Piano Concerto in B flat Major, K. 595, mvmt.

3 (First theme)

Narrator: Our three boys, Matthias, Friedrich, and Karl, have now completed their
training to be choirboys, and are now active musicians in the royal court of the Esterhazy
palace. On this particular summer morning in 1801, we find them draped across a
variety of furniture pieces as they actively avoid working on their homework assignments.
Instead, they are paying great attention to the conversation occurring on the opposite
side of the room, where their teacher, Joseph Haydn, and Karl’s father, a court violinist,
are discussing what their next repertoire selection should be.

Leopold: “...Or what about one of your London symphonies? Everyone loves your
London symphonies!”

Haydn: “Ehhhh, I suppose that could be an option… but maybe I want to try something
new. I know that people love them, but we’ve done them so many times already!”

Leopold: “Perhaps a selection of string quartets? A piano trio or two?”

Haydn: “I don’t know… I’m thinking I want something big! Something exciting!
Something grand!”

Leopold: “Okay… Then what about an oratorio? Or an opera? Or—

Haydn, gasps: “An opera! What a brilliant idea, Leopold!”

Leopold: “*sighs in relief* Okay, and which of your operas would we do? Armida?
L’anima del filosofo? Orlando Paladino?”

Haydn: “One of my operas? No, no, no! If we are to do an opera, we must do one of
Mozart’s!”

Leopold, gasps: “Great, what a wonderful idea, everyone loves Mozart’s operas!”

Haydn, delighted: “I can’t believe I didn’t think of this earlier— I played in string
quartets with him, you know! Such a fantastic musician and composer.”

Leopold: “And there are many fantastic operas for us to choose from! There’s Idomeneo,
The Magic Flute, Don Giovanni, but of course, my favorite has got to be—”

Leopold and Haydn, in unison: “The Marriage of Figaro!”

Overture to “The Marriage of Figaro”

Haydn: “Yes! We must do The Marriage of Figaro! I was planning to perform it here
back in 1790 already, but then I had to change those plans after Prince Nikolaus passed
away. Perhaps his son will enjoy a production of it!”

Leopold: “What’s not to enjoy? There’s disguises, trickery, intrigue and comedy! What
else does a story need!”

Narrator: Having now given up any pretense of actually doing their homework, the boys
jump into the conversation, demanding a full explanation of the opera in question.

Karl: “What’s this opera even about?”

Matthias: “What is an opera?”

Haydn: “Well, an opera is a long dramatic story, that is sung and acted out on a stage,
accompanied by the most wonderful music! This particular opera is a love story—”

Karl: “A love story? I don’t want to sing a love story. Bleagh.”

Leopold, exasperated: “Oh Karl, pull yourself together. Honestly!”

Friedrich, snickering: “What did you think an opera about a marriage would be about,
Karl? Hoeing beets in the garden? Rolling out meat pies in the kitchen?”

Haydn, chuckling: “I think you boys will actually quite appreciate this particular love
story! The characters are all much too busy trying to mess with each other, that nobody
actually has any time at all for romance! It’s really quite comical.”

Leopold, chuckling: “Oh, Mozart and his sense of humor… truly wonderful—even if he
was a bit unhinged at times.”

Haydn: “Is that perhaps a reference to the chicken aria in the opera Cosi fan tutte?”

Karl: “He wrote a song about chickens in an opera?”

Leopold: “Err.., not exactly.”

Haydn, laughing: “Well, you see, Mozart was told to write an aria for a particular soprano
that he… wasn’t exceptionally fond of. This singer had the unfortunate habit of throwing
her head back when singing high notes, and then tucking her chin in when singing low
notes. Mozart, being Mozart, composed a song filled with large leaps between very high
and very low notes, so that the singer’s head would bob up and down, up and down, up
and down—like a chicken strutting around a barnyard.”

Friedrich, laughing: “Can we do that opera instead of this marriage one?”

Haydn: “Oh, don’t give up on The Marriage of Figaro so quickly! I’m sure all of you
boys would enjoy the part of young Cherubino, the mischievous pageboy—he gets to
jump out of a window and ruin one of the gardener’s carnation bushes!”

Friedrich, whoops: “I claim THAT part!”

Matthias: “You can’t just claim a role, you know, it’s about actual skill and experience.”

Karl: “Well in that case, it should definitely go to me. I have plenty of skill and
experience in ruining people’s gardens.”

Leopold, alarmed: “Is that what happened to my marigolds?!”

Karl: “Uhhhhhh—”

Narrator: (interrupting) Fortunately, Karl is spared from any marigold-related

discipline, as Mr. Haydn and Karl’s father are scheduled for a meeting with the Prince. At
this meeting, they plan to propose a production of The Marriage of Figaro. The boys, now
thoroughly invested in the prospect of performing Mozart’s opera, decide to eavesdrop in
on the conversation.

Karl, whispering: “Matthias, get your elbow out of my face!”

Matthias, whispering back: “Well, I can’t hear!”

Karl, hissing back: “I don’t know how your elbow is going to help you out with that.”

Friedrich: “Shh! Just put your ear against the door, I’m going to listen through the
keyhole.”

Leopold: “...and so, that’s why we are proposing The Marriage of Figaro.”
Haydn: “I really think it would be a wonderful finale to our summer concert series!”

Prince: “Now why on earth would I want to play Mozart’s music, when I have Maestro
Haydn right here to compose anything I want?”

Leopold: “Well, sir, because—”

Prince: “I pay Haydn, not Mozart to write music for me! Besides, I find Mozart’s music
to be, frankly, a bit boring. Tiring, even.”

*gasps in horror ensue*

Haydn, incredulous: “How can you find Mozart boring? He was an absolute genius—I
dare say that the world won’t see another talent like him for another 100 years!”

Prince: “Psshaw! Hogwash. I have a composer right before me at this moment that proves
that wrong!”

Haydn: “Your words flatter me, Sir, but—”

Concertmaster: “Well, as concertmaster, I don’t want to play Mozart either!”

Haydn, under his breath: “Et tu, Brute?”

Leopold: “Why ever not?? I thought you loved Mozart?”

Concertmaster: “Maestro Haydn has long-since promised to write a string quartet for me,
but I haven’t seen a single page yet! I won’t play a single note of Mozart until I am
holding the pages of my string quartet in my own two hands!”

Prince: “It’s decided! NO Mozart, only Haydn. Consider yourselves all dismissed!”

Narrator: At this, Friedrich, Karl and Matthias scramble away from the door, nearly
falling over each other in their mad dash back to the classroom. They resume their
previous posts across the furniture, and commiserate their misfortune together.

Friedrich: “This is just dumb. Why can’t we do Mozart?”

Karl, moaning: “I want to do something fun.”

Matthias: “Not that Mr. Haydn’s music isn’t fun, but—”

Karl: “—Mr. Haydn’s never written a chicken song for us before.”

Friedrich: “Or given us permission to fall out of a window into a bush.”

Matthias: “To be fair, Hans probably appreciates that.”

*Boys snickering*

Friedrich: “Well, I’m going to go on strike! Not a single homework shall be done until we
get to perform Mozart.”

Matthias, dubious: “Do you really think that’s going to work out for you?”

Karl, laughing: “At least it’s not a hunger strike, I can’t think of any causes that would
cause that level of devotion from you.”

Friedrich: “Shh, don’t interrupt me. I’m feeling inspired.”

Friedrich, quietly singing: “Oh how I wish to sing Mozaaaaaaart, there’s nothing else I’d
rather doooooooo—”

Karl, interrupting: “If I cannot sing my dear Mozaaaaaaaart, uhhhh… I shall be left
feeling quite bluuuuuuuue!”

Matthias, joining: “Oh Mozart that master of soooooong—”

All: “WITHOUT HIM THE DAYS FEEL QUITE LOOOOOOOOONG—”

*Boys laughing, footsteps approaching*

Concertmaster: “Boys! What is this preposterous racket you are making??”

Friedrich: “Very sorry sir, we just find Wolfgang Amadeus Mozart to be… so inspiring!”

Matthias: “Friedrich!!”
Concertmaster: “What is with everybody going on at length about Mozart today?? I can’t
concentrate on my work with all of this noise. If you keep this up, I will have you boys
seeking inspiration while scrubbing chamber pots.”

Karl, gasps: “Oh please not, sir!”

Matthias: “We’ll be as quiet as church mice, we promise!”

Concertmaster: “And if you’re feeling so inspired by Mr. Mozart, perhaps you should
actually do your homework. He wrote his first symphony when he was younger than you
boys, only 8 years old! Have any of you written a symphony yet? Hmm? … I didn’t think
so. Back to work, all of you!”

All, subdued: “Yes, sir.”

*Footsteps departing*

Friedrich: “Gentlemen, I have decided to call off my strike, in light of the chamber pot
situation.”

Narrator: The boys turn back to their homework. A rather glum looking Haydn and
Karl’s father enter the room, and break that sad news that the Prince has said no to doing
TMOF. As the boys were not supposed to be privy to the conversation that decided this,
they react with great shock to the news.

Overture to “Don Giovanni”

Karl: “How on earth could the Prince say no to doing Mozart?”

Friedrich, disgusted: “Is he a man of culture, or not?”

Matthias: “Surely he gave a reason for such a surprising decision?”

Haydn: “Well…”

Leopold: “—apparently, Mozart is tiring.”

Friedrich, gasping with feigned horror: “He didn’t!”

Leopold: “Oh, he DID.”

Matthias: “Is there not any way we could convince him of the value of Mozart?”

Karl: “Or perhaps, any compositions from Mr. Haydn that would convince the—OUCH!
(whispering) Why did you pinch me?”

Friedrich, whispering: “Very subtle, Karl. We weren’t supposed to hear that, you know.”

Leopold: “Wait, how do you boys—?”

Haydn: “Well, I do have one idea… But, I don’t know if the Prince would appreciate it.”

Matthias: “What is it??”

Haydn, in a conspiratorial tone: “What if we were to disguise a piece of Mozart—not the

Marriage of Figaro, that would be much too obvious—as a new composition of mine, and
perform it for the Prince?”

Karl, laughing: “That’s brilliant, Mr. Haydn!”

Matthias: “Are you certain the Prince won’t be angry?”

Haydn: “We’ll just have to perform something so wonderful that the Prince won’t have
any choice but to enjoy it!”

Leopold: “Maybe so… But what would you play?”

Haydn: “Hmm… perhaps a symphony? He wrote 50 of them, and I’ve written over
100—surely nobody can keep track of who composed all of them!”

Leopold: “How about his G minor symphony?”

Symphony no. 40 in G minor, mvmt. 1 (Intro, until secondary theme?)

Leopold: “It’s one of my favorites- such a dark and dramatic opening, so brooding and
gloomy… And then! Beautiful counterpoint with the wind instruments, and sudden
triumph in the strings!”

Haydn: “Ah yes! What an excellent symphony— though perhaps a bit too well known for
our purposes. It wouldn’t do if everyone recognised it simply from the first few notes!
Leopold: “Of course! …what about his first symphony?”

Symphony no. 1 in E flat major, mvmt. 1

Haydn: “Aha! What a wonderful piece of music. Such liveliness, and then such beauty in
the harmonies he chooses… he wrote music as well as a man three times his age. Where
does such a young boy keep such music bottled up? *pause* But I am worried the
audience will also recognise this one, it was played to all of the royal courts when he was
touring Europe as a boy.”

Leopold: “Hmm…”

Haydn: “Oh! What do you think of doing the Jupiter Symphony?”

Symphony no. 41 in C major, mvmt. 4 (Intro)

Haydn: “It’s such a delightful piece of music. Such energy and joy! Listen to the energy
of the timpani… and the speed of the violins! … Did you know that Mozart was inspired
by one of my very own symphonies when he wrote this one? He reuses one of my
melodies in his finale!”

Leopold: “Brilliant! And I suppose technically, one could argue that we still are kind of
playing your music.”

Matthias: “The Prince can hardly be angry, then!”

Karl: “Is it named after the planet Jupiter?”

Haydn: “No, Mozart actually never gave it that title himself—one of his audience
members came up with that name, as the rumbling of the timpani reminded them of the
Greek god of thunder, Jupiter.”

Friedrich: “You’re such a clever man, Mr. Haydn! I think the Prince will—”

Narrator: Their conversation is cut short, as to their surprise, the subject of their
conversation walks into the room. The Prince, coming to discuss concert details with Mr.
Haydn, catches them in their conversation and is suspicious of the guilty looks the three
boys are unsuccessfully trying to hide.
Prince, suspiciously: “What’s going on here? What are you boys up to?”

Haydn: “Oh! Good afternoon, your highness. We were just discussing… er…”

Friedrich: “We were just discussing with Mr. Haydn what punishment should be
appropriate for …uhh…not doing our homework?”

Karl: “Or for being late to rehearsal?”

Matthias: “And for running in the hallways?”

Prince: “All of those things?”

Leopold: “Oh yes, these boys have been terribly naughty.”

Haydn: “I can assure you, your highness, that the punishment will match the crime!”

Prince: “Quite right! Now- Mr. Haydn, have you decided what will be performed at the
upcoming concert yet?”

Haydn, hesitantly: “Are you quite certain that we can’t tempt you with a little Mozart,
your Highness?”

Concertmaster, exasperated: “Maestro Haydn, I have told you that I will not under any
circumstances be performing any Mozart or any other composer for you until I have my
string quartet in my own two hands! If you insist on performing Mozart before this, you
will have to find a new concertmaster!”

Prince: “Quite right, indeed! I’m afraid I must side with the Concertmaster here. You
must follow through on your promise, Maestro! (Cheerfully) No Mozart! You may let me
know when you have come to an appropriate decision and gotten this silly notion out of
your head.”

Narrator: At this, the Prince strides out of the room, leaving Mr. Haydn, Karl’s Father,
and the concertmaster locked in a stalemate with one another. As they continue their
discussion in low murmurs by the doorway, the three boys quietly commiserate their
terrible luck.

Karl: “This is unacceptable!”

Matthias: “Not intending any offense at all to Mr. Haydn, but if we are only ever allowed
to perform his music, how are we ever supposed to become ‘well rounded musicians’?”

Karl, indignant: “Exactly! Otherwise what even are we?? Mishapen blobs??”

Friedrich, dramatically: “Mozart for the benefit of humankind! What a war cry.”

Matthias: “It’s just not fair! And we can’t even do anything about it, because we’re just
children.”

Karl: “When I’m an adult, I’m going to sing whatever I want, whenever I want.”

Friedrich, singing very quietly: “Oh Mozart, that master of sooooooong….”

Karl and Matthias: “Shhhh!!!”

Karl: “Are you trying to get us stuck on chamber pot duty??”

Matthias: “The concertmaster is still. in. this. room!!!”

*Dramatic sigh/groan from Friedrich*

Haydn, calling: “Boys, can you come over here for a minute?”

Matthias, hissing at Friedrich: “Look what you’ve done! Now we’re really going to get
it.”

*Footsteps*

Haydn, excitedly: “I think we have found a solution!”

Matthias: “Really?”

Karl: “How?”

Haydn: “Well, I just remembered I actually have a quartet for the concertmaster! It just
needs a few finishing touches. Silly me, I must have forgotten all about it. This old brain
of mine is like a sieve somedays, I tell you!”
Karl, whispering to Friedrich: “I really hope that by “a few finishing touches” he doesn’t
mean he still has to start this little project of his...”

Matthias, confused: “You really have a quartet that is nearly finished?”

Haydn, merrily: “Yes, of course! Come on Karl, why don’t you come with me to my
study and carry it back for me after I finish those last few notes.”

Piano Sonata K.282, movement 3 (Exposition: Time minor theme to Karl being
stressed)

Narrator: Mr. Haydn and Karl leave the room, off to go collect the mysterious quartet
that Haydn had somehow forgotten about until just this moment. Back in the room,
Matthias and Friedrich exchange nervous glances with Karl’s father, who clearly is just
as mystified and concerned about the existence of this quartet. Karl takes the opportunity
of being alone with Mr. Haydn to raise the question that is currently occupying all of
their minds.

*Footsteps*

Karl: “Sir, did you actually write the quartet for the concertmaster already!”

Haydn, chuckling: “Oh, not at all!”

Karl, alarmed: “But Mr. Haydn! How long does it take you to write a quartet?? Surely
you can’t whip one out in the time it takes us to get back to the group?”

Haydn, amused: “Have a little faith in me, Karl! I’ve got a plan up these ruffled sleeves
of mine.”

Karl: “Does this plan involve forgery? Theft? Anything illegal?”

Haydn: “Such impatience! Just wait and see, my boy.”

Karl, under his breath: “Okay, so definitely illegal then.”

Haydn, cheerfully: “I heard that.”

*Footsteps*
Haydn: “Ah, here we are!”

*Door creaks open*

Karl, panicky: “Sir, what are we going to do? We don’t have enough time to write it, I
definitely can’t help you write it, and I really shouldn’t get involved in anything
illegal—”

Haydn: “Tut, tut. Go look and see what is sitting on my desk, in the top left hand corner.”

*Footsteps, papers rustling*

Karl: “What is it that I’m looking for? Is it this stack of papers over here?”

Haydn: “Yes, that’s it! It’s my new string quartet—I just finished it two nights ago, and
haven’t had the opportunity to distribute the parts to any of the musicians yet.”

Karl: “So you did have a string quartet for the concertmaster!”

Haydn: “Well… not exactly. Here, look at the front cover.”

Karl, reading: “This string quartet is dedicated to the extraordinary violinist and my dear
friend, Leopold Mӧller, who… (trails off). Wait! But this is dedicated to my Father?”

Haydn, chuckling: “Yes, it is! Well, it was. Unfortunately, it will now be dedicated to our
lovely concertmaster, a sacrifice I’m sure your father won’t mind.”

Karl: “Not if he gets to play Mozart, I’m sure!”

Haydn: “Here, pass me that pen, please.” (Reading out loud while writing) “This string
quartet is dedicated to the extraordinary *Loud scratching out sounds, then writing*
CONCERTMASTER and my dear friend, *Loud scratching out sounds, then writing*
CONCERTMASTER BRAUN… There… Ooh, one more thing! *with a flash of
inspiration* who inspires me to *Loud scratching out sounds, then writing* TRY NEW
THINGS EVERY DAY. There. That ought to do the job!”

Karl, chuckling: “Try new things every day? That will guilt trip him into letting us
perform Mozart!”
Haydn, laughing: “That is the plan! Come, let’s go deliver this to our lovely
concertmaster.”
Piano Sonata K.282, movement 3 fade out

*footsteps*
Narrator: With Mr. Haydn feeling quite pleased with himself and thoughts of juvenile
detention vanished from Karl’s mind, the two of them head back to deliver the newly
dedicated quartet to Concertmaster Braun. Back in the room, Matthias, Friedrich, and
Karl’s father are all anxiously awaiting the return of Mr. Haydn and the string quartet
that may or may not exist.

*door creaks open, footsteps walk in*

Haydn: “Oh concertmaster, I have a little surprise for you!”

Concertmaster: “A surprise, you say? Well, Maestro, I am certainly intrigued!”

*papers wrinkling*
Haydn: “Voila! One string quartet, dedicated to my dear concertmaster!”

Concertmaster, delighted: “Dedicated to me? Oh Maestro, you’ve outdone yourself!”

Leopold, quite astonished: “What on…how could…! I know Mozart wrote the overture
to Don Giovanni the night before its premiere, but writing a string quartet in 20 minutes?!
Unbelievable! What a man you are, Mr. Haydn!”

Haydn: “Ah, the muses visited me with a sudden burst of inspiration today! Sometimes
the music just flows effortlessly, especially when I am writing for such an inspiring
concertmaster…”

Matthias, whispering: “Did Mr. Haydn really just write that string quartet in the time you
were gone?”

Friedrich, whispering: “There’s no way that’s possible…not even Mr. Haydn could do
that!”

Karl, whispering: “Oh, he wrote something alright. But only after he finished scribbling
something else out.”

Matthias: “What do you mean?”

Karl: “It was already written, but it was supposed to be dedicated to my father. Mr.
Haydn just made a few…adjustments to the dedication.”

Friedrich, whooping: “Brilliant! I knew it.”

Haydn: “Sooo… my dear concertmaster, now are you willing to allow us to play Mozart?
I’ve held up my end of the bargain, as you can see.”

Concertmaster, a bit uncomfortable: “Well, hypothetically yes…but that will surely annoy
the Prince, won’t it?

Haydn: “Not if he doesn’t know about it…”

Concertmaster, confused: “Whatever do you mean, my dear sir?”

Haydn: “Well, Leopold, my three young choirboys and I hatched a bit of a plan. Why
don’t we have a concert where we play *ahem* ‘one of my symphonies’ but it's actually
one by Mozart. That way, when the Prince expresses his enormous approval, aha! We
reveal the trick and show him that he does like Mozart!

Concertmaster: “Oh, that is quite ingenious! But… what do we do if the Prince doesn’t
appreciate the little joke?”

Friedrich, whispering to Karl: “Say goodbye to our music careers, probably.”

Haydn: “Hmm…I was thinking of retiring soon anyways. You might have to work out
another plan.”

Leopold: “But that won’t happen, I’m quite sure! After all, nobody can dislike Mozart.”

Haydn: “Well, actually, there’s this Salieri fellow—”

Concertmaster, sighing: “All right… Let's schedule rehearsals. I’ll see you in the concert
hall tomorrow afternoon, 3:00 sharp. But I’m warning you, Maestro, if I lose my job…”

Haydn: “Why, you’ll join me in retirement, of course! I hear the villas of Marseille are
lovely this time of year.”

*footsteps walking away, door closes*

Karl: “Finally! Just think—once we do one Mozart performance, then we can do—”

Matthias: “The Marriage of Figaro!”

Friedrich: “Look out, rose bushes.”

Narrator: Two rehearsal filled weeks later, it is the night of the awaited concert. The
musicians are bustling around on stage, gathering their instruments and rearranging
their music on their stands. In the royal box, the Prince has just taken his seat, and
signals that the concert may begin. As the room quiets down, there is a flash of movement
behind one of the tall pillars in the corner of the room: it is our three young choir boys,
who have snuck into the hall to watch the performance.

*applause*

Symphony no. 41 in C major, mvmt. 1 (Exposition: up to mm. 23)

Narrator: The evening’s performance is going splendidly. Karl is most pleased to report
to Friedrich and Matthias that he thought he saw the Prince wipe away a few rogue tears
during the second movement, and the remainder of the audience appears captivated as
the powerful finale of the fourth movement draws to a conclusion.

Symphony no. 41 in C major, mvmt. 4 (Coda to end.)

*applause, cheers, shouts of encore*

Narrator: What a successful performance! After the final notes die away, the audience
applauds wildly; calling for encores and shouting their praise. The Prince is so touched,
that he heads to the stage to personally congratulate Mr. Haydn and the Concertmaster.

Prince: “Bravo, my dear Mr. Haydn! What a performance! I must say, you’ve convinced
me further that yours is the only music that must be performed in my court!”

Concertmaster: “Ah! My apologies, I’ve just remembered… I’ve got to go… uh… clean
out the trombones. Slobbery things, those trombones, heh heh!”
*sounds of rapid departure*

Haydn: “I’m so glad to hear you enjoyed it, your honor! Isn’t Mozart lovely?”

Prince: “Whatever do you mean? This was one of your symphonies, was it not?”
Haydn: “Well… not exactly.”

Prince: “Please explain exactly what you mean.”

Haydn, blustering: “Er, well, It was one of Mozart’s symphonies, the Jupiter one to be
exact, and umm, it is a bit of my work because technically Mozart used one of my
melodies in it, and—”

Prince: “Are you meaning to tell me that you went ahead and performed Mozart, even
though I expressly told you not to?? Outrageous!”

Leopold: “Your honor, we are terribly sorry! It has been a most grave mistake on our part,
and we beg your forgiveness. We simply wanted to share the wonderful music of Mozart
with you, but we see now the error of our ways.”

Haydn: “Alas, it seemed as though you heartily enjoyed the performance before finding
out it was Mozart… but it seems as though I was wrong. *Sigh* Please excuse all of the
musicians, your highness, as it was entirely my idea and they should not be punished for
my wrongs. As for me, I’ll begin packing immediately.”

Prince: “Packing? Whatever for?”

Haydn: “Well, am I not to resign from my post?”

Prince, worriedly: “No! Well, err… that might be taking it too far…I did thoroughly
enjoy the performance tonight, I was just upset by the trickery! Please, stay. Can I
convince you to stay?”

Haydn: “Oh, you are too kind! I suppose I could be convinced…perhaps with a little
Mozart?”

*extended pause*
Prince: “I…oh, I suppose. You’ve proven my point against me this evening, it turns out I
do enjoy Mozart’s music. But no funny business!”

Leopold, very relieved: “You are too kind, sir! Too kind!”

Haydn: “How wonderful! We shall get started on The Marriage of Figaro tomorrow! You
will love it, your honor! I assure you!”
Overture to Magic Flute (from Allegro)

Narrator: At these words, there is a small commotion in the background. Karl, Matthias,
and Friedrich all tumble out from behind the pillar where they were hidden with
expressions of great delight on their faces. Mr. Haydn’s master plan has been a
resounding success: their imaginations are filled with dramatic opera plots and visions of
crushed landscaping, while their ears are full of Maestro Mozart’s beautiful music. But
whether it be the music of Haydn or Mozart, there will always be music to be found at
Esterhazy Palace!

Overture to Magic Flute (from Allegro-Forte section)