Mozart’s music is always superbly entertaining and elegant, and it was executed brilliantly by the Vancouver Symphony Orchestra playing three of his symphonies, directed by Otto Tausk on Friday, March 22nd. As these were Mozart’s last three symphonies, they were arguably composed at the height of his prowess, supported by the fact that two of them, No. 40 and No. 41 are some of his most well-known and renowned.
I hadn’t heard Symphony No. 39 before, so I was excited to begin the concert with something new. The program notes told us that the oboes had been omitted from the orchestra for this symphony which lent the music a mellow sound. This gave the symphony greater contrast to the other two than I would have thought; it sounded more demure without the brightness of the oboe. The first movement was fast, but elegant and refined, with moments of excitement but dominated by flowing major melodies in the violins and woodwinds. The second movement was slow and shifted from major to minor variations on a theme. This contrast in music, important in the “pleasing variety” principle of the classical period, is prominent in the third movement of this symphony. The minuet has an elegant dance-like quality, while the trio uses the clarinet to give it a rustic sound. The final movement is quick and relentless, but finds moments to introduce quips by instruments and drama to give it the same impact as the overture to the Magic Flute (it certainly helps that the two are in the same key!).
It was so interesting to hear Symphony No. 40 performed live, especially after we had studied it in the classroom. It gave a completely different effect than the other two by setting Mozart’s characteristic style in an unsettled and breathless way. You could almost hear the audience “gasping” along to theme A! Mozart offsets this effect with the lyrical theme B, which is a relief from the “strum und drang” of the theme A, but doesn’t last for long until a drifting development fragments theme A into a variety of keys, never settling until the recapitulation. The second movement is slow and placid, in a major key but not embracing the joyful feeling Mozart usually evokes. He continues the “sturm und drang”effect in the minuet and trio, completely removed from the style of the other two symphonies in a driving triple meter and complex minor melody in the violins. The trio relaxes slightly, modulating into a major mode with lovely duets in the French Horns, giving an aura of regalness. The final movement has a whirlwind theme in the strings and brass, like the angry splutters of an old man. This disgruntled insistence persists to the end, bringing back the whirlwind theme, which is now rather fragmented, into a frantic cadence solidifying the minor mode, and general gloom of the piece.
Symphony No. 41 in C major, nicknamed “Jupiter”, is just as powerful and magical as the god who gives it his namesake. It begins with three strong notes, first on the tonic and then the dominant, separated by lyrical violin motifs. We are immediately are taken into the excitement of the exposition, in which the timpani heightens the drama of the music. This is equally contrasted by a timid, uncertain B theme. Throughout the first movement, there is an undeniable forcefulness that is either bursting through the orchestra, or lurking behind the scenes. The second movement doesn’t include the timpani and trumpet featured so prominently in the first movement, and is demure and melodic. A lively trio sets the scene before the fourth and final movement, which is rapid, exciting, and has a sense of urgency and tension despite its major mode. This is aided in the effect of rapid motives in the strings, and clever use of counterpoint to create a final, grand resolution, featuring timpani and brass heavily and showing off the grandeur of the orchestra.
Overall, I had a great time at the VSO hearing these pieces. Mozart’s style was evident throughout, but there was so much contrast in the works that it showcased his genius and breadth. As a side note, the VSO double booked our seats- sorry to the poor ladies who were forced to sit in the back row. I promise, no black-market tickets here! (They were, in fact, double checked for authenticity…)
Since it’s finals season….
