Symphony in D major (K. 161+163) - Wolfgang Amadeus Mozart

Academy of St. Martin in the Fields conducted by Sir Neville Marriner.
I - Allegro moderato - Andante - Presto: 0:00
Mozart's Symphony in D major was composed in 1772, probably shortly after Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. The first two movements were extracted from the overture of "Il sogno di Scipione", and the last was composed separately (as Mozart did with K. 111+120). The work was possibly premiered for Milanese patrons in Autumn of 1772, during the third journey to Italy. The symphony itself is practically an overture in the Italian style. The limits between these genres were still ambiguous at the time.
The dramatic work was originally dedicated to previous Prince-Archbishop Sigismund von Schrattenbach. After his death before it could be performed, Mozart dedicated it instead to Colloredo. It only received a partial premiere in Salzburg on 1 May 1 of 1772, with only one aria, the final chorus and a recitative. It is highly unlikely that it was ever performed in its entirety in Mozart's lifetime. The full premiere had to wait until January 20 of 1979, staged in Salzburg during Mozart's week. Colloredo was evidently pleased with the work, as it was a hymn of praise to the eternal virtues offered by heaven. In the final scene Mozart directly interpellates to Colloredo, in which Licenza praises Scipio's choice and explains that the real protagonist of the play is not Scipio, but the dedicatee: Hieronymus von Colloredo. This work probably helped Mozart in securing his position as concertmaster of the court.
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 allegro moderato is structured in sonata form. It begins with a lively and animated main theme in D major, exposed first forte on full orchestra followed by piano violin figures and abundant trills. A brief transition leads to the lyrical and cantabile second theme in A major, introduced in piano by first violins supported by an ostinato on violas and second violins. We find no exposition repeat, leading to a development that mostly comprises a bold modulation of the main theme in B minor. What follows is a truncated recapitulation of the material, as the second theme is absent. A series of dissonances lead to several sudden modulations, from D major to B-flat major, D minor and A major as a transition to the next part.
The andante is structured as a sonatina. It opens with a lyrical and contemplative main theme in D major, exposed in piano by full orchestra with prominence of oboes and flute. A more rhythmic second theme (also in D major) is introduced, which leads to a complete recapitulation of the material. The andante concludes with a series of chords that lead into the finale. The ensuing presto is also a sonatina. It starts with a vibrant and animated main theme in D major, presented forte in full orchestra with brief piano detours. An equally rhythmic second theme in A major follows, exposed by first violins over the rest of string accompaniment. We find no real development, instead a transition dominated by the second theme. A crescendo begins the recapitulation of the material in the home key of D major. A firm coda ends the work.
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/24...
To check the score: tinyurl.com/29...