The solemn, compact overture to La Clemenza di Tito (The Clemency of Titus) is a final yet quintessential example of one of the most characteristic, human traits in Mozart's music: nobility of spirit. The same might also be said of his Violin Concerto No. 3, even though it was written in his youth (which never actually determines anything in the case of the Salzburg composer): a dynamic piece that fully reflects the gallant mood of the time. Carry on reading
Symphony No. 1 by Paris composer Louis Farrenc (who wrote three symphonies considered to be the most fascinating and solid of the 19th century, despite being flagrantly and continually overlooked) is an expansive work, with a wealth of characters and contrasts in the purest, most volcanic expressive style of the time. The last movement is a thrilling explosion of light and joy.