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An Orchestral Concert


We have produced a Style Guide to help editors follow a standard format when editing a listing. If you are unsure how best to edit this programme please take a moment to read it.
(Leader, S. KNEALE KELI. EY)
MOZART'S good friends, the Haffncrs, were a well-to-do Salzburg family, one of whom was the . Burgomaster in Mozart's time. They are responsible for three of the master's works, this Symphony, the Serenade, and a little March, the two latter having been commissioned and composed in honour of the wedding of one of the daughters in 1776. Five years later, for the wedding of a younger daughter, Mozart's father was asked to compose a Symphony ; he passed on the commission to his illustrious son, who, in spite of the almost overwhelming tasks with which he was engrossed at the moment, undertook it, composing the work at even greater speed than was usual with him. It is on record that when he looked it over again years afterwards, he was himself astonished to find it so good.
As befits the happy occasion for which it was composed, the Symphony is throughout in sunny, exultant vein ; she was indeed a fortunate young woman who had such music written by such a master in her honour.
Tho first movement begins at once, with a robust, joyous theme, easily recognized in its subsequent appearances and development. The movement is of no great length, and has no repetition of its first part, as so often was, and still is, usual.
The slow movement has only oboes, bassoons, and horns, supporting the strings, and the first violin begins at once with the beautiful tune, very characteristic of Mozart, which forms the basis of the whole piece.
The Minuet is vigorous rather than dainty, with the Trio forming an admirable contrast- in, that respect, and the last movement, a bustling Presto, brings the Symphony to an end in the same happy spirit which has characterized it throughout. It begins at once with the merry principal tune played in unison by the strings.


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