Symphony in D major (K. 135+61h) - Wolfgang Amadeus Mozart

Mozarteum Orchestra Salzburg conducted by Leopold Hager (Overture). Vienna Mozart Ensemble conducted by Willi Boskovsky (Menuetto).
I - Molto allegro: 0:00
II - Andante: 3:36
III - Menuetto: 6:23
IV - Molto allegro: 8:30
Mozart's Symphony in D major (K. 135+61h) was probably composed in Milan on the Winter of 1772-3. While Mozart was either working or finishing the opera "Lucio Silla", he decided to extract a symphony as he had done with "Ascanio in Alba" and "Il sogno di Scipione". Movements I, II and IV are derived from the overture of the opera, while the minuet was reused from the six minuets K. 61h (No.3). This was not an uncommon procedure, specially for Mozart, who added minuets to many of his early three-movement symphonies. The premiere date and performers involved are unknown.
The symphony (as an independent piece from the opera) was rediscovered in 1991 by Ernst Hintermaier, from parts copied by Matthias Kracher. It is considered authentic by most experts, but on the other hand, the minuet is viewed as doubtful by many. It differs with other copies and could have been written by Michael Haydn, another composer associated with the Salzburg court. It has been dated around 1769-72, according to different experts. Thus, its possible Mozart made a copy of Haydn's minuet that got mixed up in the symphony, or that it was added later on by Kracher himself, who was closely associated with Haydn but not Mozart.
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 as a sonatina. It begins with a lively and animated main theme in D major, exposed forte on full orchestra. A tremolo transition leads to a more melodic and cantabile second theme in A major, introduced in piano by first violins supported by a four-note figure on violas and second violins. We find no exposition repeat nor real development section, instead a transition leads to the recapitulation of the material in the home key of D major. A festive coda ends the molto allegro.
The second movement is written in sonata form. It opens with a lyrical and bucolic main theme in A major, exposed in piano by violins before oboes join. It is also characterized by its abundant trills, followed by a series of forte-piano contrasts. A more rhythmic second theme in E major appears, introduced by violins and also engaging in these dynamic contrasts. There is no exposure repeat. The ensuing development features fragmented versions of the material, subjected to rhythmic transformations and harmonic modulations. The material is then recapitulated in the home key of A major. A serene coda ends the andante.
The third movement is a minuet in ternary form. It begins with a two-part, graceful and elegant main theme D major, exposed first in forte by violins and oboes, then going in a series of contrasting forte-piano dynamics. Each part is repeated. The central trio section is also in D major, it features a two-part, dance-like second theme in piano on first violins, later joined by oboes. Each part is also repeated before the minuet is recapitulated, ending gracefully.
The fourth movement is structured in a modified sonata form. It opens with a rhythmic and heavily accented main theme in D major, presented forte on full orchestra. Follows an equally lively second theme in A major, exposed in piano by violins. The main theme is then recapitulated, leading to a brief development in which the two themes are involved. We find no real recapitulation of the material, instead leading to a lively coda that ends the work joyfully.
Picture: Anonymous portrait of Wolfgang Amadeus Mozart in Verona (1770, attributed to Giambettino Cignaroli or Saverio Dalla Rosa).
Musical analysis written by myself. Source: tinyurl.com/2y...
To check the score of the overture: tinyurl.com/2d... and minuet: tinyurl.com/27...