Program Notes

Wolfgang Amadeus Mozart (1756-1791)

Serenade No. 9 for orchestra in D Major, K. 320 “Posthorn” (1779)

Scored for two flutes and piccolo, pairs of oboes, bassoons, horns and trumpets, timpani and strings

As much as he desired a Royal Court appointment, Mozart was increasingly frustrated with the one which he had been entrusted beginning in March, 1772 in Salzburg. Prince-Archbishop Hieronymous von Colloredo knew that having Mozart in his employ gave him bragging rights, but the Prince was a snob who showed little appreciation for his composer's talents and tried to keep a tyrannical hold over him. Mozart, who's reputation grew while in Colloredo's employ, made many attempts to secure a more lucrative and prestigious position elsewhere, but with no success. The frustrated genius remained in the Prince's employ until 1781.

While in Salzburg, Mozart was asked to write a large amount of music to entertain the court during dinners, state occasions and parties. While the composer would rather have been doing something else, he nevertheless put his hand to the task of writing Divertimenti, Nachtmusik and Serenades with his usual gift for orchestral color and his astonishing melodic prowess. These works could be written for any combination of instruments including winds, strings and full orchestra as the size, importance and location of the situation dictated. These works contained multiple movements more in keeping with a suite than the more rigid structures of the symphony and concerto.

One such work was the Serenade, K. 320 known by the title “Posthorn,” because such an instrument is used in the second minuet. The serenade is in seven movements, but on a larger scale than was generally employed in these kinds of works. The occasion that prompted it is uncertain, but its date of August 3, 1779 makes it likely that it was intended as Finalmusik , that is, music written for the end of the university's summer sessions.

The grand opening gesture that acts as slow introduction to the first movement certainly sounds academic enough. The movement proper is a spirited utterance, becoming more dramatic in the development section. The slow introduction returns to usher in the recapitulation. The second movement is a grand but stately minuet with a gently flowing trio.

The third movement is called a “Concertante,” and paired with the fourth movement “Rondeau” is worthy to stand alone, as it did on several occasions. These two movements display music of endearing charm and the interplay between strings and the four pairs of wind instruments is enchanting. As with any concertante work, Mozart includes cadenzas for the winds.

The fifth movement paints a considerably graver and more serious picture. It is the most extended of the seven movements, and Mozart seems to be reminding us that, even in this so-called “entertainment,” his deepest musical sensibilities are not in the least dulled. The moments of sober melancholy that make up the movement, though, are broken up by contented interjections from the winds. The middle section is filled with dynamic contrasts and quiet contemplation overwhelmed by anguished outbursts.

The sixth movement is another minuet, but this time cheerfully bold, driving away the darkness of what has just come. The minuet is interrupted by two trios which present two instruments not generally heard in solo roles. The first trio is for solo piccolo, the second originally for the valveless, high-pitched posthorn, which, as mentioned, gave the serenade its famous nickname.

The finale is everything that could be hoped for by way of thrilling conclusion. The music is at turns stirring, lovely and majestic and shouts out its confident good spirits with careless abandon.