EARLY SYMPHONIES VOL. 4

Although the Köchel catalogue contains over 40 symphonies from Mozart’s pen, this group of works does not represent the pivotal point of his entire oeuvre, as is the case with Joseph Haydn, for example. In Mozart’s day and age, the symphony was not usually the main attraction in the concert programme. It served more as an orchestral setting for the performance of acclaimed soloists, whose virtuoso playing required an adequate framework. Although one cannot imagine present-day concert repertoire without Mozart’s late symphonic works, his earlier symphonies – among which the works recorded on this SACD – unfortunately still eke out a truly meagre existence on sound-carriers. Of course, they cannot measure up to the later masterpieces as far as individuality and character are concerned; after all, around the middle of the 18th century the symphony was considered more a musical lightweight. Mozart’s early symphonies are a fascinating demonstration of his analysis of the examples available to him at the time, such as Johann Christian Bach, Johann Stamitz, and Johann Christoph Wagenseil: however, they also represent his first steps towards an independent symphonic idiom of his own.

Mozart wrote his Symphony in F, K. 43 together with three other symphonies during a journey to Vienna, and a side-trip from there to the north-Moravian town of Olmütz from October to December 1767, where the Mozarts had fled to avoid a smallpox epidemic. These first “Viennese” Symphonies are presented as four-movement works, thanks to the addition of a Minuet. Whereas the first movement is characterized by a signal-like main theme, the Andante is based on a duet from Mozart’s Apollo et Hyacinthus. The legato Minuet is followed by a two-part Finale, in which the strings are given complete melodic and thematic dominance, whereas the winds are relegated to a supportive role.

Both symphonies in D, K. 120/111a and K. 161 & 163/141a, were originally drafted as overtures. Mozart had destined the former for his Serenata Ascanio in Alba K. 111. The introductory Allegro is followed by an Andante (which was originally accompanied on stage by a ballet danced by the “Graces”). When he reworked the material into a symphony, Mozart replaced the original Allegro-Finale, with choirs of spirits and singing Graces, by a short Gigue. The Finale was probably written around October/November 1771.

The first movement for K. 163/141a was first composed as an Overture to Mozart’s Serenata drammatica Il sogno di Scipione and consists of an Allegro moderato which begins unisono, and a pastorally tinted Andante, to which Mozart later added a Presto-Finale, influenced by the sonata form, à la “Menuet et rondeau”, in order to develop it into a symphony in its own right. The three movements are directly linked to one another by means of cadenzas.

Until this day, it has proven impossible to agree on the dating of the Symphony in B-flat, K. Anh. 214/45b: or, in fact, even to agree that W.A. Mozart was indisputably the composer. Judging by its structure and length, this work was probably written at the time of the Salzburg Symphonies, during the year 1767. The first movement, written in sonata form, plays around with the order of the themes, whereas in the Andante the strings are afforded the most prominent part. The Minuet is followed by an Allegro, which does duty as a merry farewell dance.

Both the Symphony in D, K. 196 & 121/207a and the Symphony in C, 208 & 102/213c exhibit direct links to the opera. The Symphony in D was composed in the spring of 1775 in Salzburg. The exuberant overture to the opera La finta giardiniera, K. 196 has been kept short here, and the gallant Andante grazioso is entrusted entirely to the strings. In the Finale, Mozart combines a springy ease with true brilliance. The C-major work, which was Mozart composed in the summer of 1775 in Salzburg, is derived from the Overture to his serenata Il re pastore. The Allegro is followed without a break by an Andantino, which is based on the first aria of the opera. Here, the vocal soloist replaces the oboe soloist. The Presto assai-Finale is a rondo in the style of a Contredanse.

One would never realize the age of the recordings; sonics are superb and Mozart especially doesn't require a subwoofer channel. If your speakers are correctly set up you shouldn't miss the center channel of the four-channel reproduction. The acoustics of a fine London town hall are just right for the music.
John Sunier, Audiophile Auditio