This evening we hear a trio of stirring works, rounded off by one of Mozart's last three symphonies, the witty and confident No. 39, composed in quick succession with Nos. 40 and 41 in the summer of 1788. Its closing movement is reminiscent of the pacey, kinetic finales favoured by Mozart's friend Haydn.
It's Haydn's Symphony No. 22 ('Philosopher'), in fact, that we hear at the top of our programme.
Thought to have been inspired by the sudden appearance of a pair of cor anglaise at his workplace in Esterhazy, the 22nd symphony seems to have become attached to the nickname, ‘Philosopher’ during Haydn's lifetime. It’s an association entirely fitting when we consider the solemn, thoughtful mood of the first movement, described by eminent Haydn scholar H.C. Robbins Landon as the most original movement in all Haydn’s symphonies. Whatever prompted Haydn to use these rare instruments resulted in a work that remains one of the most popular among his early symphonies.
Nestled between, we fast-forward a couple of centuries for Marco Betta's Città Azzurra (dall'alba all'alba) or 'Blue city – from dawn to dawn'. The Sicilian film and opera composer’s 2005 work for bassoon and orchestra delivers a rich and atmospheric sound world evoking its title from the first mysterious bars. Stirring strings emerge across the bassoon like dawn’s first shafts of light as the piece builds in drama and intensity, soaring to frenetic peaks before dipping to take in more contemplative moods. The listener is left in no doubt this is a musical journey through day and night in some beloved, magical place.
Haydn:
Symphony No. 22 (Philosopher)
Marco Betta:
Città Azzurra (dall'alba all'alba) 'Blue city – from dawn to dawn' for bassoon and strings*
Mozart:
Symphony No. 39
Â鶹ԼÅÄ Philharmonic
*Roberto Giaccaglia - bassoon
Ben Gernon – conductor