Symphony in D major (K. 97) - Wolfgang Amadeus Mozart

Mozarteum Orchestra Salzburg conducted by Hans Graf.
I - Allegro: 0:00
II - Andante: 2:36
III - Menuetto: 5:48
IV - Presto: 8:23
Mozart's Symphony in D major (K. 97) was probably composed in Rome on April 1770, during Mozart's first travel to Italy with his father Leopold. No autographs exist for Mozart's four D major symphonies written during this trip (K. 81, K. 84, K. 95 and K. 97), and as such their authenticity is doubtful. Mozart mentioned two symphonies in a letter to his sister on 25 April 1770, which could be K. 95 and K. 97 considered as "twin symphonies", due to similarities in style and structure. It is also unclear whether these symphonies were originally in three or four movements, as Mozart could have added a minuet later on. Otherwise, these works were obviously written for Italian audience tastes, specially in opera buffa. 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 forte unison, followed by a piano eighth-note rhythm on violins and a series of rhythmic motives that compose a main theme in D major. Similar openings can also be found in K. 74 and K. 95. A tremolo and modulation to E major leads us to the more melodic second theme in A major, introduced in piano by violins in short phrases. Alternations between D major and A major leads us into the next part. The development starts with a unison C, followed by a series of modulations to G major, E minor and B minor on the second theme. The material is then recapitulated in the home key of D major, ending with a lively coda. Overall, the movement takes the form of an Italian overture, with no repetitions, abundant use of forte dynamics and thrills.
The second movement is written in binary form, scored for solo strings. It opens with a lyrical and cantabile main theme in G major, exposed by violins in piano. A more rhythmic second theme (also in G major) is also introduced, characterized by staccato sixteenth-note triplets on violins. After this exposition is repeated, the second section is a slight variation of a shortened version of the main theme, modulating to G major, E major, A major and D major. This second part is repeated as well, ending the movement with serenity.
The third movement is a minuet in ternary form. It begins with a two part, pompous main theme in D major, based primarily on fanfare-like triad figures and ascending chords. Each part is repeated before the minuet starts from the beginning. The trio section offers a moderate, dance-like second theme in G major, scored for solo strings and with abrupt alternation of accents. The minuet is then repeated in its entirety, ending the movement in an elegant way.
The fourth movement is also structured in sonata form. It opens with a solemn and lively main theme in D major, composed of unison D and A major chords and staccato eighth notes from the violins. A tremolo transition leads us to the more melodic and cantabile second theme in A major, introduced by first violins in piano and then repeated in a minor key. It bears a striking resemblance to the main motif of the first movement of Beethoven's Seventh Symphony. Surely a coincidence, as Beethoven couldn't have access to the score. The development is extremely concise yet audacious, with snappy modulations, great dynamic contrast and new motives appearing. The material is then recapitulation in the home key of D major, ending the work firmly.
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. Sources: tinyurl.com/2d... and tinyurl.com/29...
To check the score: tinyurl.com/2x...

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