Mozart, unlike Berlioz, wasn’t given to obsessive self-editing or utter obliteration of his own early efforts. He simply churned them out, like the genius he was, and moved on to the next masterpiece. But of his more than 600 known compositions, it would be a miracle if every one of them made it into our era with an intact score of 100% legitimate provenance. At least three dozen works attributed to Mozart, in fact, might not actually be his.
The Sinfonia Concertante in E-flat major for four winds, K. 297b, is one of the orchestral works that fall into this gray area. Was it partly composed by Mozart? Or not by him at all? Was it perhaps indeed wholly created by him, but then distorted by subsequent editors and transcribers? Will an indisputably authentic primary source turn up someday, as was the lucky event with the Berlioz Messe solennelle, or is the original Sinfonia irretrievably scattered to the winds?
The experts have been arguing for years, the scholars have been researching. They’re no closer to a definite answer. Lori Newman’s program notes for a performance by New Mexico Philharmonic give a concise and intriguing background on the attribution controversy.
But meanwhile, there’s no confusion about why this particular Sinfonia Concertante remains a favorite for conductors, performers, and audiences alike: it’s delightful! After you listen to our performance on November 20th, and we’re all standing around afterward enjoying the marvelous treats laid on for us at the reception… tell us what you think. Mozart…. or mystery?