THE MOZART EFFECT | Bryan Wallick, piano

NOVEMBER 13, 2021 | 7:30 PM

FAURÉ Masques et Bergamasques | MOZART – Piano Concerto No. 21 | HAYDN – Symphony No. 104 London

Mozart and Haydn were exceptionally close, in spite of their age difference, after meeting for the first time in 1781.Their last meeting was just before Haydn departed Vienna for London, only a year before Mozart died. When news of Mozart’s death reached Haydn in London he was distraught. It is not hard to imagine that Haydn’s admiration of Mozart’s talent and his immense grief over the younger composer’s death could have found their way into the music Haydn composed, including his London Symphony, No. 104. Mozart’s Piano Concerto No. 21 is often referred to as the “Elvira Madigan” concerto because it was used in a 1967 Swedish film of the same name. It is considered to be one of the most difficult of Mozart’s piano concertos, yet it is a cheerful, elegant work with the famous second movement among the most beautiful in all of classical music. French composer Gabriel Fauré is said to have learned “restraint and beauty” from Mozart, with the latter being one of several prominent influences on Faure’s compositional style, particularly his early works. His charming Masques et Bergamasques, has been described as “Mozart imitating Fauré.”

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