Program Notes

Wofgang Amadeus Mozart (1756-1791)

Sinfonia Concertante in E-flat, K. 364

Scored for violin and viola soli, 2 oboes, 2 horns and strings

In the vast output of Wolfgang Amadeus Mozart, only one musical form surpasses in number that of the symphonies and that is the concerti for various instruments and orchestra. The list is made up largely of piano concerti, 27 of them, which Mozart wrote for himself. In addition there are five concerti for violin, four for horn, two for flute, one for flute and harp and one each for clarinet and bassoon. There are also a number of shorter works for soloists and orchestra, and a few that aren't as easily defined. The most substantial of these is the Sinfonia Concertante for violin, viola and orchestra.

The work must surely be classified a concerto in all important aspects, but the work's proportions, the interaction of the soloists, the breadth of its themes and development are slightly closer in conception to the symphony. Works of this type became very popular in Paris some years before this piece was written, and Mozart almost certainly became familiar with the form during his stay there.

Mozart was a violinist and violist of no small ability, and attempts in this piece to gain for the viola a measure of respect it wasn't often given in his day. In addition to the striking music he wrote for it, Mozart also instructs that the viola be tuned a half-step higher than normal, which, he explained, would give the instrument an added dimension of brilliance which would keep it on a more equal footing with the violin. It would also allow it to stand out from the substantial viola part in the orchestra. This instruction is rarely observed in modern performances, as the violas of today are quite capable of holding their own.

A first hearing of this work reveals almost at once that it is capable of standing alongside any of Mozart's great concerti, with all of the beauty, brilliance and melodic richness that the great composer has to offer. From their first appearance as if out of nowhere, the two soloists create an atmosphere of almost ethereal sublimity. One moment they stand alone as separate personalities, the next they compliment each other in flawless counterpoint and subtle accompaniment, and the next they blend so completely that the two instruments sound as one.