b'Program NotescontinuedThe D Major Divertimento begins with a proud and joyful Allegro in Sonata form. The first violins take the lead melodically much of the time, though with frequent exchanges back and forth with the second violins. Mozart shows his young genius in the development section. After offering a version of the first theme in the minor mode and modulating to repeat it a second time in a different key, he sets up the expectation for the return of the opening theme back in D major. But instead of recapitulating the opening material, he resolves to D minor instead and creates a spooky texture of alternating plucked notes in the cello and viola, rustling 16th notes in the second violins, and a quiet, eerie melody hovering over them in the first violins. After this surprise departure, the opening material returns in all its carefree glory.The second movement Andante has the quality of a delicate operatic ensemble, starting off with a sweet vocal pairing of the two violin sections. Each of the string sections has its moment to shine, either as part of a group or commenting around the edges of the main melodies. After the repeat of the opening section, the texture changes briefly, placing a dramatic spotlight on the first violins before returning to the opening theme. In this movement Mozart goes far beyond the light emotional content typical of a divertimento. While the textures and the interaction between the parts is relatively straightforward, the music tells a story through the progression of the musical characters, the interactions between the voices, and the subtle changes Mozart makes to the material. We can see an example of this in the contrast between the material near the end of the first and second halves of the piece. Whereas the first time the violin sections play a smoothly ascending line together, which gives a sense of opening and expanding, in the second half the line descends, guiding the listener to the movements conclusion.Frothy and energetic, the third movement Presto is a little gem that bubbles along playfully with sudden dynamic contrasts, scampering 16th notes, and a miraculously charming second theme played in tandem by the two violin sections. Despite the movements brevity, Mozart succeeds in tucking a short, uncharacteristically contrapuntal imitative section into the development. After cycling twice through the entrances of the four string sections in turn, the movement stumbles into a surprise ending before self-consciously slipping back into the opening material. princetonsymphony.org/ 16'