K. 32, Gallimathias Musicum (Quolibet)

K. 32, Gallimathias Musicum (Quolibet)

I think, not sure yet, but this is the last work I will dabble in from Mozart’s time at The Hague. For those who have been wondering, I have been away for so long because a chute load of changes have flocked my way.  We moved (I’ve mentioned that before). And, we’ve had our third son.  Without Internet, try working two jobs, wrangling three kids under 5 and finding time to work on a blog.  Anyway, I don’t have to make excuses.  I’m doing this mostly for me. 

So on to the Gallimathias Musicum.

This is a Quolibet, which I have just learned is a gob of melodies thrown into one work.  I guess, it is the classical equivalent of making an album.  Mozart wrote this work while at The Hague for the installation of Prince Wilhelm, ending it patriotically.  It is a collection of 17 Melodies.  I thought the best way to tackle this work is with a short comment on each melody.  So here you go (hopefully, I get it right where each new melody begins):

1. Reminds me of the opening of Mozart’s Symphony # 29.

2.  Spooky tones, with sighs, disappointed when they realize there is nothing to fear.

3. Triumphant, victory has come.

4. Epic, very powerful.  Has an Irish or Scottish feel.  Like something you’d hear from Braveheart.

5.  A royal piece.

6. A waltzy kind of piece.

7. More royal declarations.

8. A short sigh break in the middle of the quolibet.

9. Horns and Oboes find each other and dance.  Violins say, ‘Get it on.’

10. Spooky melancholy, like the end is near and a person is ready to give up.

11. Racing frolics, like that last gallop home after a long days ride.

12. Apprehensive curiosity.  A kitten peeking out from the hayloft for the first time.

13. Sounds like one of his earlier harpsichord sonatas.  Skipping on a cloudy day.

14.  I know this one.  It is definitely a repeat. I like it and will find out what it reminds me of.  But the mood says, ‘things are tough but they will get better.’

15. This one seems to suggest things will not get better.

16. Life is happy again.

17. The patriotic ending.  A tribute to his Dutch hosts.

K. 27, Sonata in G

K. 27, Sonata in G

I’ve done some preliminary research on Princess Carolina. An interesting set of circumstances was going on during the Mozarts’ stay.  Princess Carolina had a number of family members die.  Someone, somehow, had determined at one point a woman could be a regent.  However her parents bore a son, Willem.  They were only a year apart.  Carolina’s Grandmother died in 1765, placing the young princess into the role of regent, for Willem was only 17. 

The spotlight blared on this young princess.  I could only imagine the pressure.  Was it her youth that attracted her to young Mozart?  She knew what it was to be young and in the spotlight.  Thus, had she be charitable to Mozart in such a way that he dedicated K. 26-31 to her?  Clearly.  These works were offered to her on a particularly peculiar day: Willem’s 18^th birthday, the day he became regent.  You’d think such works would have been dedicated to the new king.  Carolina must have played an important roll in Mozart’s life. And, he wanted to declare his appreciation for her leadership as she moved into 'retirement'. What exactly did she do?  I have yet to discover.  If anyone has more info, please share.   

So, on to K. 27.  This work is only two movements.  Not sure why.  Both are familiar to some of his other earlier works, but the first strums of the harpsichord in the andante poco adagio evoke the sounds of that opening violin solo in K. 219. This hint repeats.  The allegro movement rings similar to other allegros.