Symphony No.22 in C major - Wolfgang Amadeus Mozart

Northern Chamber Orchestra conducted by Nicholas Ward.
I - Allegro assai: 0:00
II - Andantino grazioso: 3:15
III - Presto assai: 6:14
Mozart's Symphony No.22 was composed in Salzburg on April 1773, a month after returning from his third Italy journey with his father Leopold. For whom or for what occasion Mozart composed the work is unknown, as so are the premiere date and performers involved. While the previous symphonies ambitiously expanded the scope of the form, No.22 began a return to the simpler three-movement Italian overture, which was becoming increasingly archaic. It is characterized by the abundant use of fanfares, trills and tremolos, chord melodies and forte piano contrasts. Works of this type were performed, for example, at the beginning of academy concerts.
Between 1769-73, the young Mozart and his father Leopold made three Italian journeys. The first, an extended tour of 15 months, was financed by performances for the nobility and by public concerts, and took in the most important Italian cities. The second and third journeys were to Milan, for Wolfgang to complete operas that had been commissioned there on the first visit. From the perspective of Wolfgang's musical development, the journeys were a considerable success, and his talents were recognised by honours which included a papal knighthood and memberships in leading philharmonic societies. Wolfgang's Italian triumphs proved short-lived however; he failed to obtain a court position, and despite the critical and popular successes of his Milan operas, he was not invited to write another, and there were no further commissions from any of the other centres he had visited.
The first movement is structured in sonata form. It begins with a rhythmic and lively main theme in C major, introduced in forte by full orchestra answered by piano ascending figures on violas, oboes and horn. A tremolo transition leads to the equally rhythmic and playful second theme in G major, following the same dynamic with piano violin phrases answered by forte orchestral tuttis. We find no exposition repeat, leading to a development section that begins with the main theme in G major. Fragmented versions of the material are subjected to rhythmic transformations and harmonic modulations. The material is then recapitulated in the home key of C major. Ending the allegro with a solemn coda.
The second movement is written as a sonatina. It opens with a bucolic and cantabile main theme in F major, alternating between piano violin phrases and forte orchestral tuttis. A melodic second theme also appears, exposed through exchanges between strings and woodwinds, as well as making abundant use of trills. We find no exposition repeats nor development section, instead a brief transition leads to the recapitulation of the material in the home key of F major. Triplet figures lead us to a sudden end of the movement without a real coda.
The third movement is also a sonatina in form. It begins with a lively and animated main theme in C major, introduced forte on full orchestra answered by piano violin phrases. It is a slight variation of the main theme of the first movement, which is unusual for the period. It is followed by a more stately and solemn second theme in G major, introduced in piano by strings before passing to forte on full orchestra. The material is very dance-like in its swaying rhythms. As with the andantino, we find no exposition repeats nor development section, instead a brief transition leads to the recapitulation of the material in the home key of C major.
Picture: Anonymous miniature of Mozart (c. 1773, attributed to the Austrian-Italian artist Martin Knoller).
Musical analysis partially written by myself. Source: tinyurl.com/26...
To check the score: tinyurl.com/23...

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