Open air concert Margaret Island
The Municipality of Budapest
About the program
The June 19th open air concert of the Budapest Festival Orchestra is cancelled due to the extreme flood situation in Budapest.
MOZART: SYMPHONY IN G-MAJOR (K. 199)
The year 1773 was a turning point in the career of the young Mozart. In March this year he returned to Salzburg from his third journey to Italy, and in his works of the following year we find compositions which are perfect reminiscences of the Italian musical style Mozart became acquainted with in Milan, Rome and Naples, and compositions which contained new elements in addition to the Italian patterns. These are compositions where Mozart was searching for his own voice.
The symphony in G major composed in April 1773 (barely a month after his return from Italy) is interesting from the perspective of music history because it illustrates with great clarity how the composer gradually drifted away from the Italian style.
The first movement is adjusted to the Italian sinfoniamodel almost perfectly.
The slow movement also follows in the footsteps of contemporary Italian symphonies, however, at a certain point the grazioso prescribed at the beginning of the movement is broken: as if a dark storm cloud in minor covered the glittering, shining sun and after the clouds have gone, not even the return of the major can bring genuine relief. This unexpected but recurring minor shadow reminds us of the melancholic darkening of the mature Mozart compositions, but for the time being it is embedded innocently into the fabric of Italian music.
At the same time, in the final movement, which compared to the previous ones is surprisingly lengthy, the very first bars show that the composer follows completely different paths: the four-score theme played by the first violins foreshadows a fugue, and though the continuation confines this contrapuntal basic idea to a sonata form, this solution is obviously a sign of the complexity of Mozart symphonies composed later on.
BIZET–SHCHEDRIN: CARMEN SUITE
The ballet music consisting of the pieces of Bizet’s opera was made for the world-famous ballerina Maya Plisetskaya in 1967. Initially, the suite was requested from Dmitri Shostakovich, but he did not dare touch Bizet’s opera; so Plisetskaya’s husband, Rodion Shchedrin, started to compose it himself. The complete ballet premiered in Moscow’s Bolshoi. The piece was banned after the premiere because the censors found it to be overheated and erotic. Later, it was played almost three hundred times in New York, always with astounding success. Bizet and Shchedrin’s ballet music is now a repertoire piece in the world’s concert halls.