From the slow introduction, through the alpine song of the menuetto’s trio, to the breakneck pace of the last movement, #39 in E-flat is the most Haydn-like of Mozart’s symphonies. In its own way, it’s every bit as impressive as the melancholy #40 or the majestic Jupiter, as well as being absolutely lovely from beginning to end.
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Wholly unrelated; but I wanted to share this, as this is one of my favorite pieces:
Mateo Albéniz (not Isaac Albéniz), Sonata in D, as rendered by John Williams.
I love Williams’ tone and articulation, but there is somethign about this piece that really grabs me.
FWIW (not Buffalo Springfield)Report
That is wonderful. It’s interesting that both Albenizes, even though they’re unrelated and lived 100 years apart, are best known for keyboard pieces transcribed for guitar.Report
The Mozart is different than what I expected, i.e., essentially melody-driven.
The brief use of dissonance in the strings in the opening section was a bit of a surprise.
I want to save this until I have time to listen to it all the way through in one sitting. I’m afraid I might miss something if I listen to it piece-meal.Report