English Chamber Orchestra conducted by Jeffrey Tate.
I - Molto allegro: 0:00
II - Andante: 6:03
III - Menuetto: 11:43
IV - Presto: 15:38
Mozart's Symphony No.30 was composed between April and March 1774, when the composer had reached the age of 18. Mozart was growing increasingly dissatisfied with his position as concertmaster at the Salzburg court. The pay was low and there was little chance of progress in his career, specially for writing opera. Since the previous three travels to Italy failed to obtain any secure position, Wolfgang and his father Leopold visited Vienna and Munich. Neither of these attempts were fruitful, though the Munich journey resulted in a popular success with the premiere of the opera buffa "La finta giardiniera". For whom or what occasion the symphony was composed for is unknown, as so are the premiere date and performers involved.
After the intense burst of symphonic writing between 1772-3, which resulted in sixteen symphonies, Mozart's activity in the field diminished as the quality of each work grew. Over the next two years, only three new works appeared. Mozart had the chance to examine and learn from Haydn's latest string quartets and symphonies, which contributed to his own expansion of the symphony from a light form of musical entertainment, to a more serious and ambitious genre. However, No.30 doesn't really follow in this path, having more in common with the short and light symphonies of 1773 than with the surrounding No.29 and 31. It is also more festive and conventional, which has substantially reduced interest in the work. In addition, the timpani part has been lost, although reconstruction attempts have been made.
The first movement is structured in sonata form. It begins with a festive and animated main theme in D major, exposed forte on full orchestra with a dotted rhythm. It is followed by a series of forte-piano contrasts and a tremolo transition. The second theme in A major is more melodic and dance-like, exposed in piano by violins and resembling a ländler. This exposition is then repeated. The development starts with a fragment of the second theme, modulating from A major to D major, G major and E major. The material is then recapitulated in the home key of D major, ending with an optional repeat from the development onwards. A lively coda ends the allegro.
The second movement is written as a sonatina, scored for solo strings. It opens with a lyrical and gentle main theme in A major, introduced in forte through imitative contrapuntal entries. It soon unfolds in a series of dynamic contrasts. A tremolo transition is followed by a gallant and solemn second theme in E major, which also alternates between forte and piano. The exposition is then repeated. We find no real development section, but a more dramatic transition. It leads to the recapitulation of the material in the home key of A major, followed by a second repeat from the transition onwards. A low-key coda ends the andantino.
The third movement is a minuet in ternary form. It begins with a two-part, rhythmic and dance-like main theme in D major, exposed forte in full orchestra. Follows a more dramatic and chromatic response, modulating to A minor and G minor while syncopated rhythms dominate in this section. Each part is repeated. The trio is also scored for solo strings, introducing a two-part, more melodic second theme in G major, exposed in piano in a chamber-like contrapuntal fashion. Each part is also repeated, leading to a reexposure of the minuet. A dignified coda ends the movement.
The fourth movement is structured in sonata form. It opens with a lively and animated main theme in D major, introduced in forte on full orchestra and answered by piano violin phrases. It is reminiscent of the march-like beginning of the first movement. The abundant dotted rhythms are carried over in the following transition, which leads to a more melodic and dance-like second theme in A major, exposed in piano by violins before passing onto full orchestra. This exposition is then repeated. The development is also dominated by the dotted rhythms, starting with sudden fortissimo dissonant chords that are replied by piano violin phrases. This dynamic continues while modulating from A major to E minor and B minor, changing to a passage characterized by abrupt forte-piano contrasts. The return to A major signals the beginning of the recapitulation of the material in the home key of D major, followed by a second repeat from the development onwards. The work then suddenly ends with a proto fade-out coda.
Picture: Anonymous miniature of Mozart (c. 1773, attributed to the Austrian-Italian artist Martin Knoller).
Musical analysis partially written by myself. Source: tinyurl.com/2dfxzavl
To check the score: tinyurl.com/24o2lano