Mozart: Sinfonia Concertante [Gabetta, Eberle, Smirnov, Mönkemeyer, Ridout, Laferrière, and M. Botana]

Veronika Eberle (violin), Dmitry Smirnov (violin), Nils Mönkemeyer (viola), Timothy Ridout (viola), Sol Gabetta (cello), Victor Julien-Laferrière (cello), and Uxía Martínez Botana (double bass) perform Wolfgang Amadeus Mozart’s Sinfonia Concertante for Violin, Viola, and Orchestra in E-flat major, K. 364 (320d). This performance was recorded during the Solsberg Festival 2023 at Klosterkirche Olsberg.

Mozart’s Sinfonia Concertante

Mozart’s Sinfonia Concertante in E-flat major, K. 364, stands as a shining example of the Classical era’s brilliance in blending orchestral and soloistic elements. Composed in 1779, during Mozart’s time in Salzburg, this work showcases a remarkable dialogue between the violin, viola, and orchestra, creating a rich tapestry of musical interplay. Unlike a traditional concerto that focuses on a single solo instrument, the Sinfonia Concertante features two solo instruments, in this case, the violin and viola, which Mozart treats with equal importance, allowing them to engage in a captivating musical conversation.

The choice of E-flat major as the key for this piece is significant, as it adds a warm, noble tonality that is well-suited to the sonorous qualities of both the violin and viola. Mozart, a master of orchestration, skillfully exploits the colors and ranges of these instruments, blending them seamlessly with the orchestra. The work’s structure and thematic development are reflective of Mozart’s deep understanding of both the concerto and symphonic forms, enabling him to create a hybrid that benefits from the strengths of each.

What sets the Sinfonia Concertante apart is not just its instrumentation but also its emotional depth and the complexity of its musical ideas. Mozart weaves together themes of grace, sophistication, and expressiveness, with moments of serene beauty juxtaposed against more dramatic passages. This emotional range speaks to Mozart’s own experiences and maturity as a composer, allowing listeners to glimpse the depth of his musical expression.

The viola part is notably written in D major, requiring the soloist to tune the instrument up a semitone (scordatura), which enhances its brightness and allows it to project more effectively against the orchestra and in harmony with the violin. This technique underscores Mozart’s innovative approach to instrumentation and his desire to achieve a particular sonority and balance within the ensemble.

Mozart’s Sinfonia Concertante reflects a blend of the concerto grosso form of the Baroque with the classical concerto, embodying the evolution of musical forms and aesthetics of his time. It is celebrated for its lyrical melodies, intricate solo passages, and the masterful integration of solo and orchestral parts, making it a beloved piece in the orchestral repertoire.

The piece not only highlights Mozart’s genius in composition but also offers insights into the musical trends and innovations of the late 18th century. Its enduring popularity is a testament to its beauty, sophistication, and the emotional depth that Mozart could imbue in his compositions, making the Sinfonia Concertante a masterpiece of the Classical period.

Movements

1. Allegro maestoso

The first movement of Mozart’s Sinfonia Concertante in E-flat major, K. 364, is marked as Allegro maestoso, and it embodies the grandeur and emotional depth characteristic of Mozart’s mature style. This movement opens with a majestic orchestral exposition that introduces the main thematic material, setting the stage for the soloists’ entrance. The dialogue between the orchestra and the solo violin and viola is central to the movement’s structure, showcasing Mozart’s skill in creating a conversational interplay between the ensemble and the soloists.

The Allegro maestoso is structured in a sonata-allegro form, a common choice for the first movement of concertos and symphonies during the Classical period. This form includes an exposition, where the main themes are presented; a development, where these themes are explored and transformed; and a recapitulation, where the original themes return, often with some variations. In the Sinfonia Concertante, the development section is particularly noteworthy for its inventive treatment of the themes and the emotional depth of the soloists’ interactions.

Mozart’s writing for the violin and viola is both virtuosic and expressive, allowing each soloist moments of brilliant display as well as tender lyricism. The interplay between the solo violin and viola is one of the movement’s highlights, with the instruments often echoing or complementing each other’s lines in a way that feels both intimate and expansive. The orchestration supports and enhances the soloists, with woodwinds, horns, and strings providing a rich backdrop that ranges from delicate accompaniment to full-bodied tuttis.

The movement’s emotional landscape is vast, encompassing the majestic and the intimate, the joyful and the melancholic. Mozart’s use of dynamics, articulation, and phrasing all contribute to the movement’s expressive range, making it a compelling opening to the Sinfonia Concertante. The cadenza, typically improvised by the soloists in Mozart’s time or written out by later performers, offers a moment of heightened interaction between the violin and viola, showcasing their virtuosity and the depth of their musical dialogue.

2. Andante

The second movement of Mozart’s Sinfonia Concertante in E-flat major, K. 364, marked Andante, is a profound and deeply moving piece that showcases Mozart’s exceptional ability to convey emotion through music. This movement is often noted for its lyrical beauty and the intimate, conversational quality of the dialogue between the violin and viola, set against a backdrop of delicate orchestral textures.

In this Andante, the pace slows, and the mood becomes introspective, allowing the solo violin and viola to engage in a tender exchange of melodies that seem to sing with a human-like voice. The movement is structured in a simple, ternary form (ABA), a common choice for slow movements, which focuses on the contrast between two musical ideas. The A section introduces the main theme, characterized by its graceful, flowing lines and expressive depth. The B section provides a contrast, often exploring different harmonies or a change in mood, before returning to the A section’s theme, sometimes varied but always recognizable, bringing a sense of closure and unity to the movement.

Mozart’s writing in the Andante is notable for its elegance and emotional subtlety. The solo parts are intertwined in a way that neither dominates the other; instead, they complement each other’s lines, creating a duet of unparalleled beauty. The orchestration is restrained, with the orchestra providing a supportive, harmonious foundation that allows the soloists’ lines to shine. The use of dynamics and articulation adds to the movement’s expressiveness, with moments of gentle lyricism giving way to passages of more intense emotion.

The emotional core of the Andante lies in its capacity to convey a sense of longing, tenderness, and introspection. The movement’s beauty is often described as heart-rending, reflecting Mozart’s ability to touch the listener’s soul with his music. The interaction between the violin and viola is central to this effect, as their melodies intertwine in a way that feels both deeply personal and universally resonant.

The cadenza in the Andante, like in the first movement, provides a moment for the soloists to explore the themes further, often in a more introspective manner. These cadenzas, whether composed by Mozart or later musicians, serve as a bridge between the structured world of the classical concerto and the personal expression of the performer, adding another layer of depth to the movement.

3. Presto

The third movement of Mozart’s Sinfonia Concertante in E-flat major, K. 364, is a Presto, marking a lively and spirited conclusion to the work. This movement is characterized by its vivacity, rhythmic drive, and the brilliant interplay between the solo violin, viola, and orchestra. After the introspective depth of the Andante, the Presto shifts the mood towards one of joy and exuberance, showcasing Mozart’s ability to masterfully navigate through different emotional landscapes within a single composition.

Structured in a rondo form, a common choice for the final movements of concertos in the Classical period, the Presto alternates between the main theme -a catchy, rhythmic motif that provides a sense of cohesion and momentum- and contrasting episodes that explore different musical ideas and textures. The rondo form allows Mozart to display the soloists’ virtuosity and the ensemble’s responsiveness, creating a dynamic and engaging musical conversation.

The main theme of the Presto is both memorable and energetic, serving as a musical anchor that returns throughout the movement, each time reinvigorated by the variations in orchestration and context. The contrasting sections offer moments of lyrical beauty, further highlighting the soloists’ expressive capabilities, as well as passages that demand technical prowess, adding to the movement’s overall excitement and brilliance.

Mozart’s writing for the violin and viola in this movement is particularly noteworthy for its virtuosic demands, including rapid passages, intricate runs, and playful exchanges that challenge the performers while delighting the audience. The orchestration is bright and effervescent, with the woodwinds, horns, and strings contributing to the lively atmosphere. The interplay between the orchestra and soloists is seamless, demonstrating Mozart’s skill in balancing solo and ensemble sounds in a way that feels both natural and exhilarating.

The Presto’s energetic pace and joyful character lead to a thrilling conclusion, with the main theme returning for a final, triumphant appearance. The movement culminates in a spirited coda that brings the Sinfonia Concertante to a dazzling close, leaving both performers and listeners with a sense of fulfillment and admiration for Mozart’s compositional genius.

Sources

• Sinfonia Concertante for Violin, Viola and Orchestra (Mozart) on Wikipedia
• Sinfonia concertante in E-flat major, K.364/320d (Mozart, Wolfgang Amadeus) on the International Music Score Library Project website