Concert to start the year
Emöke Baráth, soprano
Ádám Fischer, conductor
Danish Chamber Orchestra
'… and because I do not have a single symphony with me, I am writing a new one at breakneck speed,' reported Wolfgang Amadeus Mozart in 1783 to his father from Linz, where he had only days to prepare a concert. Despite the haste in which it was written, the 'Linzer' represents one of Mozart's greatest creations: here, for the first time, Mozart follows Haydn's model and prefaces a symphony with a slow introduction. The movements that follow justify this feudal entryway in scope and content. He thus opens a new - and last - chapter in his preoccupation with the genre. Joseph Haydn's final symphonic chapter would begin eight years later, in the year of Mozart's death. With his twelve 'Londoners' (1791-95), he takes the classical symphony to what is, strictly speaking, its final summit. The especially popular No. 94, which in German bears the epithet 'Mit dem Paukenschlag' ('With the timpani strike'; in English known as the 'Surprise'), is dotted with many more surprises than the one great shock effect might suggest, a moment that an educated audience anticipates with pleasurable delight.
Ádám Fischer and his Danish Chamber Orchestra, a combination celebrated not only in the classical repertoire, are the perfect interpreters for this uplifting musical start of the year under the banner of the Haydn-Mozart friendship. The pair's two greatest concert arias, sung by the the golden-toned Emöke Baráth, form a bridge from the symphonic to the vocal.