Symphony No.21 in A major - Wolfgang Amadeus Mozart

Northern Chamber Orchestra conducted by Nicholas Ward.
I - Allegro: 0:00
II - Andante: 5:18
III - Menuetto: 10:38
IV - Allegro: 13:44
Mozart's Symphony No.21 was composed in August 1772, a few months after Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. It was possibly commissioned by a Milanese client. Like the previous ones, the work represents a significant step forward for the genre and Mozart's development. Overall, the work represents a fusion of the best of the Viennese symphonic traditions with the distinctly Italian cantabile. Premiere date and performers involved are unknown.
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 graceful and elegant main theme in A major, exposed first forte on full orchestra and then in piano on first violins. A tremolo transition leads to a melodic and cantabile second theme in E major, introduced in piano also by first violins. This exposition is then repeated. The ensuing development features fragmented versions of the material, subjected to rhythmic transformations and harmonic modulations. Mozart subverts expectations with an inverted recapitulation of the themes in the home key of A major, starting with the second theme before the main one (with an optional repeat from the development onwards). A substantial coda ends the allegro with a crescendo from piano to fortissimo.
The second movement is also written in sonata form. It opens with a lyrical main theme in D major, exposed in piano by first violins over an underpinning ostinato on second violins. This ostinato figure also dominates the transition. A more rhythmic second theme in A major then appears, alternating between forte and piano dynamics constantly. This exposition is then repeated. A brief development ensues with a series of modulations, with trill figures and the ostinato also appearing. It ends in F-sharp minor before horn fanfares lead to the recapitulation of the material in the home key of D major. A graceful coda ends the andante with an optional repeat from the development onwards.
The third movement is a minuet in ternary form. It begins with a two-part, rhythmic and elegant main theme in A major, introduced forte by violins and flute. It is also characterized by abundant trills and triplets played between first and second violins, together or offset. Each part is repeated. The central trio section features a two-part, more lyrical and bucolic second theme in D major, accentuated by a series of forte-piano dynamic contrasts. After each part is repeated, the minuet is recapitulated, ending with a decided gesture.
The fourth movement is structured in sonata form. It opens with a lively and animated main theme in A major, introduced first in piano by violins in counterpoint, before appearing in forte by full orchestra. This dynamic contrast is supported by the use of trills and rhythmic syncopations. A more melodic second theme in E major then appears, exposed in piano by strings. This exposition is then repeated. The development starts with a sudden pause, modulating to C-sharp minor, then F-sharp major and D major while transforming the material. The themes are then recapitulated in the home key of A major. A firm coda ends the work with an optional repeat from the development onwards.
Picture: Anonymous portrait of Wolfgang Amadeus Mozart in Verona (1770, attributed to Giambettino Cignaroli or Saverio Dalla Rosa).
Musical analysis partially written by myself. Source: tinyurl.com/26...
To check the score: tinyurl.com/28...

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One of my all time favorite Classical Symphonies! ❤