Cherubiniana

In ‘Cherubiana’, he tried to follow Mozart's example, explains Schachtner. He took up the idea of ‘telling an operatic story packed into the symphonic form.’ Schachtner deliberately chose an orchestral setting that is close to the tradition of operatic harmony music. This instrumental basis is complemented by violin, trumpets and percussion. The composer: ‘My “Cherubiniana” takes up an idea that can be found in some of Mozart's symphonies, namely to tell an operatic story packaged in symphonic form. The instrumentation, which is in the tradition of operatic harmony music, also refers to this - supplemented by violin, trumpets and percussion. Mozart, for example, changes the plot of the ‘Abduction from the Seraglio’ without further ado in the finale of his Haffner Symphony - Belmonte is hanged, Osmintriumphs. So my imaginary plot begins with Cherubino's attempt to escape, which I allow to fail. A canzonetta and a minuet following the introduction speculate tongue-in-cheek on how the opera ‘The Marriage of Figaro’ would have continued. However, a quadrille at the end of the work suggests that the day would probably have been as ‘great’ as Beaumarchais describes in ‘La Folle journée’.