K. 22, Symphony no. 5 in B-flat

K. 22, Symphony no. 5 in B-flat

After Nannerl fell ill, Mozart joined.  It took months for both to recover.  During this time, Mozart wrote K. 22.  First thing I noticed was a new manner of horn use.  Was it something about The Hague that requested horns?  Was it his illness?  Or musical exploration?  There is something about horns that is declarative.  As opposed to the questioning strings and winds.  K. 22’s first movement starts of with a triumphant declaration—like that of a noble child raising his arms walking down the red carpet.  But suddenly, he swoons as he marches.  The allegro movement’s mood switches with such immediate intensity. 

The andante movement’s first horn blasts proclaim sorrow has arrived, the winds and strings mourn the announcement.  As the movement flows, it hints hope suggesting good might just come from the tragedy.  All the while, still weeping.  I can’t help but think of Leopold letter’s recounting his conversation with Nannerl as she neared death.  Trying to comfort her, suggesting God takes the innocent to spare them from the world’s corruptions.  Had such conversations affected this work?  Or even other pieces?

The third movement’s horn announces all is right once again.  Did this reflect Mozart yearning in the midst of his sickness?  The winds and strings chime in, ‘we have gone through hard times but they’re over now.’  Together they celebrate and reflect.     

K. 23, Conservati Fedele

K. 23, Conservati Fedele

Out of England, off to The Hague.  It is fitting that K. 23 is clearly a goodbye aria, solemn in its sound and lyrics.  Goodbye to what? London?  Or Nannerl?  His sister became deathly sick while in The Hague.  She received the rite of extreme unction.   Her unction and this song’s composition happened in October of 1765.  Leopold wrote in his letters that as he and his wife prayed with Nannerl struggling with life’s hard questions, little Mozart played his violin in the next room.  Leopold seems to suggest that Mozart was unaware of serious nature concerning Nannerl’s sickness.  But, sometimes that’s the power of art.  Mozart may have been either escaping or expressing the feeling he could quite convey via physical actions.  Most likely both. 

There is just something about historical artists of a certain greatest that made them unable to connect with average folks.  In addition, they also couldn’t simply bottle up their feelings in a John-Wayne-suck-it-up manner.  Examples of such artists Poe and Van Gogh come to mind.  And, thus mediums with staying power were born.  How many of these artists grew increasingly dejected because they felt as if no one heard them?  How many people with this mentality, think thusly? 

Conservati fedele may have possibly grown into an expression of goodbye for Mozart.  It was once revised for Princess Carolina.  I haven’t found out yet, but she must have played an important role in Mozart’s life.  (I will explore the Mozarts’ relationship with Princess Carolina as I delve into the next set of violin sonatas.)   I could imagine seeing woman cry as she listened to young Mozart’s revision.  

K. 19d, Sonata for Keyboard Four Hands

K. 19d, Sonata for Keyboard Four Hands

This is a work of debatable authenticity.  I thought about skipping it, but it is the first piece of the keyboard duet nature. I couldn’t think of another work he may have played with his sister, Nannerl. Imagine what it would have been like for a young boy to be in constant proximity to his sister.  At that age, I’ve had numerous scrapes with mine, many of which drew blood. (I’ve got a scar on my elbow where she wacked me with a curtain rod.)  And then, they performed together? I’d have never been able to do it.  The aggravation and jealousy would be fuel of an interesting historical study. Too bad the movie Mozart’s Sister failed miserably at capturing the tension and contrived historical absurdities.  

The Allegro first intensifies its lively spirit, adding moments of drama with slammed strokes.  The second is a menuetto trio, and carries a hopeful reflection.  I’m still trying to understand the concept of menuetto, and such.  From the limited research I have done it incorporates more complexion than a simple tempo mark.   Although, I have a hint of a grasp on the Minuet form, the rondo eludes me.  What make a rondo a rondo?  I looked it up, and it is still mostly confusing.  Note patterns and blah... Blah... Too bad, because my favorite movement is the rondo of K. 219.  And the rondo of K. 19d is the most moving.  The work as a whole seems more mature to me.  Maybe, that may be why scholars debated whether Mozart composed this work.  Plus, add the (I’m guessing) complex structure of a rondo…  However, it still feels like something Mozart could have written.  But, I’m tone-deaf, so how would I know?