Symphony No. 35 in D major, K. 385, "Haffner"
Composed 1782; Duration: 18 minutes
First BPO Performance: November 22, 1936 (Franco Autori, conductor)
Last BPO Performance: January 22-23, 2022 (JoAnn Falletta, conductor)
As a child, Wolfgang Amadeus Mozart was taught music by his father, Leopold, himself a composer and violinist in Salzburg, which served as the family’s home base. It was with the connections and financial support of wealthy backers like Salzburg mayor Sigmund Haffner the Elder that Leopold could take his children on concert tours throughout Europe. As a teenager, Amadeus held his first position as a court musician in his hometown, employed by the Prince of Salzburg.
Although he was eager to move on to larger opportunities in Vienna, he had the freedom to compose in nearly every genre during this half-decade. The son of his familial backer, Sigmund Haffner the Younger, commissioned Mozart to compose music to accompany the festivities surrounding his sister’s wedding, resulting in the memorable Haffner Serenade.
Another five years later, Mozart was finding success in Vienna and was overwhelmed with the demands of teaching and composing, all while working hard to secure a marriage with Constanze Weber. Leopold continued to monitor his son’s career from afar and wrote him with news that their friend Sigmund was requesting more music, this time to accompany the celebrations of his ennoblement.
Overwhelmed, stressed, and annoyed, Mozart hastily composed a few minutes of music and sent off the beginnings of a new Haffner Serenade. Likely missing his father’s deadline, he was pleased with the results enough to rework this music into a symphony. Although no second Haffner Serenade was ever completed, Mozart premiered his Haffner Symphony at a 1783 Vienna concert to great success, and his Symphony No. 35 is recognized as a groundbreaking achievement in his own symphonic production.
It opens with a simple sonata-form Allegro con spirito with a stately and sharply rhythmic theme, followed by a contrasting minor-keyed development section, eventually returning to its jubilant opening. The graceful Andante and unassuming Menuetto provide restful, atmospheric, and sometimes witty diversions from the outer movements. The final Presto begins with a quiet energy that quickly becomes fiery, with surprise and delight with bright rapidity. However, this is not the frenetic energy of an overworked composer, but a well-crafted and elegant symphony overflowing with creativity and skill.