The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776.

III. Menuetto

The D major minuet provides a bright change of atmosphere from the previous slow, serious "Andante" movement. One may notice when listening to this movement the constant tug between two main chords – the tonic and dominant keys. Only three times do we see chords other than the tonic or dominant.

Also notable is that the dynamics for the whole "Menuetto" is marked forte. However, in both instances where chord IV and vi appear, Mozart marked these sections piano. These changes produce a pleasant contrast, both melodically and dynamically.

Leading straight on from the "Menuetto", the "Trio" provides a complement to the character of this "Menuetto". As indicated by Mozart in the score, the "Trio" immediately follows the "Menuetto" without a moment of silence. Stepping up into the key of A major, it soon becomes apparent that the "Trio" is also in Ternary form, like the "Menuetto". 

One may note the fact that no sections of the "Trio" are marked as forte. All is marked as piano, with the exception of bars 33–36, and 43–44, where Mozart has indicated a small crescendo. Perhaps to supplement the fact of any clear contrast in dynamics, Mozart has freely used sforzandos throughout the "Trio". 

The same type of suspense and resolution is present in the "Trio" as that found in the "Menuetto". In fact, Mozart takes a step further in the "Trio" by adding a pedal note on the dominant. This dominant pedal then subtly slips back into the tonic by means of a chromatic B sharp. 

When comparing the character of the "Menuetto" with that of the "Trio", a number of individual "personalities" are apparent. The "Menuetto" is brighter and lighter; whereas the "Trio" creates a more flowing effect. Also notable is that Mozart used chromaticism freely in the "Trio", but limited its use within the "Menuetto".

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.35 in D-Major, K. 385: ‘Haffner’ III. Menuetto

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Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. 

The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776.

II. Andante

The G major second movement provides a welcome relief with its slow, graceful melodies announced by the woodwind section. The movement is in an abridged sonata form. Instead of a development, a brief chorale-like passage is presented by the woodwinds. 

The rhythmic structures of the first subject theme and the second subject theme provide a subtle, but excellent contrast to each other. Whilst both themes are quite similar in character, the first subject theme has a slow-moving accompaniment based upon sixteenth notes, whereas the second subject theme has a busier accompaniment of thirty-second notes. 

The brief, chorale-like passage which replaces the development is clearly punctuated by the use of syncopated accompaniment by the violins and violas. This movement has been summarized by some as being delicate and elaborate, but definitely relaxing.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.35 in D-Major, K. 385: ‘Haffner’ II. Andante

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Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. 

The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776.

I. Allegro con spirito

When communicating with his father Leopold, Mozart stated that this movement was to be played with fire. The movement is in sonata form with a short development section. The exposition commences with no introduction with all instruments in unison, this opening motive is quite powerful – the result of cleverly using sharp dotted rhythms to arrest the listener's attention.

The second subject is similar in melodic material and rhythm to the first subject, recalling the monothematic sonata movements of Haydn (e.g. Symphony No. 104).

Mozart places no repeat signs at the end of the exposition. 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 (No's. 31, 33 and 34).

The development begins with an A unison as a transition from A major to D minor (bars 95–104). After three beats silence, Mozart shifts from the dominant of D minor to an F♯ chord, and then begins a series of rapid chord changes, namely – F♯7 (bar 106), B (bar 109), B minor (bar 110), C♯7 (bar 110). Finally, using C♯7 as the dominant for F♯ minor, Mozart briefly delves in this key (bars 111–120) before using a string of consecutive dominant 7ths (bars 120–129) to work back to the dominant 7th of D major in preparation for the recapitulation. 

The recapitulation is similar to the exposition with the exception of expected differences in the transition passage. This movement closes with a short four-bar coda.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.35 in D-Major, K. 385: ‘Haffner’ I. Allegro con Spirito

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Elvira Madigan, byname of Piano Concerto No. 21 in C Major, K 467,  three-movement concerto for piano and orchestra by Wolfgang Amadeus Mozart, the best known of his many piano concerti. It was completed on March 9, 1785. Its wide recognition is in large part due to the Swedish film Elvira Madigan (1967), in which its lyrical second movement was featured and from which it derives its byname.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Piano Concerto No. 21 in C-Major, K. 467 "Elvira Madigan": II. Allegro maestoso

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Mozart's Clarinet concerto in A major, K. 622 was written in 1791, shortly before Mozart's death, for the clarinetist Anton Stadler. It consists of the usual three movements, in a fast–slow–fast form:

Allegro (in A major and in sonata form)
Adagio (in D major and in ternary form)
Rondo: Allegro (in A major and in rondo form)

It was also one of Mozart's final completed works, and his final purely instrumental work (he died less than two months after its October premiere). The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part).

The closing rondo has a cheerful refrain, with episodes either echoing this mood or recalling the darker colours of the first movement. It is a blend of sonata and rondo forms that Mozart developed in his piano concertos, most notably the A major Piano Concerto, K. 488.


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Orchestral samples included in this recording from the Vienna Symphonic Library.

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Concerto for Clarinet & Orchestra In A-Major, KV. 622: III. Rondo, Allegro

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Mozart's Clarinet concerto in A major, K. 622 was written in 1791, shortly before Mozart's death, for the clarinetist Anton Stadler. It consists of the usual three movements, in a fast–slow–fast form:

Allegro (in A major and in sonata form)
Adagio (in D major and in ternary form)
Rondo: Allegro (in A major and in rondo form)

It was also one of Mozart's final completed works, and his final purely instrumental work (he died less than two months after its October premiere). The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part).

The second movement, marked Adagio, is a rounded binary form (i.e. ABA'). (It was popularized by the film Out of Africa.) It opens with the soloist playing the movement's primary theme with orchestral repetition. The B section, in which the solo part is always prominent, exploits both the chalumeau and clarion registers. 

The only true cadenza of the entire work occurs right at the end of the B section, immediately before the return of the A section. There are some passages that exploit the lowest notes of the basset clarinet in the B section.
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Orchestral samples included in this recording from the Vienna Symphonic Library.

Concerto for Clarinet & Orchestra In A-Major, KV. 622: II. Adagio

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Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart. 

The German title means "a little serenade," though it is often rendered more literally but less accurately as "a little night music." The work is written for an ensemble of two violins, viola, and cello with optional double bass, but is often performed by string orchestras.

The fourth and last movement is in lively tempo, marked Allegro; the key is again G major. The movement is written in sonata form. Mozart specifies repeats not just for the exposition section but also for the following development and recapitulation section. The work ends with a long coda.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Serenade No.13 in G Major, K. 525 "Eine Kleine Nachtmusik" IV. Rondo

The Piano Concerto No. 24 in C Minor, K. 491, is a concerto for piano and orchestra. 

Mozart composed the concerto in the winter of 1785–1786, finishing it on 24 March 1786, three weeks after the completion of the Piano Concerto No. 23 (K. 488) in A Major. He premiered the work in early April 1786 at the Burgtheater in Vienna.

The concerto consists of three movements. The first, Allegro, is in sonata form and is the longest opening movement for a concerto that Mozart had hitherto composed. The second movement, Larghetto, is in the relative major of E flat and features a strikingly simple principal theme. The final movement, Allegretto, returns to the home key of C minor and presents a theme followed by eight variations.

The work is one of Mozart's most advanced compositions in the concerto genre. Its early admirers included Ludwig van Beethoven and Johannes Brahms. Musicologist Arthur Hutchings considered it to be Mozart's greatest piano concerto.


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Orchestral samples included in this recording from the Vienna Symphonic Library.

Piano Concerto No. 24 In C-Minor, KV 491: I. Allegro

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Mozart - Turkish March

New England Conservatory Chamber Orchestra performs Mozart's Divertimento for Oboe, 2 Horns and Strings no 11 in D major, K 251. Recorded live in Jordan Hall February 27, 2013.

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Dave Kellar