Symphony in C major (K. 208+102) - Wolfgang Amadeus Mozart

English Chamber Orchestra conducted by Jeffrey Tate.
I - Molto allegro - Andantino - Presto assai: 0:00
Mozart's Symphony in C major (K. 208+102) was composed in Salzburg on 1775, written at a time when the composer was growing increasingly dissatisfied being concertmaster at the Salzburg court. The pay was low and there was little chance of progress in his career, specially for writing opera. As the previous three travels to Italy failed to obtain any secure position, Wolfgang and Leopold visited Vienna and Munich. Neither of these attempts were fruitful, though the Munich journey resulted in a popular success with the premiere of "La finta giardiniera". The premiere date of the symphony, and the performers involved are unknown.
In 1775, Mozart composed the opera seria "Il re pastore", commissioned on the occasion of the visit of Archduke Maximilian Franz (a son of Empress Maria Theresa) to Prince Archbishop Hieronymus Colloredo in Salzburg. As with the previous operas, Mozart created a symphony by extracting the overture, an aria and a new finale, a procedure common in the time. In the early to middle XVIII century, both symphonies and overtures were refered as "sinfonias", and its only as the symphony began to grow and expand that the formal distinctions became a thing. Symphonies were also extracted from other forms such as the Serenade, and instruments were commonly not specified, as the works were expected to be played by wildly varying ensembles.
After the intense burst of symphonic writing between 1772-3, which resulted in sixteen symphonies, Mozart's activity in the field diminished as the quality of each work grew. Over the next two years, only three new works appeared. Mozart had the chance to examine and learn from Haydn's latest string quartets and symphonies, which contributed to his own expansion of the symphony from a light form of musical entertainment, to a more serious and ambitious genre. However, this symphony is practically a single-movement Italian overture, which dispenses of the usual three movement form. It is particularly anachronistic when compared with surrounding symphonies such as No.30 or No.31.
The work is divided in three distinctive sections. The first is the overture, being structured in sonata form. It begins with three resolute chords, followed by a lively and animated main theme in C major, introduced in piano by violins in canon before passing in forte to full orchestra. A dynamic transition leads us to the melodic and cantabile second theme in G major, also exposed by violins in piano. We find no exposition repeats nor real development, instead a tremolo transition leads to the recapitulation of the material in the home key of C major. A substantial transition then leads us into the next part.
The second section is a rework of the first aria of the opera, Aminta's "Intendo, amico rio", with the original castrato voice replaced by a solo oboe. It was left unfinished and additional bars had to be written. It is also monothematic in form. It opens with a bucolic introduction of strings and flute, leading to a lyrical and cantabile main theme in C major, exposed in piano by solo oboe. There is no repeat nor development of the material, instead a transition crescendo leads directly into the finale.
The third section is structured as an extended rondo (A-B-A-C-A-D-A-E-A). It begins with a rhythmic and lively main theme in C major, presented in a series of dynamic contrasts on full orchestra. After it is repeated, the first episode is an extremely concise variation of the theme, which is quickly recapitulated. The second episode is more substantial, being a second variation while modulating to E minor and G major. The theme is then repeated. The third episode is a gentler and lighter variation, hardly contrasting in nature. After the main theme is repeated once again, the fourth and final variation follows in the same vein as the one before. A final repeat of the main theme leads us to a vigorous coda.
Picture: Anonymous miniature of Mozart (c. 1773, attributed to the Austrian-Italian artist Martin Knoller).
Musical analysis mostly written by myself. Sources: tinyurl.com/2a... and tinyurl.com/29...
To check the score: tinyurl.com/2a...