Symphony in C major (K. 96) - Wolfgang Amadeus Mozart

Mozarteum Orchestra Salzburg conducted by Hans Graf.
I - Allegro: 0:00
II - Andante: 2:00
III - Menuetto: 5:55
IV - Allegro molto: 9:06
Mozart's Symphony in C major (K. 96) was probably composed in Milan between August and December 1771, during the second travel to Italy by Wolfgang and his father Leopold. The authenticity of this symphony is uncertain, as the autograph was lost. The dates given to this symphony vary considerably from 1770 to 1775, according to the opinion of different experts. Alfred Einstein's dated the work between October and November 1771, based on stylistic grounds. As with previous Mozart symphonies, its possible it was originally in three movements to which a minuet was latter added on. 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 a modified sonata form. It begins with a rhythmic and animated main theme in C major, with forte tutti chords contrasted by piano violin and oboe phrases over triplet rhythm. A tremolo transition leads us to the animated second theme in G major, alternating between forte and piano. It modulates to E major and A minor, supported by the triplets in combination with tremolos. The development section starts with the main theme in G major, modulating to C major (perhaps joke to trick the audience to think the recapitulation was beginning), F major, D major and G major. We find no recapitulation of the material, which is unusual for the times. A solemn coda ends the movement. Overall, the movement takes the form of an Italian overture, with no repetitions, abundant use of forte dynamics, thrills and tremolos.
The second movement is written in binary form. It opens with a deeply expressive and dramatic main theme in C minor, exposed in the style of a baroque siciliana by oboes and violins, while constantly alternating between forte and piano. It then modulates to B-flat major, E-flat major and A-flat major. This exposition is then repeated. The second part continues the previous development as it modulates to F minor, G major, and finally alternate between C minor and F minor as the music brings to a close. This section is repeated as well. The movement's style is so unusual and different when compared with the rest, that it has baffled musicologists and Mozart experts alike.
The third movement is a minuet in ternary form. It begins with a pompous and rhythmic main theme in C major, divided in two parts and which also constantly alternates between forte-piano contrasts. Each part is repeated before the minuet starts from the beginning. The trio section features a melodic second theme in F major, exposed in a call and response fashion between piano strings and forte orchestral tuttis. The minuet is then repeated in its entirety, ending the movement with a solemn coda.
The fourth movement is structured in sonata form. It opens with a rhythmic and lively main theme in C major, exposed through contrasting piano violin phrases and firm forte tutti chords over triplet rhythm (an inversion of the scheme found in the beginning of the work, and which can also be found in Mozart's Symphony No.13). With no transition, a more melodic second theme in G major is introduced by violins. This exposition is then repeated in its entirety. A transition then leads us into the development section, beginning with the main theme in G major, but then modulating to A minor with new motives being introduced. The material is then recapitulated in the home key of C major, ending the work rather suddenly without a 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/2c...
To check the score: tinyurl.com/26...