Mozart: Symphony 1 - 5

 

Having recently wrapped up Ádám Fischer's set of Haydn symphonies with the Austro-Hungarian Haydn Orchestra on Nimbus / Brilliant Classics, I thought I would follow up with the same conductor's set of Mozart symphonies with the Danish National Chamber Orchestra on Da Capo.

For this first symphony entry, I will spend a little more space notating particulars, just to see if anything develops over time in the composing of a young Mozart. I will break down the works by symphony, but I will put my general feelings regarding these performances from Fischer and crew towards the bottom. Any standout features within the actual symphony will be put with the individual symphony descriptions.

Feel free to listen along in the provided YouTube video playlist at the very bottom of this post.
Or follow this link: Mozart Vol. 1

Symphony no. 1 in E-flat Major, K. 16

Movement 1
Key: E-flat Major
Meter: Common time
Tempo: Allegro molto; Fischer:  = 156
Winds: oboe, horn

Mozart's first few symphonies were written upon a tour of London, where the young composer would have some dealings with Johann Christian Bach. Also, I have no idea how much input his father, Leopold Mozart, had upon his son while starting out composing as a student. Was he the kind of parent that polished up his kid's homework to make it look better? Was the pre-teen Mozart completely left to his own devices, experiencing music influences as he traveled around Europe?

Such questions won't be answered by me, but this first numbered symphony is remarkably assured. The main idea of the first movement simply uses a major triad to spell out the opening motive, yet it is so effective. The sustained music which follows shows a constantly moving bass line, a common feature among these early works. Is this a quality from the Baroque, or one which Mozart develops? Certainly the rapid semiquavers in the violas and cellos remind me of the Baroque, especially as furiously as they are played here.

The wind work is mostly coloring and doublings, although they occasionally move independently from the strings. I certainly enjoy the spotlight centered around the bass line, for top heavy motion gets awfully boring after a while. In the short moment the strings get time to themselves, there is a dotted rhythm against straight quavers, something I see happens a little later against the Alberti bass, so we will see if anything comes of this pattern. It is a delightful section, perhaps his hand hinting at a possibly 'B' section.

The development is unexpectedly short. It moves from the dominant B-flat Major to C minor and on to C Major, a curious motion in the harmonies, yet Mozart winds back to E-flat Major most fluidly.

Movement 2
Key: C minor
Meter: 2/4
Tempo: Andante; Fischer:  = 88
Winds: oboe, horn

Woof! This movement is a dog. 

I was kind-of digging the sustained winds over string triplet semiquavers while the bass line again has the point of interest. The sustained notes with moving strings do allow Mozart to mess around with simple dissonant / consonant relationships, almost in a sigh motive pattern here, again reminding me of the Baroque. The winds do punctuate the cadences in a delightful fashion each time they come round.

But boy, does this thing just circle around and around with little else going for it. There is some rhythmic difference in the second half, one which is greatly appreciated by that point, but it is a too short of a change, simply too late in the game.

Worse still, Ádám Fischer takes every single repeat here. Woof!

As a side note, if my child came to me with this movement in hand, I would be overjoyed. It would go up on the refrigerator for a triumphant display. Don't let my hounding obscure what an eight-year old is capable of composing right out of the gates.


Movement 3
Key: E-flat Major
Meter: 3/8
Tempo: Presto; Fischer: . = 95
Winds: oboe, horn

Well, Mozart certainly has a good idea regarding phrase lengths, as the opening tune is delightful. Following the main statement, he tries to vary the texture by featuring only violins, while the whole ensemble enters four measures later. This is a solid musical device at this point in the symphony, where Fischer uses solo strings most effectively.

He also seems to be experimenting with chord progressions and chromatic lines, another good concept to be working on, although here it is at the expense of losing the horn during these moments. Certainly the change in harmonic priorities, though, is welcome after that dog of a second movement. 

The symphony as a whole is proportioned strangely, however, with the final movement extremely brief and the opening movement of substantial length, comparatively speaking. Each movement times less and less, making for an uneven listening experience. But who can fault the Boy Child?

Symphony no. 4 in D Major, K. 19

Movement 1
Key: D Major
Meter: Common time
Tempo: Allegro; Fischer:  = 152
Winds: oboe, horn

If you are wondering where Symphonies no. 2 & 3 are, these works are no longer attributed to Mozart. Is it a boon or a bane to now be the owner of these symphonies once attributed to the youth? My mind could work it both ways.

I notice this first movement does not bear any inner repeats, instead there is a repeat at the end of the movement to just repeat the whole thing. Fischer does not observe this last repeat, but he does observe the next movement's repeat. I assume this choice was to make the work more balanced. If only he had done this with the middle movement of K. 16.

Unison fanfare figures open the work, here with dotted rhythms, followed by four measures of soft straight rhythms. When the transitional material eventually follows, where the winds sustain the the strings are off on their semiquaver tremolos, the bass line continues the dotted feeling from the two opening fanfare statements, creating a nice carry-though moment.

A gentler 'B' section moves oppositely, where lyrical upward moving violins are straight rhythmed, followed by a short dotted figure to round off their idea. Mozart makes a striking move to A minor afterwards, and indeed moves on to B minor just as unexpectedly thereafter. This prolongation to get back to D Major is a bit of fun from the composer.

Oddly, the unison fanfares of the opening never really return, although in the brief recapitulation, there is a similar decorated figure which is reminiscent. Perhaps development and recapitulation are too advanced terms for Mozart's symphonies as of yet, but these terms keep structures foremost in my mind.


Movement 2
Key: G Major
Meter: 2/4
Tempo: Andante; Fischer:  = 48
Winds: horn

As opposed to the previous one, the Fourth Symphony's middle movement is charming, no doubt attributed to its G Major key. Mozart relinquishes the oboe from its duties during this time, leaving the horn to represent the winds. Indeed, at the opening, the horn almost acts as a pedal note, even though the bass line moves around below it.

Here it is the dotted rhythm with demisemiquaver decorations which make the thematic material, although Mozart also uses triplet semiquavers to good effect as well. Nothing as exciting as cross rhythms, but a back and forth between the two ideas throughout. The composer also makes use of downbeat sigh motive suspensions, another very fine musical device in this movement. 

All in all, this is lovely music making. I should mention, Fischer has his strings play with mutes here. Is this a performance practice or a personal choice? We will see if there is consistency in the next few works on this recording.


Movement 3
Key: D Major
Meter: 3/8
Tempo: Presto; Fischer: . = 78
Winds: oboe, horn

Even though Fischer is a little steadier is this final movement compared to K. 16, it works to good effect, I think. Like the opening movement, a unison theme is presented by the ensemble.

There are some wonderful string figurations in the way of fast demisemiquavers and fast octave leaps which pepper this music humorously, although in a delicate manner. Oboe and horn are given some interplay as well, trading four-measure moments with each other at one point.

Unlike the opening, Mozart does indeed bring back the opening motive, an appreciable return too. Here it is in B minor though, followed by some sequencing to return to the home key before the conclusion.

Symphony in F Major, K. 19a

Movement 1
Key: F Major
Meter: Common time
Tempo: Allegro assai; Fischer:  = 152
Winds: oboe, horn

To my ears, K. 19 sounds more assured, at least in structure. Here, the first violin does indeed contain the melodic content while winds sustain and the rest of the string section provides rhythmic impetus. Fischer treats this violin idea as bell tones, so it almost resides in the background. Nine measures later, Mozart builds upon those 'bell tones' to create a more formed melody. Better yet, he is additive in the tune development, first with 1st violins and oboe, then adding second violin and second oboe, then cello and horn, and finally viola. This works quite well.

The 'B' section melody is more wavelike, finished off on an upward scale. Mozart does a nice job elongating the dominant, raising the expectations of the listener before the arrival of final cadences. I should mention the oboe and horn are given their own thing to do from time to time, noticeably so in the development section where the strings move to the background.

In the short recapitulation, Mozart doesn't give time to the opening thematic material, perhaps because it was used in the development. Instead, he prefers to focus on the second section material, now in its F Major position.


Movement 2
Key: B-flat Major
Meter: 2/4
Tempo: Andante; Fischer:  = 54
Winds: horn

The second movement continues some of the ideas from the same area in K. 19, such as the sustained horn pedal, demisemiquaver figures, both straight and in triplet form. The latter almost gives this movement a serenade quality, for the violas emulate a guitar accompaniment decoration, with breezy sounds surrounding it.

This is but a whisp of a movement, yet pleasantly so. Once again, the horns are left to play on their own, with the oboes taking a break. I like its easy-going attitude without being cloying or sentimental. Not every slow movement from Mozart needs to be a heartfelt love letter to the soul. In this case, the gentle song-like atmosphere is very charming, where Fischer again employs string mutes.


Movement 3
Key: F Major
Meter: 3/8
Tempo: Presto; Fischer: . = 92
Winds: oboe, horn

A jaunty 3/8 time concludes the symphony, one which starts with a demisemiquaver flourish at each statement. The sort-of climbing motion in this movement makes the music very exciting, although one begins to tire of the main theme after a while.

Perhaps it is the jumpy intervalic quality, but I enjoy the hunting horn aspect of this one, which the oboe is allowed to join in on as well. A fermata before the final section is a unique moment of silence, one which Fischer wittily elongates the second go around.

Symphony 5 in B-flat Major, K. 22

Movement 1
Key: B-flat Major
Meter: Common time
Tempo: Allegro; Fischer:  = 160
Winds: oboe, horn

 

The bass line maintains their hold on B-flat for the entirety of the first page, cementing the key and creating a chugging momentum. It is the violins who maintain the melodic interest here, continued after some brief transitional material. The bass line eventually receives rhythmic interest while the violins tremolo and winds hold, circling around through sequences.

Again, the first movement has no inner repeats, so after a brief reminder of the opening motive, the music moves right on to a developmental section, heralded in F minor. For a few runs, the bass line reminds us of some rhythmic diversity they are capable of, but shortly return to their original status. 

This time, there is no whole movement repeat either., which at Fischer's daring speeds, it could use.


Movement 2
Key: G minor
Meter: 2/4
Tempo: Andante; Fischer:  = 58
Winds: oboe, horn

A three-note descending sighing motive permeates the Andante movement, which works especially well in minor, again with a slight baroque flavor and a chromatically descending bass line. When the music moves to the relative major, that motive is superseded by a lighter nature in the violins and oboes.

Here is another movement which has no inner or outer repeats, leaving the movement on its own internal form. Here I am not as sure about string mutes, for the non-vibrato tone is distracting me. My gut tells me no they aren't using mutes this time.


Movement 3
Key: B-flat Major
Meter: 3/8
Tempo: Molto Allegro; Fischer: . = 92
Winds: oboe, horn

Another bouncing 3/8 concludes K. 22 as well. The demisemiquaver lead-in figurations do not infest this music as much, but do give some decoration to the melody. Fischer gives the non-tutti sections to solo strings again, making the strong chugging into the ritornello all the more effective, and the solo work providing a folksy atmosphere. 

Little chromatic lines pop up here and there, although not for long, and merely as coloration, I think. I do enjoy the intricate rhythmic interplay during the short transitions, where instruments pop in and out of the texture most affably. Certainly this shows the slightest bit of complexity added by Mozart.

The short Coda changes things up, stopping the motoric forward motion towards an introverted two-chord statement opposite quick scale work from the entire ensemble.

Symphony in F major Major, K. 42a

Movement 1
Key: F Major
Meter: Common time
Tempo: Allegro maestoso; Fischer:  = 154
Winds: oboe, bassoon, horn

A number of aspects to discuss here. First the numbering - I use K. 42a to show its progression from one work to the next, but this symphony is usually shown as K. 76 and the title is Symphony no. 43. Both of these labels indicate a later symphony than needs be.

Second, Mozart orchestrates for two bassoons to join the duo of two horns and two oboes. Taking the instrument out of the basso continuo pit is a lovely addition to the Mozart symphonic sound. They get their moments too.

Last, notice this is a four-movement symphony, with a Minuet inserted into the third-movement position. If Mozart follows in the steps of Haydn, it will be a while until the composer consistently forms his creations around the symphony's typical four-movement model.

A downward-moving F-Major articulated arpeggio is followed by another in B-flat, but it contrasts as more scale like, with phrasing slurs different from the first statement's staccato. Mozart repeats this idea, and this melody is well structured in this way. 

The shortest of secondary motivic ideas are implied here and there, peppered with witty little grace notes, unusual syncopated rhythmic transitions, but altogether this exposition is rather efficient. The conclusion of the exposition includes imitation of musical figures, first in an upper octave and then in a lower one to punctuate the ending cadence. This element might seem like a small thing, but in young Mozart, I think it is important to notice the little things.

The development leaves little room for a formal recapitulation. By the time the composer comes around to F Major, there are only 12 measures left, where he writes a descending bass line while the instruments light noodle above.


Movement 2
Key: B-flat Major
Meter: 3/4
Tempo: Andante; Fischer:  = 88
Winds: bassoon, horn

Once again, Mozart has the oboe tacet, but interestingly keeps the bassoons playing with the horns. Not only that, but the bassoons are a major presence, often linking passages for the strings. Certainly, it gets a little more air time than even the horns are provided. The strings play a fair amount of pizzicato as well, giving even more allowance for the bassoons to sound out.

This is also the composer's first Andante in 3/4 time. Unusual too, since the following Minuet movement is going to be in 3/4 as well, usually at an Allegretto tempo. I wonder what the thinking behind this meter relationship was?

Otherwise, this is a gentle second movement, perhaps a bit foursquare and clunky, but lovely enough to offset the music around it. Like K. 22, I am once again unsure if Fischer is having his string employ mutes, although I feel not, with the non-vibrato getting in the way of a solid conclusion from this listener.


Movement 3
Key: F Major
Meter: 3/4
Tempo: Minuetto; Fischer:  = 172, . = 56
Winds: oboe, bassoon, horn


One of things I enjoyed about Fischer's Haydn symphonies project was his fresh approach to the Minuet movement, especially remember Antal Doráti's lumbering way with them in that conductors pioneering set with the Philharmonia Hungarica. Fischer gave the Minuet weight, and sometimes deliberate motion to keep to the confines of how a Minuet dance should move. Yet there was also a rusticity to their sound I enjoyed, often pulling the last beat a bit, using solo strings in non-tutti portions, and generally taking a new look at these movements.

In the symphonies of Mozart, I am most familiar with the classic set from Karl Böhm, and in a parallel way, he also lumbered through the Minuet movements as could Doráti in Haydn. But look at the tempo Fischer adopts in the Minuet; 178 BPM! At this speed, the music feels one-to-a-beat, so the Classical Era dancers would be cruising to a hard sweat. Maybe I will change my mind, but I wish Fischer would have stayed true to the dance. Fischer does, however, put an emphasis on the final beat of the measure, making the melody come out in an unusual way.

I think the tune to the Minuet proper pays homage to the format and articulations of the first movement motive. Certainly there is a downward-moving F Major arpeggio followed by a scalular one, plus the articulation on the first is staccato, while the second receives phrase slurs. This seems to similar to be coincidence.

The Trio, on the other hand, I could do without. Here the upward moving semiquavers and following crotches just get repeated over, and over, and over again. This reminds me of the second movement from K. 16, although any mention of hounds or canines will be eliminated here. Woof! Fischer does use solo strings in the Trio whenever the tutti ensemble is waiting, and this aspect is much appreciated, if nothing else than for a little textural variety.


Movement 4
Key: F Major
Meter: 2/4
Tempo: Allegro; Fischer:  = 156
Winds: oboe, bassoon, horn

So this is an interesting case as Mozart's first fourth movement. As opposed to the galloping 3/8 Presto settings used before, here we have a 2/4 meter set at Allegro. Is this due to its new position, where Mozart imbued the middle of the work with triple meter?

The opening melody is a jumpy one, one which bounces around in rather large intervals. Harmonically speaking, this tune travels in a strange harmonic way, especially at its ending point, and then does it again on its restatements. An oddity for sure.

I would like to point out an strange musical figure from the Danish National Chamber Orchestra, about 24 measures before the final measure. There two sets of four semiquavers, followed by two quavers and a crotchet. The first note of the semiquavers has a staccato mark above it, followed by a long slur line across the rest. In the recording, the first goes as expectedly, while the second has an odd sonic quality, as if one of the violins doesn't play the staccato, but comes in guns a-blazing for the rest of the notes. What a curious moment, and if it was planned by Fischer, why this one teeny-tiny moment? Perhaps I missed it earlier in the movement, but this one stands out.

Performance

First off, the sound is very good on this set so far. The ensemble is close, where you can feel their digging in at some places. I enjoy the placement of the winds thus far as well, and even though I really enjoy the oboe sound, I could maybe wish for a drier, pert sound from them. Obviously, the Danish National Chamber Orchestra is a modern instrument orchestra, reduced in size, and playing senza vibrato. From the latter, such things can rub me the wrong way, as I am not a period-practice lover, however, my ears do adjust and I can come to enjoy such things with time. My issue is the straight tone on strings often sounds metallic or zingy to my ears, reminding me of the Baroque, where I like a warmer sound in the Classical Era (and the Baroque for that matter). I am sure the modern instruments will help me come around on this aspect, but perhaps this element is exacerbated by their use on modern instruments. Time will tell.

It is obvious Ádám Fischer is using fast tempos throughout, and he seems to be pretty consistent on how he approaches individual movements, speed wise. There is certainly an abounding joy in how Fischer approaches this music with the Danish National Chamber Orchestra. Rhythms are freshly sprung, yet I sense a willingness to really attack the music when needed. He obviously enjoys a strong bass presence, and for that matter, so do I.

As noticed in Fischer's Haydn series, the Hungarian conductor does use solo instruments occasionally, usually in the Minuet or final movement in places where the orchestration isn't so dense. Those who are familiar with strings more than me can tell me if I am crazy to hear muted strings in the slow movements, at least in the top three symphonies I included. Is this something done in Mozart, or is this a choice from the performers, or am I miss-hearing things?

The conductor adds plenty of phrasings the music doesn't necessarily ask for implicitly, but still feels musical from a listener standpoint. I could see someone pining for Fischer to stick to the written page, but I can hardly fault any of the choices here. In the end, these seem pretty hands off interpretively, although perhaps when we arrive at the mature works, Fischer will put himself into more of the music, for better or for worse.

If these performances are any measure, this is a positive beginning to the Mozart symphony series. I don't know if I will have the time to put in the same amount of detail and care I did this first volume, but perhaps some of my ramblings are not needed. Laying out the structure of a work is one way I become familiar with a work or performance, so if it is not reader friendly, my apologies, it is for my personal benefit and enjoyment, not a dissertation with any academic veracity. Cheers!

 

 

 

 

 

 

 

Works
Symphony 1 in E-flat Major, K. 16 (12.32)
Symphony 4 in D Major, K. 19  (8.58)
Symphony in F Major, K. 19a  (12.38)
Symphony 5 in B-flat Major, K. 22  (6.04)
Symphony in F Major, K. 42a  (13.24)

Performers
Danish National Chamber Orchestra
Ádám Fischer, conductor

Label: Da Capo
Year: 2013
Total Timing: 53.36

 

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