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The History in This Program


ntil the late 19th century, Mozarts operatic works were much more popular than his
symphonic oeuvre.Mirroring this trend, of the 143 performances of Mozarts works
by the Philharmonic from its inaugural concert in 1842 to 1900, 88 were performances
of overtures or arias from his operas.In January 1844, a year after the Orchestra opened
its very first concert with a Beethoven symphony, the Philharmonic performed its first
complete Mozart symphony.By 1900 the Philharmonic had performed only six Mozart
symphonies at 55 concerts.In comparison, all nine of Beethovens symphonies had been
performed by the Philharmonic at 212 concerts.
Some of this early resistance and eventual enthusiastic acceptance can be tracked
through one particular audience member, George Templeton Strong, who was a lawyer
and ardent music lover in 19th-century New York. Strong attended the Philharmonics
first concert on December 7, 1842, and some 30 years later became its President. He is
best remembered today for his remarkable nightly diary entries that provide one of the
most consistent eyewitness accounts of events in the city between 1836 and 1875. And it
is in his diary, which is now at the New-York Historical Society, that we witness the
growth of Strongs appreciation for Mozart.
Following an 1844 concert, he notes: Theres so much less of startling effect and
abrupt transition in Mozarts music [compared to Beethovens] . The instrumentation,
too is less striking, and the character of the composition is not such, I think, as to impress
one much on a first hearing . Certainly my present
taste would lead me to prefer [Beethoven]. Twelve
years later his impression had changed dramatically: No music is as beautiful in equal degree with
his in hearing Mozart you think only of the purity
and beauty of his art his copious creative faculty.Roses and lilies fall from his lips whenever he
opens them.
Americans love affair with Mozart grew throughout the 20th century, reaching a high-water mark in
1991. For the outsized festivities memorializing the
bicentennial of Mozarts death the Philharmonic
joined with ten other Lincoln Center constituents to
perform every one of the composers 835 compositions in almost 500 events. It was the first artistic collaboration of so many of the constituents only
Mozart was big enough to bring them all together.

The Archives
George Templeton Strong, the New York lawyer and diarist,
who attended the Philharmonics first concert in 1842 and
became the Orchestras President in 1870

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Notes on the Program


By James M. Keller, Program Annotator, The Leni and Peter May Chair
Symphony No. 31 in D major, Paris, K.297 / 300a
Flute Concerto No. 2 in D major, K.314 / 285d
Exsultate, jubilate, K.165 / 158a
Symphony No. 39 in E-flat major, K.543
Wolfgang Amadeus Mozart
uch a combination of the bitter and the
sweet it is, the letter Wolfgang Amadeus
Mozart wrote from Paris, on July 3, 1778, to
his father, Leopold, back home in Salzburg.
Monsieur mon trs cher Pre! he began:

I have very sad and distressing news to


give you . ... My dear mother is very ill. She
has been bled, as in the past, and it was
very necessary too. She felt quite well afterwards, but a few days later she complained of shivering and feverishness,
accompanied by diarrhea and headache.
At first we used only home remedies
antispasmodic powders; we would gladly
have tried the black powder too, but we
had none and could not get it here, where
it is not known even by the name of pulvis
epilepticus. As she got worse and worse
(she could hardly speak and had almost
lost her hearing, so that one had to
shout to make oneself understood), Baron
Grimm sent us his doctor. But she is still
very weak and is feverish and delirious.
They give me hope but I have not much.
This letter was apparently Wolfgangs gentle first step in breaking the inevitable news to
his father. In fact, his mother had died several
hours earlier. For a 22-year-old on tour in a
foreign land, this was a tragically difficult
situation. But Mozart was an unflappable professional, one who by this time had a good 15
years of experience under his belt, and after
ruminations on the inevitability of Gods will,

IN SHORT
Born: January 27, 1756, in Salzburg, Austria
Died: December 5, 1791, in Vienna
Works composed and premiered: Symphony No. 31, composed in 1778, in Paris; premiered June 18, 1778, in Paris, by the Concert
Spirituel; revised version with new Andante unveiled in Paris on August 15. Flute Concerto
No. 2 composed 1778, in Mannheim, Germany;
premiere unknown. Exsultate, jubilate, composed in 1773, in Milan; premiered January 17,
1773, at Milans Theatine Church of San Antonio,
Venanzio Rauzzini, soloist. Symphony No. 39,
composed 1788, in Vienna; premiere unknown.
New York Philharmonic premieres and most
recent performances: Symphony No. 31, premiered January 2, 1936, Thomas Beecham, conductor; most recent performance, April 10, 2010,
Antonio Pappano, conductor. Flute Concerto No.
2, premiered March 19, 1924, Willem Mengelberg, conductor, John Amans, soloist; most recently played, April 11, 1965, Lorin Maazel,
conductor, John Wummer, soloist. First complete
performance of Exsultate, jubilate, September
15, 1946, F. Charles Adler, conductor, Dorothy
Ornest, soprano; most recently performed, September 26, 2006, Lorin Maazel, conductor, Heidi
Grant Murphy, soprano. Symphony No. 39, premiered, January 9, 1847, Henry C. Timm, conductor; most recently played, November 30, 2013,
Alan Gilbert, conductor
Estimated durations: Symphony No. 31, ca.
16 minutes; Flute Concerto No. 2, ca. 16 minutes; Exsultate, jubilate, ca. 15 minutes; Symphony No.39, ca. 28 minutes
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his letter shifts gears to cheerier matters. Given


the context, they must have struck Leopold as
trifling in comparison.
I have had to compose a symphony for the
opening concert of the Concert Spirituel. It
was performed on Corpus Christi day with
great applause, and I hear, too, that there
was a notice about it in the Courier de lEurope so it has given great satisfaction. I
was very nervous at the rehearsal, for never
in my life have I heard a worse performance.
You have no idea how they twice scraped
and scrambled through it. I was really in a
terrible way and would gladly have had it rehearsed again, but as there was so much else
to rehearse, there was no time left. So I had
to go to bed with an aching heart and in
a discontented and angry frame of mind. I

decided next morning not to go to the concert at all; but in the evening, the weather
being fine, I at last made up my mind to go,
determined that if my symphony went as
badly as it did at the rehearsal, I would certainly make my way into the orchestra,
snatch the fiddle out of the hands of Lahoussaye, the first violin, and conduct myself!
Founded in 1725, the Concert Spirituel was
the preeminent Parisian purveyor of instrumental music until the nations cultural life
was interrupted by the Revolution of 1789. To
have his Symphony No. 31 (the first he had
written in three and a half years) programmed by such an entity was certainly a
coup, and one can easily sympathize with the
disappointment Mozart felt when he heard

In the Composers Words


In a letter to his father and sister on July 3, 1778, Mozart (writing in his pious, good son mode)
recounted the great success his Paris Symphony enjoyed at its premiere:
I prayed to God that it might go well, for it is all to His greater honor and glory: and behold
the symphony began. ... Just in the middle of the first Allegro there was a passage which I felt
sure must please. The audience was quite carried away and there was a tremendous burst
of applause. But as I knew, when I wrote it, what effect it would surely produce, I had introduced the passage again at the close when there were shouts of Da capo. The Andante
also found favor, but particularly the last Allegro, because, having observed that all last as well
as first Allegros begin here with all the instruments playing together and generally unison, I
began mine with two violins only, piano for the first eight bars followed instantly by a forte;
the audience, as I expected, said hush at the soft beginning, and when they heard the forte,
began at once to clap their hands. I was so
happy that as soon as the symphony was
over, I went off to the Palais Royal, where I
had a large ice, said the Rosary as I had
vowed to do and went home.

The Mozarts Nannerl, Wolfgang, and their


father, Leopold, with their mother, Anna Maria,
represented in a medallion above the piano, by
Johann Nepomuk della Croce, ca. 1780

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his piece mistreated in rehearsal. Perhaps he


was being overly critical; maybe he underestimated the professionalism of the groups
players. In any case, making a hash of the
piece in rehearsal seems to have served the
orchestra well enough to alert them to what
they needed to do when it counted, and the
performance itself went swimmingly. Mozart
was a quick enough study to grasp the
essence of Parisian musical taste and reflect
it in his new score, beginning with the threemovement format (eliminating the minuet
movement that was common in Germanspeaking lands). In his bow to the French
style, Mozarts brilliant orchestral veneer
more than compensates for what might be
considered a lightness of substance compared to others of his symphonies.
Discussions of Mozart and the flute typically
begin by countenancing a remark the composer wrote in a letter to his father in the winter of 1778, while he was in Mannheim,
Germany, on tour. There he had encountered
Ferdinand Dejean (or De Jean, or De Jong), a
wealthy Dutch-German surgeon attached to
the East India Company. An accomplished
amateur flutist, Dejean was in Mannheim
studying with the renowned court flutist, Johann Baptist Wendling, who introduced him
to Mozart. The surgeon commissioned the
young composer to write a hefty parcel of
music for his use: three little, easy, short
concertos and several quartets for flute, violin, viola, and cello.
Mozarts father, Leopold, did not take
money matters lightly and must have become
apoplectic when he learned that his son was
occupying himself with non-incomeproducing projects rather than with Dejeans
commission, which would pay 200 florins. Its
probably for the best that Leopold didnt know
that Wolfgang was spending much of his time
wooing a young lady, Aloysia Weber (who
would eventually become the composers sister-in-law, rather than his wife). Three months

Listen for the Andante


Mozarts account of the premiere of the Paris
Symphony says almost nothing about its slow
movement. However, in a follow-up letter to his
father on July 9, 1778, he shares that Jean Le
Gros, director of the Concert Spirituel, admired
the symphony on the whole but was not happy
with that movement:
The Andante has not had the good fortune to
win his approval; he declares that it has too
many modulations and that it is too long. He
derives this opinion, however, from the fact
that the audience forgot to clap their hands
as loudly and to shout as much as they did
at the end of the first and the last movements.
For indeed the Andante is a great favorite
with myself and with all connoisseurs, lovers
of music, and the majority of those who have
heard it. It is just the reverse of what Le Gros
says for it is quite simple and short. But in
order to satisfy him (and, as he maintains,
some others) I have composed a fresh Andante each is good in its own way for
each has a different character.
It was long assumed that the original Andante was the elegant movement in flowing
6/8 time that is most frequently heard in performances of this piece. (Mozarts final score,
in any case, identifies the movement as Andante, although in his working draft he calls it
Andantino.) In 1981, however, the musicologist
Alan Tyson published an article that argued,
on the basis of an examination of manuscript
sources, that the 6/8 movement is in fact the
substitute movement that Mozart wrote to placate Le Gros. The original, Tyson contended,
was a movement in 3/4 time that had hitherto
been assumed to be the later of the two Andantes. For this concert, Bernard Labadie will
conduct the movement in 3/4 meter, which he
characterizes as immensely charming.

had passed when Wolfgang wrote:


One is not disposed to work at all times. I
could certainly scribble the whole day, but a
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An Unusual Tempo Marking


The first movement of Mozarts Flute Concerto
No. 2 (and of the Oboe Concerto from which it
was derived) sports an unusual tempo marking:
Allegro aperto literally an open or frank
Allegro. It is not a unique marking in the composers works, as it was used in arias for his
early theater piece Ascanio in Alba (K.111) and
the oratorio La Betulia liberata (K.118), both
from 1771, as well as for the first movements of
his Violin Concerto No. 5 (K.219) of 1775, Keyboard Concertos in B-flat major (K.238) and C
major (K.246), both from 1776, and his Oboe
Concerto (1777, revised in 1778 into the Flute
Concerto No. 2). After that, he used it again for
the Laudamus te movement of his C-minor
Mass (K.427) of 178283.
The term seems to have been almost exclusive
to Mozart, although it does also surface, again
attached to first movements, in an oboe quartet
by Franz Krommer and a clarinet concerto by
Antonio Casimir Cartellieri, both of whom were
active in Vienna at the turn of the 19th century.
Maybe they had noticed the marking in Mozarts
scores, or perhaps they just liked its implications
of candor and forthrightness.
piece of music goes out into the world, and,
after all, I dont want to feel ashamed for my
name to be on it. And, as you know, I am
quite inhibited when I have to compose for
an instrument which I cannot endure.
This comment, made by a temperamental
post-adolescent, has come down through the
annals of musical history as proof that
Mozart loathed the flute. Its a difficult allegation to uphold. The composer would never
repeat anything to that effect in his remaining years (at least not in any surviving document), and he would repeatedly prove
himself amenable to spotlighting the instrument sensitively in his symphonies and operas. Would a composer who loathed the flute
have pounced with such lan on the libretto
of Die Zauberflte (The magic Flute), in which
30 | NEW YORK PHILHARMONIC

the flute is exalted as a repository of magical


powers of salvation?
It would seem that Mozart was singling out
the flute as an excuse for his own failure to fulfill Dejeans commission. By the time Dejean
left Mannheim for Paris in February, Mozart
had completed only two quartets and two of
the concertos. Dejean therefore pro-rated the
commission and paid him only 96 of the 200
florins initially contracted and Mozart had
to answer to his irate father. One of the flute
concertos Mozart managed to finish wasnt
even a new work. It was a re-working of a concerto he had recently written (in the spring or
summer of 1777) for the Salzburg oboist
Giuseppe Ferlendis, transposed a step up from
its original C major to D major, a key more
amenable to the flute. Transferring the solo
part wholesale from oboe to flute would have
been impossible, since the range of the flute
exceeds that of the oboe. Mozart accordingly
reshaped many melodic passages, and he also
recast various phrase endings, changed some
dynamic markings, and made a few alterations to the harmony.
Neither of the works reflected Dejeans request that they be little, short, easy concertos. The cheerful Flute Concerto No. 2 is
generally of the scale one might expect of a
wind concerto of its period, and only the
most thorough virtuoso would ever think of
calling it easy. The opening is infused with
levity, nowhere more so than in the athletic
bounce with which the soloist makes his entrance. The lyrical second movement is followed by a jocular, finger-twisting rondo in
which fleet figuration is set off by occasional
episodes of tightly worked counterpoint. The
principal theme of this finale will seem oddly
familiar to opera lovers, since it bears kinship
to Blondes aria Welche Wonne, welche
Lust from Die Entfhrung aus dem Serail
(The Abduction from the Seraglio), which at
the time still lay five years in Mozarts future.
Young Mozarts life was filled with travel. He

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first left his native Salzburg two weeks before


his sixth birthday, when Leopold Mozart took
his two prodigy youngsters Wolfgang and
his sister, Nannerl to play before the Elector in Munich, and later that year (1762) the
Mozart family headed to Vienna, with a brief
excursion from there to Pressburg (Bratislava).
By the time he reached his 17th birthday, the
increasingly cosmopolitan Mozart had appeared as a musical marvel in Augsburg,
Frankfurt, Brussels, Paris, London, The
Hague, Utrecht, Amsterdam, Antwerp, Dijon,
Brno, Innsbruck, Verona, Milan, Florence,
Rome, Naples, Bologna, and Venice.
The last of Mozarts three visits to Italy extended from late October 1772 until midMarch 1773 and was centered on Milan, where
he had been invited to preside over the premiere of his new opera, Lucio Silla. One of the
principals in that production was Venanzio
Rauzzini, a soprano castrato (also a composer
and harpsichordist) who enjoyed a brief but

successful career as an opera star. He made his


operatic debut in Rome in 1765, and from 1766
until 1772 he was a staff singer at the Electors
Court in Munich. From that base he also traveled for engagements in Venice and Vienna;
in the latter, his travels overlapped in 1767
with those of the Mozarts, who were duly impressed when they heard him perform in an
opera by Hasse. Rauzzinis tenure in Munich
ended in 1772, reportedly because his life was
made difficult by aristocratic women who
were continually smitten by his good looks.
(Whats a castrato to do?) Following that he
centered his career in Italy and, after 1774, in
England, where he prospered for a few years
as a singer before turning his attention to
being a composer and impresario.
Mozart enjoyed working with Rauzzini on
Lucio Silla, and not long after that operas
premiere he provided the singer with a new
solo vehicle, the motet Exsultate, jubilate.
One might consider it a three-movement

Angels and Muses


When Venanzio Rauzzini (the castrato who introduced Exsultate, jubilate) moved to England in
1774, he settled first in London, and then in Bath, where he remained until his death in 1810. Among
his eminent visitors was Franz Joseph Haydn. The composers early biographer Albert Christian
Dies elaborated on this visit:
Rauzzini had in his garden a monument to his best friend,
who had been snatched from him by death. In the inscription, he lamented the loss of such a true friend, &c., and
concluded his lament with the words: He was not a man
he was a dog.
Haydn secretly copied this inscription and composed a
four-part canon to the words. Rauzzini was surprised: he
liked the canon so much that he had it incised on the monument, to the honour of Haydns and the dogs.

Venanzio Rauzzini and his dog, Turk, painted ca. 1795

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cantata in which the first two movements are


linked by a recitativo secco. In fact, it is practically a textbook example of the liturgical
motet of its time. The flutist Johann Joachim
Quantz, in his famous 1789 treatise on the
instrument, Versuch einer Anleitung die Flte
traversiere zu spielen, wrote:
In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives,
concluding with an Alleluia, and sung during the Mass following the Credo, generally
by one of the best singers.
That very much describes the work at
hand, except for the fact that Mozart forgoes
the second recitative and segues seamlessly
from the second aria to the famous concluding Alleluia.
In its original form this motet called for an
orchestra of two oboes, two horns, and
strings, plus continuo, and for most of its existence it was known only in that guise. In
1978, however, two alternate versions surfaced in a village outside Salzburg, one of
them in the hand of a copyist the Mozarts
sometimes employed. These settings used
flutes instead of the original oboes, and both
changed the text, one making the piece appropriate for performance on Trinity Sunday,
the other rendering it suitable for Christmas.
The original Milan version is performed in
this concert, but citing the others testifies to
the popularity of the piece when it was new.
Mozarts biography contains such an amazing procession of extraordinary experiences
and achievements that it reads almost like an
18th-century novel. One might think it was
all made up; but then, of course, theres the
inescapable evidence that he did live and
breathe and write music unlike anything
produced before, during, or after. The story

32 | NEW YORK PHILHARMONIC

of his final three symphonies occupies a full


chapter of this life-as-novel.
He seems to have scarcely broken a sweat
writing them. Almost incredibly, all three of
these symphonies were produced in the
space of about nine weeks, in the summer of
1788. Composition on his Symphony No. 39
probably began around the beginning of
June, not quite a month after Don Giovanni
was granted a lukewarm reception at its Vienna premiere. Mozart finished it on June 26,
and he went on to complete the succeeding
symphonies on July 25 and August 10. Each
is a very full-scale work; unlike the threemovement Symphony No. 38 (the Prague),
which Mozart had written two years earlier,
these comprise the standard four movements
of the late-Classical symphony. Twelve
movements in nine weeks would mean that,
on the average, Mozart expended five days
and a few hours on the composition of each
movement. Of course, that doesnt figure in
the fact that he was also writing other pieces
at the same time, or that he was also giving
piano lessons, tending a sick wife, entertaining friends, moving to a new apartment, and
begging his fellow Freemason Michael Puchberg for assistance that might see him and
his family through what was turning into an
extended cash-flow crunch.
In the first of his fundraising letters to
Puchberg (written in June 1788, just as the
E-flat-major Symphony was taking form),
Mozart mentioned that he had hopes for
some income from two concerts that were to
take place in the Vienna Casino the following
week. But none of the citys newspapers
made mention of the concerts, and it seems
probable that they were cancelled, perhaps
because of insufficient interest. (If they did
take place, Mozart was not encouraged by
them, for he never performed in public thereafter, apart from leading operas.) It is possible that he was intending to unveil his

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E-flat-major Symphony at his Casino concerts. As it is, there is no evidence that it was
performed in his lifetime.
Like the Prague Symphony, his Symphony
No. 39 opens grandly, with a slow, darkly dramatic introduction in which the orchestral
texture and harmonic dissonance increase to
near the breaking point. This gives way to a
lyrical Allegro in which buoyancy rubs shoulders with measured grace. The movements
two main themes are set apart by both their
contrasting melodic character and their instrumentation; the first is conceived for the
strings, while the second employs the rich
texture of Mozarts beloved clarinets two
of them, playing in thirds. The dotted
rhythms of the introduction appear again in
the slow movement, a subtle Andante in Aflat (with a theme in F minor adding
poignant contrast). Mozart employed a modest instrumentation for this symphony, but
in this second movement he grows still more
economical by foreswearing the trumpets
and timpani. The resultant intimacy suggests the spirit of chamber music, especially
in light of the delicate writing for one-on-apart winds.
Often, the third movement is the least
memorable in a Classical symphony a
throwaway minuet that sometimes serves
only to cleanse the palate between the
more imposing courses of the slow movement and the finale. But in Mozarts Symphony No. 39, the third movement may be
the most memorable. It is unusually boisterous, a sort of peasants minuet, and the contrasting trio contains one of the composers
most endearing dance tunes, a lilting clarinet melody with delightful echo effects.
Still, it steals none of the finales thunder; a
single theme undergoes all manner of rhythmic and contrapuntal exploration, very
much la Haydn, without ever coming off
as recherch.

Mozarts Final Triptych


When it comes to Mozarts final symphonies,
one can dissect their harmonic structures, their
deployment of themes, and their instrumentation but yet fail to convey the well-wrought personalities that each displays. Each is sublimely
beautiful, yet each elicits a very different response. The G-minor (No. 40) is a work of Sturm
und Drang, a score whose overriding emotions
range from the unsettling to the downright terrifying, perhaps a mirror of Mozarts inner
demons. In the Jupiter (No. 41), Mozart seems
intent on showing off his sheer brilliance as a
composer; in its finale he renders the listener
slack-jawed through a breathtaking display of
quintuple counterpoint.
And what of the Symphony No. 39? Its character is less easily suggested in the space of a
sentence. Certainly it does not lack deep emotion, and it displays abundant compositional
virtuosity, But listeners may leave a performance of the Symphony No. 39 feeling that they
have glimpsed Mozart reveling in the very act
of music-making, providing a score crafted at
every turn to delight the instrumentalists who
will bring it to life. Mozart probably never heard
this symphony performed, but he surely knew
how deeply satisfying it would be not only to
hear, but also to play.

Instrumentation: Symphony No. 31 calls for


two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and
strings. Flute Concerto No. 2 employs two
oboes, two horns, and strings, in addition to
the solo flute. Exsultate, jubilate calls for two
oboes, two horns, strings, and continuo
(organ and cello), in addition to the solo soprano. Symphony No. 39 employs flute, two
clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
Cadenzas: In the Flute Concerto No. 2,
Robert Langevin plays cadenzas of his own
composition.

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Text and Translation


Mozarts Exsultate, jubilate (Milan version)
Aria
Exsultate, jubilate,
O vos animae beatae,
Exsultate, jubilate,
Dulciacantica,
Cantica canendo cantui
Vestro respondendo,
Psallant aethera cum me.

Exult and shout with joy


O you blessed souls!
Exult and shout with joy
Sweet songs.
Singing songs,
Answering your songs,
The heavens sing with me.

Recitativo
Fulget amicadies,
Jam fugereet nubila et procellae;
Exortus est justis
Inexspectataquies.
Undique obscura regnabat nox,
surgite tandem laeti,
Qui timuistis adhuc,
Et jucundi aurorae fortunatae
Frondes dextera plena
Et lilia date.

The day is friendly and radiant,


For clouds and tempests have now fled;
The resurrected just souls
Find unexpected peace.
On all sides darkness and night held sway,
So rise up at last and be happy,
You who until now were full of fear
And joyfully to the fortunate dawn
Leaves with full hands
And lilies give!

Aria
Tu virginum corona,
Tu nobis pacem dona,
Tu consolare affectus
Unde suspirat cor.

You crown of virgins,


Give peace to us,
Soothe the feelings
That make the heart sigh.

Aria
Alleluja.

Allelujah.

34 | NEW YORK PHILHARMONIC

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