Symphony No.20 in D major - Wolfgang Amadeus Mozart

Northern Chamber Orchestra conducted by Nicholas Ward.
I - Allegro: 0:00
II - Andante: 7:12
III - Menuetto: 12:59
IV - Allegro: 16:24
Mozart's Symphony No.20 was composed in July 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. Like the previous ones, the work represents a significant step forward for the genre and Mozart's development. It is more sophisticated, well-developed and scored for extra horn and trumpets. Overall, the work represents a fusion of the best of the Viennese symphonic traditions with the distinctly Italian cantabile. Influences from the Haydn brothers are also subtly present. 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 three forte tutti chords, followed by a rhythmic and solemn main theme in D major, first introduced piano on violins before passing in forte on full orchestra. A substantial transition ensues, with tremolo and modulations to E major and E minor. A more melodic and cantabile second theme in A major is introduced, first piano on violins and then forte on full orchestra. This exposition is then repeated. The development section 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 D major, starting with the second theme before the main one appears near the end. A lively coda ends the allegro with an optional repeat from the development onwards. The formal structure and other details mirror the first movement of Michael Haydn's Symphony No. 11.
The second movement is also written in sonata form. It opens with a lyrical and bucolic main theme in A major, exposed by flute and muted first violin in piano. A more rhythmic and gallant second theme in E major is then introduced, built on exchanges between flute and strings on triplet rhythms. This exposition is then repeated. The development is extremely short, with fragments of the main theme being subjected to a brief modulation to F-sharp minor. The material is then recapitulated in the home key of A major. The andante ends rather suddenly with an optional repeat from the development forward. Mozart may have based this movement on the andante from Michael Haydn's Symphony No. 30.
The third movement is a minuet in ternary form. It begins with a two-part, solemn and stately main theme in D major, exposed forte on full orchestra followed by a more contrapuntal piano response. Each part is repeated. The central trio section features a two-part, more melodic second theme in G major, introduced by second violins with contrapuntal lines with first violins and violas. This role is inverted in the second part, both of which are repeated. The minuet is then recapitulated, ending with a graceful coda. It seems to have been inspired by a minuet from a Symphony in D major by Matthias Georg Monn.
The fourth movement is structured in sonata form. It opens with a lively and spirited main theme in D major, reminiscent of a gigue in its dance-like rhythms. It is introduced in piano by first violins before passing in forte on full orchestra. An equally animated second theme in A major then appears, following the same dynamic. A tremolo transition leads to the repeat of this exposition. As in the first movement, the development features fragmented versions of the material, subjected to rhythmic transformations and harmonic modulations. The themes are then recapitulated in the home key of D major, leading to a second repeat from the development onwards. A vigorous coda ends the entire work. It was probably inspired by the finale of Joseph Haydn's Symphony No.41.
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/27...
To check the score: tinyurl.com/2c...

[@GeraldNorman-vq9je]

Mozart is like
drinking peppermint
tea. calming to the
soul ❤

[@leestamm3187]

Delightful. Mozart seemed to be reaching just a bit further out of Haydn's shadow by this point. Thanks very much for this interesting series.

[@johnpcomposer]

It's been interesting to hear the progression. As we begin to hear more expansive developments of the material than some of the very early symphonies.

[@SergioCánovasCM]

Yeah, the first symphony just had a few modulations for example

[@vicb4901]

We almost reach the midpoint (of 41) in the midst of this very symphony...

[@1971A]

Γεια σου ρε Sergio γατε🐈