Returning again to the Maestro, this time at 23 years of age, with this light and airy concertante symphony written for both violin and viola. Many will recognise the passage at (4:08), even if they haven’t heard the whole movement. Despite its clarity and grace, there are many moments of regal delight and quiet fanfare. It comprises so many emotions, so many unexpected turns and surprises.
As you can see in the image, there are only small physical differences between the viola and violin, with the viola just a few inches longer. There are also differences in tuning, sound, and musical role within an ensemble. The viola is heavier, uses thicker strings, and requires a slightly heavier bow, which all contribute to its darker, warmer tone.
It is said that when this piece premiered, Wolfgang Amadeus Mozart specifically wanted to play his favourite string instrument – the viola – while Leopold Mozart performed the violin part. You can see how fond he is of the viola giving it an equal voice rather than a supporting one. You can watch a live version here by the Kristiansand Symphony Orchestra to see how the violin and viola interact in performance.
Listening to this again this morning lifted my spirits. I felt more relaxed, lighter somehow. It feels like a privilege to hear something made so long ago that still sounds so fresh, almost as if it’s in a constant state of renewal.
By the time of its composition in 1779, Mozart had returned to Salzburg after his travels through Mannheim and Paris. He had recently experienced the loss of his mother, and although this movement is generally bright, there are moments – such as around (8:35) – that carry a sense of sadness and melancholy, as if something deeper lies just beneath the surface.
Her death occurred in June 1778 while she was accompanying her son Wolfgang on a job-hunting tour, and she was buried the following day in the cemetery of the Church of Saint-Eustache. Wolfgang was deeply shocked by his mother’s death. Several letters that Wolfgang wrote to his father from Paris, which are still extant, deal with this tragic event.
Comparing the portrait of Anna Maria Walburga Mozart with the portraits of Mozart I’ve seen, the resemblance is uncanny.
References:
1. Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) – Wikipedia
2. The best recording of Mozart’s Sinfonia concertante for violin and viola – Gramofone
“The more I live, the more I learn. The more I learn, the more I realize, the less I know.”- Michel Legrand
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