Symphony No.17 in G major - Wolfgang Amadeus Mozart

English Chamber Orchestra conducted by Jeffrey Tate.
I - Allegro: 0:00
II - Andante: 4:16
III - Allegro: 7:53
Mozart's Symphony No.17 was composed in Salzburg on May 1772, a couple of months after Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. Alongside Symphony No.16, these symphonies represent a brief return to the Italian overture form, which was the early beginnings of the genre. Overall, the work represents a fusion of the best of the Viennese symphonic traditions with the distinctly Italian cantabile. 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 a lively and animated main theme in G major, exposed forte by full orchestra. Mozart makes a notable and effective used of the Mannheim crescendo in this movement. A brilliant transition leads us into the more melodic second theme in D major, expose in piano by violins in a contrapuntal imitative fashion. A crescendo alla Mannheim is followed by a repeat of the exposition. The development section centres on a dance-like motive from the second theme, modulating from D major to E minor and back to D major. The material is then recapitulated in the home key of G major, with some slight deviances and an optional repeat of the development forward. A vigorous coda ends the allegro.
The second movement is written as a sonatina. It opens with a lyrical and cantabile main theme in C major, exposed by violins in piano and repeated in forte by full orchestra. A more rhythmic second theme in G major follows on violins and oboes. After this exposition is repeated, we find no real development section, but a transition dominated by a motive in imitative counterpoint on strings. The material is then recapitulated in the home key of C major, with added forte-piano dynamic contrast. The andante ends calmly with an optional repeat from the development onwards.
The third movement is also written in sonata form. It begins with a joyful and rhythmic main theme in G major, exposed forte by full orchestra and with some characteristic hunting horn calls, which dominate the entire movement. Mozart was possibly inspired by this opening when writing the beginning of the Piano Sonata No.18 in D major from 1789. A transition leads to the second theme in D major, exposed by violins in piano and more dance-like in its rhythms. This exposition is then repeated. The ensuing development starts with the main theme in D major, modulating to E minor and producing some interesting dissonances. The materials are then recapitulated in the home key of G major, ending the work with a firm coda and an optional repeat from the development onwards.
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/2a...
To check the score: tinyurl.com/28...

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Απο τα αλεγκρο αυτος και ο Χάυντν φαίνονται μες τη χαρα😂