Symphony No.25 in G minor - Wolfgang Amadeus Mozart

Prague Chamber Orchestra conducted by Sir Charles Mackerras.
I - Allegro con brio: 0:00
II - Andante: 10:20
III - Menuetto: 15:01
IV - Allegro: 18:51
Mozart's Symphony No.25 was composed in Salzburg in October 1773, two months after returning from an important trip to Vienna with his father. It did not produce the court appointment that had been hoped for, but it did afford the young Mozart the opportunity to study Haydn’s latest quartets, gaining much knowledge in the process. Unlike the surrounding symphonies in the Italian overture form, No.25 follows the aesthetics of the "Sturm und Drang", a style that anticipated romanticism. The work is also more ambitious and expansive. It was probably inspired by Haydn's Symphony No. 39 in G minor (1765). For whom or for what occasion Mozart composed the work is unknown, as so are the premiere date and performers involved.
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 recognized 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 passionate and tempestuous main theme in G minor, introduced forte on strings and bassoon. An agitated tremolo transition leads to the more melodic and graceful second theme in B-flat major, exposed in piano by first violins and bassoon. This exposition is then repeated. The ensuing development begins with a dramatic four-note motive in C minor, followed by fragmented versions of the material subjected to rhythmic transformations and harmonic modulations. The themes are then recapitulated in the home key of G minor, which leads to a second repeat from the development onwards. A variation of the main theme serves as the coda of the allegro.
The second movement is also written in sonata form. It opens with a lyrical and cantabile main theme in E-flat major, introduced in piano between bassoon and muted violins. It is contrasted by a more rhythmic and elegant second theme in B-flat major, exposed also in piano by first violins. As before, this exposition is then repeated. The following development is dominated by the main theme, modulating to F minor, E-flat major and B-flat major. The materials are then recapitulated in the home key of E-flat major, with a new and substantial transition separating the themes. The andante then suddenly ends without a real coda, with an optional repeat from the development onwards.
The third movement is a minuet in ternary form. It begins with a two-part rhythmic main theme in G minor, alternating between forte tutti unisons answered by piano string phrases. Each part is repeated before the minuet starts from the beginning. The central trio section is scored for woodwinds, featuring a melodic and rustic second theme in G major, exposed in imitative counterpoint. As with the first section, it is divided in two parts that are repeated. The minuet is then recapitulated, ending with a solemn coda.
The fourth movement is structured in sonata form. It opens with a restless and agitated main theme in G minor, introduced first in piano by strings and bassoon, before going forte on full orchestra. The music is firmly rooted in this series of dynamic contrasts. A graceful and elegant second theme in B-flat major then appears, first in piano on violins before passing to forte in full orchestra. This exposition is then repeated. The brief development section starts with new material being introduced, most notably a chromatic ascending motive that leads to several modulations. The main themes are then recapitulated in the home key of G minor, followed by a repeat from the development onwards. A dramatic and syncopated coda ends the entire work.
Picture: Anonymous miniature of Mozart (c. 1773, attributed to the Austrian-Italian artist Martin Knoller).
Musical analysis partially written by myself. Source: tinyurl.com/25...
To check the score: tinyurl.com/24...

[@fransmeersman2334]

One of the most captivating and beautiful Mozart symphonies.. Magnificent performance of Mackerras with the Prague Chamber Orchestra. Thank you !

[@lindildeev5721]

This opening. I can't hear it without visualising Salieri with his open throat, first in his house, then being carried away while couples are dancing.

[@NGS712]

Piéta, piéta!

[@vicb4901]

This symphony may be the turning point with abundant lyricism...

[@leestamm3187]

A splendid performance from the ever dependable Mackerras. While this delightful symphony shows a bit more of the young Mozart spreading his own wings, a lot of Haydn remains at its core.