1 OCTOBER 2022 Saturday

Classic Vienna

21h00 Teatro Municipal de Bragança


Vienna Chamber Orchestra
Filipe Pinto-Ribeiro
Mario Hossen
Gérard Caussé


Joseph Haydn (1732-1809)
Overture “Acide e Galatea”

Piano Concerto N. 11
    I. Vivace
    II. Un poco adagio
    III. Rondo all’Ungarese: Allegro assai

Wolfgang Amadeus Mozart (1756-1791)
Sinfonia Concertante for Violin, Viola and Orchestra KV. 364
    I. Allegro maestoso
    II. Andante
    III. Presto


‘Acide e Galatea’ (1763) was Haydn’s first Italian opera. He wrote it for the wedding of Prince Esterházy’s (at which household he served as Vice-Kapellmeister since mid-1761) son Anton, and it premiered in Eisenstadt, on January 11. The Overture (or ‘Sinfonia’) follows the customary Italian fast-slow-fast pattern, with a festive 1st fast section, an elegant and delicate slow section, and a more spirited final section. Haydn’s D major keyboard concerto is his most frequently performed. Though numbered ‘11’ in his catalogue, it should in fact read ‘3’, because only three (of which this is the last-composed) are undoubtedly his. One cannot ascertain its date of composition with precision, but it mustn’t have been that much before its 1st edition, in 1784. The 1st movement is a monothematic sonata-form (plus a couple of secondary ideas), the slow movement is full of the ‘gravitas’ one would associate with a slow ‘opera seria’ aria and the concluding Rondo takes its melodic material from supposed ‘Hungarian’ folk sources, which in the day could mean anything from Dalmatia to Transylvania – and Turkish elements are not to be excluded! Mozart’s ‘Sinfonia Concertante’ dates from the summer/early autumn of 1779, that is, some 6 months after his arrival at Salzburg from the lengthy journey he undertook to Paris, via Mannheim and Munich, in the course of which his mother died (July 3, 1778, in Paris). One may never overestimate the significance of this particular journey, and the professional and emotional experiences Mozart went through in those 16 months, in defining him as a man and in defining his mature style! Mannheim and Paris, precisely, besides being musical ‘hauts-lieux’, were also very appreciative and promotive of the ‘sinfonia concertante’ genre. And Mozart certainly seems to pay hommage to both cities in this piece, while leaving his very own, inimitable imprint on the work, something especially noticeable in movements 1 and 2, which are pure tone poetry! The final movement is more light-hearted and galant, as was ‘de rigueur’ for a work such as this at the time.