The most graceful of light music
It is a shame that the tradition of the open-air performances no longer plays a distinctive role in modern concert life. At least, not in classical music. Whereas pop and rock superstars world-wide fill gigantic sport arenas without any problem, classical open-air events remain the exception. Admittedly, megastars such as Pavarotti, Domingo and Carreras also achieved this almost without effort. Although it is true that the “learned” concert audience rather turned up its nose at the programme they presented; to say nothing of the price it demanded, as all sense of intimacy was somewhat lost, considering the 10,000 spectators and enormous amplifiers.
The open-air concerts of the Classical period were certainly not bothered by these problems. Making music in the open air had played an important role since the end of the Middle Ages, especially in the cultural life of southern Germany. These concerts took place mostly during the evening and night. As he did in many musical genres, Wolfgang Amadeus Mozart also wrote numerous works which took this “society-associated light music” (Gruber) to undreamt-of heights. Mozart, a composer of light music? Yes. After all, neither the composers, nor the audiences of the 18th century were confronted with the problem of the later division between “light” and “serious” music, which even now is adhered to in German-speaking countries with almost pompous gravity. Quite the opposite, in the Classical period, it was much more a self-evident goal to link popularity to eruditeness in an elegant manner, and to offer a piece of music which would appeal to all levels of the audience. At the same time, serenades had been considered from time immemorial a refined genre of light music, which was certainly always worth acknowledging. The title already indicates the ephemeral function of this music; thus, the word “serenade” can be more or less derived from the Italian “sera” (evening) and “sereno” (clear, cheerful).
Apart from two exceptions, Mozart wrote all his orchestral serenades in Salzburg during the period 1769 - 1779. He composed the serenades exclusively during the summer months of June to August, in which they were also performed. What was the reason behind these serenade compositions? Well, either the works were commissioned from Mozart as so-called “Final-Musiken” (= final music) for the final celebrations of the university year, or the music was commissioned by prosperous Salzburg families to celebrate birthdays, weddings or anniversaries. What distinguishes Mozart’s serenades from the scarce remaining light music is the quality of the works, as well as their proximity to the symphony, which is distinguished in particular by the large amount of instruments he includes. Thus Mozart later arranged his Haffner Serenade as a symphony. This is probably the best-known of Mozart’s serenade compositions, alongside his Eine kleine Nachtmusik and Posthorn Serenade, and received high praise from Robbins-Landon - the English author on music - who wrote that it was Mozart’s first major orchestral work, in which he created a perfect unity, thanks to the highest of technical skills and musical genius. Originally, the work included the following title, which was scribbled down by father Leopold Mozart on the manuscript, from which the abbreviated form Haffner Serenade is derived: “Serenata per lo sposalizio del Sig. Spath colla Sigra: Elisabetta Haffner”. The work was written for the hen’s night of the daughter of Siegmund Haffner, a merchant and also mayor of Salzburg (after whom a street is still named in that city), on July 22, 1776. The size of the orchestra and the enormous length of the work mirrors Mozart’s high standards and, certainly to quite some extent, the financial powers of his client: oboes, flutes, bassoons, horns, trumpets and solo violins were employed in great numbers. Here, Mozart apparently wishes to show his audience of just what compositional feats he was capable, following various attempts in the apparently so easy field of light music. No less than eight further movements follow the March K. 249 (which was not completed until the day before the première), in which galant mobility, symphonic demands and concertante virtuosity were combined in an enthralling manner. The first and last movements, both written in a radiant D major, are veritable sonata movements. In between, there are three concertante movements (Andante – Menuetto – Rondeau), in which the solo violin makes itself the centre of attention in a virtuoso manner. In the minuets one can hear questionable traits; for instance, the G-minor minuet is quite abrupt and the D-minor trio in the second minuet has a rather elegiacal character. The originally festive work turned into a demanding entertainment of the most graceful type at all musical levels. In other words, the Haffner Serenade embodies the harmony between “light” and “serious” music in classical balance. And would still draw in the fans, not just in the concert hall, but also in an open-air concert. Although that would have to take place in a much more intimate space than a football stadium. But that is a good thing, too.

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