This Divertimento was composed in Salzburg in the winter of 1772, one of three similar works produced at the time. The sixteen-year-old composer had been working extensively on operas and other heavier large-scale works, so these lighter pieces may have been a nice break. All three have a lighter feel, with pleasing melodies and simpler harmonic and formal structures, but still have musical substance that has contributed to their popularity as concert works. Maestro Golan will lead this piece from the concertmaster position, as was typical in Mozart’s day.

This piece is in three movements, fast-slow-fast in the manner of an Italian sinfonia. The opening Allegro has a charming theme that stays primarily in the violins, with appearances in both major and minor, providing expressive variety. The Andante is an elegant and lyrical contrast, with some ingenious melodic twists. A spirited Presto races off to the finish and, after a few clever twists and turns, brings the piece to an exciting and satisfying close.

The first movement begins mysteriously without an introduction. Eventually, the harmony moves from minor to major leading to a calmer second theme, and the exposition eventually ends triumphantly. The development focuses on the first theme, with much dramatic contrast and passing of the main musical motive around among the different sections. The recap adds a few extra twists and turns in the intervening transition and final coda. In this movement alone, one can sense Beethoven on the horizon.

The second movement is a light, lyrical contrast to the first. The strings dominate the sound, but the winds add interesting coloring and variety. By the end, the music becomes quite dramatic before it finishes gently. The third movement is labelled a Minuet but it is not the popular movement of social events—it is aggressive, almost angry, with a cross-rhythm that belies the normal three-beat dance. The Trio section, however, is surprisingly light and dance-like. The return of the Minuet sets the stage for the dramatic finale.

The fourth movement opens with a soft ascending motive in the violins that is responded to with loud chords in the full orchestra, creating a bit of unease about how this symphony might end. The contrasting theme is pleasant, almost triumphant by comparison. The development begins with a strange angular passage that uses 11 of the 12 chromatic notes, avoiding only the tonic note G. This essentially clears the ears for a development that uses all sorts of melodic, harmonic, and textural devices to explore seemingly every possible version of the opening theme. After a dramatic stop, the recap begins, revisiting both themes in minor. Unlike many symphonies in minor keys, this one does not relent and end positively—the dramatic pathos is maintained to the end.

Composers like Beethoven and Brahms knew this piece well, and history considers this symphony a masterpiece of the genre.

In 1959, Mexican conductor José Yves Limantour took the original score and created a four-movement symphonic suite that was premiered on January 30, 1961, by the Guadalajara Symphony Orchestra. He took extensive liberties with the music, including the addition of a concluding, extended “improvisation” for exotic percussion instruments. The four movements are titled “Noche de los mayas” (Night of the Mayans), “Noche de jaranas” (Night of Revelry), “Noche de Yucatán” (Night of the Yucatan), and “Noche de encantamiento” (Night of Enchantment). Tonight’s performance features only the first movement.

Night of the Mayans is very dramatic and majestic. It begins boldly with full orchestra. A calmer, plaintive section follows, emphasizing the woodwinds and strings. A simple melody gradually goes through some interesting texture changes that show some influence of Debussy, but eventually the orchestra returns to the bold opening material and the movement ends with a massive climax.