The Wireless Orchestra, conducted by Stanford Robinson
Harold Williams (Baritone)
The Wireless Singers

It is an odd thing that though this Overture is always known by the name of Rosamunde, it is not the Overture Schubert wrote for the play of that name, but one he composed for a melodrama called The Magic Harp. Schubert wrote the Overture for it, and all the incidental music besides, in a fortnight.

It starts with an Introduction in a bold style, after which comes the First Main Tune, in the Violins, very softly. Its springing theme is full of fresh-air gaiety. The Theme is a little enlarged upon, and the Second Main Tune comes as the most perfect contrast. It is given out by Clarinet and Bassoon, an octavo apart, while the Bass Strings sustain a low note, which is called a 'pedal.'
On this material the Overture is built, with unflagging spirits. Its Coda, or tailpiece, is long, and carries us to the conclusion in a still gayer time.

The nickname was not Mozart's; but while it does not apply to the whole work, it does aptly fit the first and last Movements, which have a fine Jovian breadth and vigour about them. There are four Movements in all.

I (Quick and lively). At the outset what we may call three vigorous strokes of the whip by the whole Orchestra are heard, followed by a soft, gentle passage, and then more whip lashing. This constitutes the First Tune.
Then the music works along until, at last, it comes, in a loud emphatic way, to what we may call a semi-colon cadence, and there begins a gentle melody in the First Violins accompanied only by the Second Violins; as this continues, the Violas and 'Cellos, down below, quietly mimic what the First Violins are doing up above. This constitutes the Second Tune.
There is a little other subject matter, but these two Tunes are the main material.

II (Fairly slow, and in a singing manner). This opens with the Strings muted, singing a lovely tune. In this spirit the Movement continues. Listen for the charming passage in which a little six-note motif is taken by various instruments in turn in this order: First Violin, Second Violin, Bassoon, First Violin, Oboe, Second Violin, Flute, Oboe, Flute, Oboe, Flute. This sort of delicate playfulness is characteristic of Mozart.

III (Fairly quick). A gay little Minuet, with, in one place, a delightful passage for Woodwind alone.

IV (Very quick). This opens with a passage (strings alone) in which a sober, plain-song-like theme of four notes alternates with a flippant quicker one. Observe this, and a minute later you will be interested to hear how the plain-song theme is given to all the stringed instruments in turn, in the manner of a Fugue (in order, Second Violins, First Violins, Violas, 'Cellos, Double-basses). Nanette's Caprice; Question and Answer; Love Sonnet; The Frisky Tarantella