Symphony No.14 in A major - Wolfgang Amadeus Mozart

Northern Chamber Orchestra conducted by Nicholas Ward.
I - Allegro moderato: 0:00
II - Andante: 5:19
III - Menuetto: 9:25
IV - Molto allegro: 12:31
Mozart's Symphony No.14 was composed in December 1771, possibly began in the journey back home from Italy and finished in Salzburg. It may have been written as a sort of "calling card" to secure his position as court concertmaster in Salzburg, after the recent death of Archbishop Sigismund von Schrattenbach. Overall, the work represents a fusion of the best of the Viennese symphonic traditions with the distinctly Italian cantabile. The work was probably relatively popular in its day among contemporaries, as several German and Bohemian copies exist. 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 melodic and cantabile main theme in A major, introduced first piano on violins and then forte on full orchestra, which is a reversion of the usual procedures of the era. A tremolo transition leads us to the lyrical second theme in E major, exposed by strings in imitative counterpoint, followed by a dialogue of the violins with short, detached phrases. This exposition is then repeated. The brief development section starts with new motives being introduced in dialogues between instruments, followed by a forte syncopated passage. The material is then recapitulated in the home key of A major, only disturbed by an expanded series of modulations in the end of the first theme. There is an optional repeat from the development forward. A firm coda ends the movement.
The second movement is also written in sonata form. Mozart substitutes flutes for oboes, which is kind the reverse of the usual orchestration of the period (as in example Mozart's Symphony No.9). It begins with a broadly lyrical main theme in D major, exposed in piano by divided violins and violas while oboes add some colour. A thrill leads us to the second theme in A major on violins, also lyrical in nature. This exposition is then repeated. The ensuing development is characterized by its flowing imitative counterpoint, showcasing Mozart's musical craftsmanship. The material are then recapitulated in the home key of D major, with an optional repeat from the development forward as before. A serene coda ends the andante.
The third movement is a minuet in ternary form. It begins with a two-part, elegant and gallant main theme in A major, exposed forte by full orchestra. It is characterized by its ascending motion, followed by an imitative counterpoint between violins and viola. Each part is repeated. The central trio section is scored for solo strings, featuring a two-part rhythmic and expressive second theme in A minor. After each part is repeated, the minuet is recapitulated in its entirety, ending the movement in a graceful way.
The fourth movement is structured in sonata form. It opens with a lively and animated main theme in A major, exposed by forte tutti chords contrasted by piano violin trill figures. This technique is also found in the finale of Mozart's Symphony No.15. A transition, comprised of tremolos and modulating chords, references the Bergamask dance and chord progression (from the town of Bergamo in Northern Italy). A more melodic and poised second theme in E major is then introduced in piano by violins. This exposition is then repeated. As in the first movement, the development starts with new motives being introduced, settling a brief call and response dynamic. The material is then recapitulated in the home key of A major, with an optional repeat from the development onwards. The work ends with a firm coda.
Picture: Anonymous portrait of Wolfgang Amadeus Mozart at the age of 13 in Verona (1770, attributed to Giambettino Cignaroli or Saverio Dalla Rosa).
Musical analysis partially written by myself. Source: tinyurl.com/2a...
To check the score: tinyurl.com/27...