Mozart: Symphony 12 - 14

 

I read somewhere that with K. 114, we really see Mozart moving somewhere compositionally. Granted, most say it takes until K. 183 for the composer's symphonies to start becoming interesting, but I look forward to the change no matter where it occurs.

Of course, we begin seeing some longer movements in this volume, particularly in K. 75b and K. 114. Hopefully this portends more fleshed out motivic work in the future, yet the composer is still a wee lad at this point, so there is certainly time for growth from Mozart at this point.

In this quartet of symphonies, a few aspects change compared to the previous Volume 3. First, these are all four-movement symphonies. As I said before, it took a long time for Haydn to settle into a four-movement structure, so I expect the same from Mozart, especially with his many visits to Italy. Second, the inner-movement repeats of the Sonata-Allegro form are back in a more consistent pattern amongst these works. None will have dramatically longer development sections yet, but it is nice to see that element shaping up.

For those looking for my generalized thoughts, skip to the bottom. Otherwise, I will do a movement-by-movement breakdown of each symphony for those who wish to listen along. I provided videos at the very bottom of this post of these same performers in the numbered symphonies to make it easier to follow along with my thoughts.

Symphony no. 12 in G Major, K. 110 (75b)

Movement 1
Key: G Major
Meter: 3/4
Tempo: Allegro; Fischer:  = 174
Winds: oboe, horn

I really enjoy the driving bass in this first movement. This element is made all the more effective when, in the second motivic section, the bass almost falls away and leaves the violins and oboes on melody. Fear not, for the violins come back on a furious tremolo and the bass lines picks up with even more movement than the opening.

I say second motivic section, but the contrasting expositional 'B' section is based on the opening melodic material. Truth be told, the opening of the development contrasts more than the 'B' section, although it is this latter part which will come back in force in the recapitulation.

Mozart nearly gives the listener a false recapitulation, where the main idea comes back in the home key. But then, the falling four semiquavers circle around and around again antiphonally amongst the 1st and 2nd violins, much more so than occurred in the exposition. Only in the return of the 'B' section material does the music finally drive home.

These aspects show a more secure formal and structural approach to the symphony than I have noticed in the last two volumes of symphonies. Hopefully it is a sign of things to come.

Movement 2
Key: C Major
Meter: Cut time
Tempo: Andante; Fischer:  = 64
Winds: flute, bassoon

Notice how Mozart does away completely with the oboes and horns and replaces them not only with flutes, but also, two written-out bassoon parts, neither instrument to return again in this symphony.

The only thing which stands out to me harmonically in this movement is a sort of humorous sliding into a cadence at some point. I would call it a Neapolitan, but it has been so long since I have done any music-theory analysis, I fear such a label would be folly on my part. Either way, this harmonic motion stands out amongst a rather genial movement.


Movement 3
Key: G Major & E minor (Trio)
Meter: 3/4
Tempo: Menuetto; Fischer:  = 156
Winds: oboe, horn

Speaking of genial, usually the Minuet comes out swinging with heavy stamps and utterances. This one has a gentle singing quality in comparison. This could be due to the fact many of the Minuets Mozart wrote were composed separately from the symphony proper and added later.

The E-minor Trio is made all the better through a little vibrato here. The Danish National Chamber Orchestra string soloists provide wonderful phrasings and inflections, making for a movement with a little more grace than normal.


Movement 4
Key: G Major & G minor
Meter: 2/4
Tempo: Allegro; Fischer:  = 218
Winds: oboe, horn

Despite Ádám Fischer taking off like a shot in this final movement, he retains a rustic quality by adding the grace notes at the top of the arpeggio in the main melody, reminding over and over again of chickens.

I think this is the first time Mozart adds a key change in a movement, and if not, at least a final movement. Haydn would do this too; at first I would notate this change in my typings, but its occurrence became so regular, I stopped pointing it out. Here, Mozart moves to the parallel minor for a brief stint, eventually dashing back into G Major happily.

All in all, I was happy with this symphony on the whole. K. 75b has a little more meat stuck to its bones, even if the Minuet movement is still a rather trivial part of the symphony and the second movement hasn't found the heart of the work yet.

Symphony in C Major, K. 96 (111b)

Movement 1
Key: C Major
Meter: Common time
Tempo: Allegro; Fischer:  = 166
Winds: oboe, horn, trumpet, timpani

I haven't noticed all that many of Mozart's early symphonies starting off on a pick-up note. This one does so roughly, aided by trumpets and timpani, but also adding a little more color to a simple rising C major triad as its 'A' motive, offset by a lighter touch on its later descent.

As this isn't a numbered symphony, there are no inner repeats, creating its form as it goes along. At only a minute and forty seconds, this must be the shortest opening movement I have heard thus far.


Movement 2
Key: C minor
Meter: 6/8
Tempo: Andante; Fischer: . = 44
Winds: oboe, horn

I like how Mozart emphasizes the offbeats in the main melody here, and it develops at it goes on too. The first utterances emphasize beats 3 and 6 in the 6/8 meter. Later it changes to the second dotted crotchet as receiving the stress and eventually finds the strong beat where it belongs on 1. This provides much interest for the listener, as the melodic content is not content to remain the same, but instead, evolve over the course of its path.

Mozart allows both oboes and horns to stuck around in this movement. There is none here, but I could imagine the orchestral texture benefiting from harpsichord in my mind, something I don't often say. Something about the C-minor key and the rocking 6/8 meter leads my imagination this way.


Movement 3
Key: C Major & F Major (Trio)
Meter: 3/4
Tempo: Menuetto; Fischer:  = 152
Winds: oboe, horn, trumpet, timpani

With the addition of trumpets and timpani, the larger Minuet sound returns. Only some little half-step decorations add some humor to the music.

I love the warm sound the solo strings apply to the Trio, set in a lovely F Major, and also joined by the oboes and horns in the tutti portions. Otherwise, this is a brief Minuet and Trio movement.


Movement 4
Key: C Major
Meter: 2/4
Tempo: Molto Allegro; Fischer:  = 174
Winds: oboe, horn, trumpet, timpani

The rising 1 - 3 - 5 melody could be a direct copy of the first movement opening, although Mozart offsets this last movement's motive by an octave upon its repeat. Is this Mozart looking at cyclical motivic ideas or am I reading to much into the similarities?

I like that Ádám Fischer allows the winds, particularly the brass, to punch out in the ensemble texture, for it adds colored excitement to a movement which could become overly repetitive. It is a subtle punch too, not a blatant one to disrupt the attention of the listener.

Symphony 13 in F Major, K. 112

Movement 1
Key: F Major
Meter: 3/4
Tempo: Allegro; Fischer:  = 156
Winds: oboe, horn

Where Mozart usually prefers a rising motive, occasionally he will use a downward moving one as here. This change in melodic motion at least mixes up his use of simple arpeggios as melodies.

I should also note that the young composer isn't afraid to use a triple meter to open his symphonies, as he has done it already a few times. I find it an odd choice, but again, it varies his works nicely.

Fischer makes the second motivic melody sound a little strange here. Either he instructs the players to execute the idea extremely short or staccato, or they play closer to the bridge. Whatever the culprit is, at first listening, I thought there was some col legno going on, which would be really weird. Again, I think in these early symphonies, these stylistic choices do allow for some variety for the listener, so generally I appreciate them. If the choices draw themselves to the listener too much, though, it may be too much. That could be here, but I haven't yet decided.

The development jumps right into its relative A minor, making for an abrupt change, but as with the others, this portion of the Sonata-Allegro form is rather brief.


Movement 2
Key: B-flat Major
Meter: 2/4
Tempo: Andante; Fischer:  = 64
Winds: none

At the start of the second movement, I was afraid of another tick-tock accompaniment, but Mozart varies as the music goes. At first, the aforementioned tick-tock, but followed by an echo, imitative texture, and finally by a smoother syncopated underlay, one which eventually moves with the violin melody.

There are no winds in this movement, which let me hear the string a little clearer. The 2nd violins and violas play similarly to the idea I mentioned in the first movement, where the strings may have simply played extremely short and light as they do here in the tick-tock background.

Otherwise, a rather lightweight movement of no lack of charm.


Movement 3
Key: F Major & C Major (Trio)
Meter: 3/4
Tempo: Menuetto; Fischer:  = 146
Winds: oboe, horn

This is another unusually graceful sounding Minuet movement, which seems to enjoy its dance-like qualities more than making a loud statement. Even though the Trio changes to strings only, it gladly continues the same style of the preceding Minuet, but here with solo strings.

Movement 4
Key: F Major
Meter: 3/8
Tempo: Molto allegro; Fischer: . = 102
Winds: oboe, horn

Boy, does Fischer allow the horns to sound out here! Too much? It does draw the listener's attention unduly, but would the music be lesser without their added thrust. Hard to tell at this point.

Mozart writes a sizeable D-minor middle section into this final movement, which Fischer bandies with solo strings and tutti ensemble effectively. When the open section returns, there are the horns again. It certainly recalls the hunting quality attached to this 3/8 compound meter.

Symphony 14 in A Major, K. 114

Movement 1
Key: A Major
Meter: Cut time
Tempo: Allegro moderato; Fischer:  = 168
Winds: flute, horn

 

Mozart composed only three symphonies in the key of A Major. I had always assumed A Major would be kind to string players since A and E are open strings on the violin and the A is open on viola and cello as well. But I have never played a string instrument before, so perhaps II am showing my ignorance once again.

The first movement is only one of a few so far which have opened quietly. In this case, the main idea is presented by only the violins, and upon its restatement is given to the entire ensemble. The effectiveness of this quality is compounded by the gentle 'two' feel in the music here as well, methinks.

Also, Mozart breaks the normal partnership of oboes and horns and substitutes in flutes with the horns instead. Notable too since the composer gives the flutes a fair number of important moments in this lengthy opening movement, one nearly timing to seven minutes, the longest as of yet.

The 'B' expositional section is given to strings alone and set in an imitative texture, offsetting the main idea nicely. I actually find it quite beautiful in its initial statement, although it doesn't take long for Mozart to chug along again vigorously.

At the opening of the development, Mozart really allows the sections of the orchestra to have their moments in the limelight before continuing on again as normal. I like the deference given to the various members of an ensemble, showing the composer caring for the contributions across the group. Having the two sections repeated adds a little substance to the work as well.


Movement 2
Key: D Major
Meter: 3/4
Tempo: Andante; Fischer:  = 88
Winds: oboe

Fischer intuitively takes the second movement at about half the speed (at the crotchet) of the prior movement. This at least shows the Hungarian conductor is conscious of tempo relationships.

This is a rather lovely slow movement in a rare triple-time setting, at least for this second position in the symphony. In a reversal, the flutes are swapped out for oboes here. Is there a method to Mozart's orchestration choices across movements? It seems so.


Movement 3
Key: A Major & A minor (Trio)
Meter: 3/4
Tempo: Menuetto; Fischer:  = 146
Winds: flute, horn

Here we are back to a foot-stamping Minuet, although Fischer and crew take a gentler approach than normal. It is the unexpected appearance of a C-natural which leads to a secondary dominant, a somewhat distant note from the opening A Major providing the surprise.

Mozart chooses the relative minor for the Trio, again given over to solo strings. Here, they play with a more spare tone, although it warms up when the second section transitions back to C Major. The change from subdivided triplets to duples is notable as well.


Movement 4
Key: A Major
Meter: 2/4
Tempo: Molto Allegro; Fischer:  = 188
Winds: flute, horn

One almost misses the more pointed sound of oboes over the smooth tone of flutes in this final movement. Oboes provided a little more rhythmic stability in the wind section, as well as a more insistent tone for a symphonic send off. Luckily, the little jabs of horn are still present.

And if one has forgotten, the Danish National Chamber Orchestra add such joy and impetus to these early symphonies.

Final Thoughts

Well, I was certainly more delighted in Volume 4 compared to the last two. Here, we are back to the development of the Austrian symphonic form instead of the Italiante qualities I heard in some of the preceding works. Although I suppose, with Mozart's many travels as a youth, the composer's music could be considered an amalgam of many influences.

Equally, I was delighted by these performances. On the other hand, there were one or two choices from Ádám Fischer which turned my attention to the performers over the music. I think at this point I don't mind intervention from the conductor, for the early works from Mozart may need a little extra dash of color, but I could see such choices becoming divisive.

No qualms, however, regarding the playing or sonics on this recording. Superlative!

Works
Symphony 12 in G Major, K. 75b (14.21)
Symphony in C Major, K. 111b  (11.27)
Symphony 13 in F Major, K. 112  (10.39)
Symphony 14 in A Major, K. 114 (17.48)

Performers
Danish National Chamber Orchestra
Ádám Fischer, conductor

Label: Da Capo
Year: 2013
Total Timing: 54.12

 

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