# xmcd 1.3 CD database file
# Copyright (C) 1994 Ti Kan
#
# Track frame offsets:
#	150
#	33617
#	61662
#	77700
#	94350
#	119145
#	159135
#	174862
#	193125
#	241385
#	273197
#	289307
#
# Disc length: 4333 seconds
#
DISCID=a410eb0c
DTITLE=The Mozart Experience 2 / Academy of St.-Martin In The Fields co
DTITLE=nducted by Sir Neville Marriner
TTITLE0=Symphony No. 31 in D, K. 297 <<Paris>>  Allegro assai
TTITLE1=Andante
TTITLE2=Allegro
TTITLE3=Andante to K. 297
TTITLE4=Symphony No. 35 in D, K. 385 <<Haffner>> Allegro con spirito
TTITLE5=(Andante)
TTITLE6=Menuotto
TTITLE7=Finale. Presto
TTITLE8=Symphony No. 36 in C, K. 425 <<Linz>> Adagio - Allegro spiritoso
TTITLE8=
TTITLE9=Poco adagio
TTITLE10=Menuetto
TTITLE11=Finale. Presto
EXTD=SYMPHONIES - CONCERTOS - SERENADES\nThe Mozart Experience II\nErik
EXTD= Smith\n\nSymphonies 31, 35, and 36\n\nOn 3 July 1778, soon after hi
EXTD=s arrival is Paris, Mozart\nwrote to his father that he had been 
EXTD=asked to write a \nsymphony to open the season of the famous Conc
EXTD=ert \nSpirituel.  After the first rehearsal he was so dissatisfie
EXTD=d\nand angry that he at first decided not to attend the concert\na
EXTD=t all, but then, because the weather had improved, he\ndecided to
EXTD= go along but determined, if things went badly,\nto take the firs
EXTD=t violinist's instrument out of his hands and\nconduct himself.  
EXTD=He prayed that all might go well and it \ndid: great applause fol
EXTD=lowed a brilliant passage in the\nfirst Allegro and again when th
EXTD=e same music returned\nnear the end of the movement.  The audienc
EXTD=e liked the\nAndante too and above all the last Allegro.  Finales
EXTD= in\nParis usually began with a loud unison, so Mozart opened\nhis
EXTD= with just the violins playing piano for eight bars;\neverybody s
EXTD=aid "sh", as he had expected they would,\nthen burst into applaus
EXTD=e at the forte entry.  After the \nconcert he went to the Palais 
EXTD=Royal for an ice cream to\ncelebrate.  But later on the day that 
EXTD=he sent this report\nto his hather he had to write to a family fr
EXTD=iend in Salzburg\nasking him to break the news to his father that
EXTD= his mother,\nwho had accompanied him to Paris, had died that eve
EXTD=ning.\n\nThe "Paris" Symphony was in the three-movement form of \nt
EXTD=he Italian Overture, but Mozart was not consistent about\nthe num
EXTD=ber of movements: the Symphony NO. 35, \ncomposed in Vienna in 17
EXTD=82 and hurriedly sent to \nSalzburg to feature at a festivity of 
EXTD=the prominent Haffner\nfamily, was in four movements and also had
EXTD= a march for the\norchestra to be played as the audience arrived,
EXTD= in the \ntradition of open-air music.  "The first movement must 
EXTD=be\nreally fiery, the last as fast as possible" were Mozart's\nins
EXTD=tructions.  The first movement is a very powerful piece,\nbuilt a
EXTD=lmost entirely out of the striking rhythm of the \nopening five b
EXTD=ars.  The Andante and minuetare in the\nrelaxed, happy mood of th
EXTD=e Salzburg serenades and the \nfinale has great brilliance, with 
EXTD=more than a touch of \nopera buffa humour.\n\nMozart performed some
EXTD= of his Salzburg works in Vienna,\nsometimes cutting out movement
EXTD=s to make a symphony out\nof a six-movement serenade, but also ad
EXTD=ding instruments\nif he had them to hand, like flutes and clarine
EXTD=ts he put into\nthe outer movements of the "Haffner" Symphony.  H
EXTD=e\nperformed it before the emperor ("How delighted he was!\nHow he
EXTD= applauded me!") and for good measure gave the\nfollowing program
EXTD=me: after the first three movements of the\n"Haffner" Symphony, t
EXTD=wo piano concertos, four arias and\nthree improvisations by Mozar
EXTD=t on the piano, ending the\nconcert with the Finale of the "Haffn
EXTD=er" Symphony!\n\nIn 1783 Mozart travelled to Salzburg to introduce
EXTD= his wife\nto his father and sister.  After three months they ret
EXTD=urned\nto Vienna in a leisurly manner.  When they arrive in Linz\n
EXTD=the composer was asked to give a concert in five days'\ntime.  "B
EXTD=ecause I have not got a single symphony with me\nI am composing a
EXTD= new one with all haste".  He somehow \nfound time to write not j
EXTD=ust four movements but a wonderful\nsolumn adagio to open the sym
EXTD=phony, the first time he\nused an introduction in the manner of J
EXTD=oseph and Michael\nHaydn.  Like so much of his music the "Linz" S
EXTD=ymphony\nhas two contrasting sides - on the one hand the festive,
EXTD=\nassertive C major character with trumpets and timpani\nadding so
EXTD=lemnity even to the slow movement, on the other\nhand a soft, mys
EXTD=terious, chromatic, questioning side, which\nenters in the fourth
EXTD= bar of the introduction and again in the\nF minor passage of the
EXTD= slow movement (starting with the\npiano staccato on low strings 
EXTD=and bassoons).\n\nPiano Concertos\n\nOf the works recorded here, thr
EXTD=ee in particular are \nlandmarks in Mozart's output, each unique 
EXTD=in its way.   One\nis the Piano Concerto in E flat, K. 271.  Near
EXTD=ly all the piano\nconcertos were written for his own performances
EXTD=, two were\ndedicated to a talented pupil (with a rich father), t
EXTD=hree \nwere intended for publication as they could be played with
EXTD=\na string quartet in place of an orchestra, but only one was\nwri
EXTD=tten for another viruoso.  This is the E flat Concerto, \ncompose
EXTD=d in January 1777, when he was just 21, "fur die\nJenomy", presum
EXTD=ably a French lady called Jeunehomme\nwho appeared in Salzburg.  
EXTD=Mysteriously enough nothing\nis known about her, but she inspired
EXTD= Mozart to a concerto\nthat went far beyond any that he had writt
EXTD=en or indeed was\nto write until K.450, which opened the series o
EXTD=f the great\nVienna concertos in 1784.  Its length, its virtuosit
EXTD=y, its\ndramatic wealth, grandeur and originality place it among\n
EXTD=the great concertos.  In fact, the opening, in which the \npianis
EXTD=t enters almost at once to answer the orchestra's\nfanfare, was a
EXTD= dramatic stroke not to be heard again until\nBeethoven's Fourth 
EXTD=Concerto.  When the piano enters in\nits customary place, or just
EXTD= before it, in the last bars of \nthe orchestral exposition, it i
EXTD=s with a long trill, the \nequivalent of the long held note with 
EXTD=which so many arias\nbegan.  In the C minor Andantino the solo pa
EXTD=rt seems to\nspeak to us with the eloquence of the human voice, s
EXTD=o it\nis entirely appropriate for it to break into the exact \nequ
EXTD=ivalent of a vocal recitative (as Beethoven was to do \nin some o
EXTD=f his sonatas).  The rondeau finale is a breathless\nPresto inter
EXTD=rupted by a stately minuet with varied repeats\nand an almost Bra
EXTD=hmsian passage of broken chords. The\ncadenzas are Mozart's own.\n
EXTD=\nIn 1790 Mozart travelled to Frankfurt for Leopold II's \ncoronat
EXTD=ion as Holy Roman Emperor.  He hoped to be \nnoticed favourably b
EXTD=y the new monarch, for he depended\non his patronage - but in vai
EXTD=n.  On 15 October he gave\nanother of those monster concerts with
EXTD= arias, \nimprovisations, two piano concertos and two symphonies.
EXTD=\nIt began at 11 am.  By 2 pm the audience was so hungry\nthat it 
EXTD=preferred to leave the second symphony to another\nday.  Worst of
EXTD= all, this concert clashed with a grand\nluncheonand a display of
EXTD= military manoeuvres, so it was\nnot at all well attended and los
EXTD=t Mozart money.  The two \nconcertos were K. 459 and 537, as the 
EXTD=edition of 1794\ntells us.  The title of "Coronation" Concerto ha
EXTD=s stuck only\nto the latter, though it had been composed in Febru
EXTD=ary\n1788.  The wind parts as well as the trumpet and timpani\npar
EXTD=ts (apparently added at the last moment for the Frankfurt\nconcer
EXTD=t) are all ad libitum; this was therefore a useful \nconcerto for
EXTD= taking on journeys, when one could not \ndepend on the ability o
EXTD=f wind players.  It was clearly \nintended for his own use, for M
EXTD=ozart never gor around to \ncompleting the left-hand accompanimen
EXTD=ts, relying on his\nmemory and inventive powers to fill in when t
EXTD=he time came.\nIt is a charming and tuneful work but not of the s
EXTD=tature one\ncould expect at this late date.\n\n\n
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
EXTT9=
EXTT10=
EXTT11=
PLAYORDER=
