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Sheet Music of Mozart Wolfgang Amadeus

 Symphony No. 36 in C Major, K.425 (Linz)

 Wolfgang Mozart 1756-1791

   Mozart composed this symphony sometime after he arrived in Linz on October 30, 1783, and before the premiere there on November 4. In July 1783, Mozart and his new wife, Constanze, set off for Salzburg so that Constanze could meet Leopold Mozart, the man who had carefully arranged virtually everything in his son’s life except for this marriage.

    On October 26, Constanze sang the high-flying soprano solos in her husband’s great C minor mass when it was performed for the first time in Salzburg’s Saint Peter’s Abbey. The next day, at 9:30 in the morning, Constanze and Wolfgang left Salzburg for Vienna, by way of Linz. Wolfgang couldn’t resist writing to his father from Linz on October 31, recounting their arrival there the preceding day: “When we reached the gates of Linz, we found a servant waiting there to drive us to Count Thun’s, at whose house we are now staying. I really cannot tellyou what kindnesses the family is showering on us. On Tuesday, November 4, I am giving a concert in the theater here and, as I have not a single symphony with me, I am writing a new one at break–neck speed, which must be finished by that time. Well, I must close, because I really must set to work.”

    Understandable words, for between October 30 and November 4, Mozart had to write a new symphony, copy the parts for the players, and even find time for the luxury of a rehearsal or two before the evening performance. There’s something about the matter–of-fact tone of Mozart’s letter – “I have not a single symphony with me,” as if he had forgotten to pack an extra pair of socks - that suggests he wasn’t daunted by the task he had to undertake.

     Nothing in the music suggests the haste of its conception. I n fact, the opening bars—the first slow introduction in Mozart’s symphonies—give the opposite impression: of deliberate, carefully considered music, more deeply serious than customary to open a symphony. The ensuing Allegro spiritoso is large and ideally proportioned. The Andante admits trumpets and drums into a symphonic slow movement for the first time, lending a mood of tragedy and drama to otherwise gracious and melodic music. The finale, with its unmistakable air of brilliantly wrapping things up—as quickly as possible, or presto, as Mozart dictates—also suggests that Mozart knew his Haydn well and that he was inspired and challenged by this great man whom he would publicly salute, within the year, as his “most dear friend.”

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