Relayed from the National Museum of Wales
NATIONAL ORCHESTRA OF WALES
WE owe a great deal to Gluck for his bold attempts to reform the weakoned, artificial stylo of eighteenth-century Opera.
Ho said in a preface to Alcestis that in his
Overtures he aimed at letting this preludial music ' indicate the subject and prepare the spectators for the character of the piece they are about to see.'
How Cluck carried out his ideals wo shall hear in this Overture, in which the noble, tragic and pathetic qualities of the drama are finely suggested.
TO Handel's speed in writing Operas and Oratorios there is a parallel in Mozart's completing three of his greatest symphonies in less than two months. One of them, the great G Minor, took only ten days.
One thing noticeable all through this Symphony is that Mozart has used in it no Drums nor any of the heavier Brass instruments.
Of its four Movements, or separate pieces, the First is quick and bustling—full of restless energy and dramatic fire, with an under-current of anxiety and mystery running through it.
The Second Movement comes as a beautiful, restful relief after the agitation of the First.
The Third Movement is a cheerful, rather ceremonious Minuet.
The Fourth Movement is the sweeping, rushing
Finale, whose speed never slackens, though there are moments of tranquillity.
Musical Director, Richard AUSTIN
Relayed from the Glen Pavilion , Clifton, Bristol