program - SVIZ

tov ter po francoski modi ukrojen plesni značaj stavkov. Sintezi je dodal še
piko na i, ko je v suite vključil zbore pihal ter značilno angleško ljudsko in
plesno glasbo (»Country Dances«), ki se navezujejo na tradicijo Purcella.
PROGRAM / PROGRAM
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Although the title ‘father of the symphony’, which we are fond of attributing
to Joseph Haydn, may be somewhat exaggerated, there is no other
instrumental genre in western music in which the creativity of one single
composer is so extensive, so important in a musical-historical sense, or of
such consistently high artistic quality. In the process of creating symphonies
Haydn never settled on or stuck to one single model, but rather constantly
developed the form and sought new formal solutions, in so doing also modifying
his symphonic style.
Before gaining employment with Esterhazy, Haydn wrote several symphonies
for Count Morzin. The corpus of the earliest symphonies were most frequently
orchestrated for two oboes, two horns and strings, and had a three-movement
form in the classical fast-slow-fast configuration. However, even the first
symphonies demonstrate a difference between the more solemn first movement
and the fast final movement, while the central movement is somewhat
slower and ‘lighter’ in character. Thus in the first symphonies Haydn interwove
the Austrian and the Italian, the serious and the light, the traditional
and the modern. Symphony No. 1, as the composer himself numbered the D
Major symphony, even begins with the so-called Mannheim crescendo, an
innovation of the Mannheim School in which a sudden crescendo appears
in the entire orchestra. According to the year in which it was written (1759), it
is not, in fact, Haydn’s earliest symphony; this honour belongs to Symphony
No. 18. Although the First Symphony and the other early symphonies differ
greatly from the later symphonies, these symphonic beginnings of Haydn
are nonetheless little masterpieces in their own right.
Wolfgang Amadeus Mozart composed for the violin most intensively in
the period from 1771 to 1775 in Salzburg, when he was a concertmaster in
the service of Archbishop Colloredo. An additional impulse for writing violin
concertos was provided by his third journey to Italy, from July to September
1773, during which time he made the acquaintance of numerous excellent
violinists and violin composers. Concertante music for the violin was blossoming
in Salzburg at the time, and so it is no wonder that in addition to
the five violin concertos from this period we also find numerous individual
movements for the instrument, as well as concertante violin interludes in
various serenades and divertimentos. Although there were many excellent
violinists amongst the members of the court chapel, as well as in the ranks
of amateurs, it is not known for which specific occasions and/or performers
Mozart actually wrote his concertos. The first was most likely written in 1773
and the others in 1775. However, in Mozart’s time and well into the 19 th century
his violin concertos were less known and more narrowly disseminated
than his piano concertos.