Mozart: Symphony 22 - 25
Volume 7 is a step backwards of sorts. Here, we have five, three-movement symphonies in the Italian style, and as I understand it, these were likely written following Mozart's travels to Italy. Due to his success in that country, many wished works from the composer, and many were promised from the Mozart family. This set of early symphonies are the result.
On the other hand, Symphony no. 25 in G minor is the composer's first 'major' symphony, at least from a 21st Century viewpoint. Thus, this is the first volume of Mozart's symphonies where the ability to compare a great symphony with a handful of lesser symphonies is possible. I imagine the 25th's popularity also has something to do with the minor key, an element not readily given from the composer, either here across his symphonies, or among his concertos.
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 a YouTube playlist at the very bottom of this blog post of the same performers I am listening to in order to make it easier to follow along with my thoughts.
On the other hand, Symphony no. 25 in G minor is the composer's first 'major' symphony, at least from a 21st Century viewpoint. Thus, this is the first volume of Mozart's symphonies where the ability to compare a great symphony with a handful of lesser symphonies is possible. I imagine the 25th's popularity also has something to do with the minor key, an element not readily given from the composer, either here across his symphonies, or among his concertos.
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 a YouTube playlist at the very bottom of this blog post of the same performers I am listening to in order to make it easier to follow along with my thoughts.
Symphony no. 27 in G Major, K. 161b
Movement 1
Key: G Major
Meter: 3/4
Tempo: Allegro; Fischer:
= 152Winds: flute, horn
A rather efficient exposition is bright and sunny musically. The violas and 2nd violins play a tremolo rather raggedly, I notice. I wonder if this is a 'folksy' effect requested by Ádám Fischer. So too, the horns are allowed one or two moments to blare out of the texture for musical punctuation.
Movement 2
Key: D Major
Meter: Andantino grazioso
Tempo: Andante; Fischer:
= 70
Winds: flute, horn
A friendly second movement greets the listeners with muted strings first, with horn and flutes joining in on the restatement. Mozart makes two brief visits to the distant F-natural. This is quite the harmonic surprise, but most welcome.
Also, the cellos and basses make an awkward transition in the second half, made even more noticeable by Fischer's pregnant pause. This awkward musical idea is handed to the 1st and 2nd violins to end the movement as well, a rather unusual choice on the part of the composer.
Movement 3
Key: G Major
Meter: 3/8
Tempo: Presto; Fischer:. = 108
Winds: flute, horn
I love the bell tones which temper the fleet, scurrying nature of this final movement. One might have expected Mozart to use this musical idea as a contrapuntal device later on, but this is a movement filled with nothing but good humor and easy-going textures.
Really, Symphony no. 27 is a rather amiable creation as a whole, offering nothing but smiles and a good time. At 14-minutes in length, it certainly swamps the rather slim symphonies surrounding it.
Key: D Major
Meter: Andantino grazioso
Tempo: Andante; Fischer:
= 70Winds: flute, horn
A friendly second movement greets the listeners with muted strings first, with horn and flutes joining in on the restatement. Mozart makes two brief visits to the distant F-natural. This is quite the harmonic surprise, but most welcome.
Also, the cellos and basses make an awkward transition in the second half, made even more noticeable by Fischer's pregnant pause. This awkward musical idea is handed to the 1st and 2nd violins to end the movement as well, a rather unusual choice on the part of the composer.
Movement 3
Key: G Major
Meter: 3/8
Tempo: Presto; Fischer:
. = 108Winds: flute, horn
I love the bell tones which temper the fleet, scurrying nature of this final movement. One might have expected Mozart to use this musical idea as a contrapuntal device later on, but this is a movement filled with nothing but good humor and easy-going textures.
Really, Symphony no. 27 is a rather amiable creation as a whole, offering nothing but smiles and a good time. At 14-minutes in length, it certainly swamps the rather slim symphonies surrounding it.
Symphony 22 in C Major, K. 162
Movement 1
Key: C Major
Meter: Common time
Tempo: Allegro assai; Fischer: = 170
Winds: oboe, horn, trumpet
Movement 1
Key: C Major
Meter: Common time
Tempo: Allegro assai; Fischer:
= 170Winds: oboe, horn, trumpet
Once again, Mozart orchestrates for trumpet without the presence of timpani. Whomever he was writing these for obviously did not have them at their disposal.
Symphony no. 22 has self-contained movements without inner repeats, making the heft of the work feel somewhat slight. Even the rather simplistic use of C Major arpeggios for its melodies and repeated slow harmonic motion seems a little too easy from Mozart at this point.
At least the second section provides some storminess to offset the genial nature of the opening. And don't think I missed the use of col legno right at the end of this movement. What to think?
Movement 2
Key: F Major
Meter: 2/4
Tempo: Andantino grazioso; Fischer:. = 56
Winds: oboe, horn
There is a lovely pastoral quality to this middle movement, compounded by the use of bright-sounding oboes. When the two oboes and two horns are allowed their little fanfare interlude to themselves, it becomes a rather special moment.
Truth be told, I am seduced by this movement's charms.
Movement 3
Key: C Major
Meter: 6/8
Tempo: Presto assai; Fischer:. = 144
Winds: oboe, horn, trumpet
Another rather clunky C-Major arpeggio opens this last movement as well, bookending a symphony without too many charms in the outer movements.
I was not offended by this slight symphony, but it certainly didn't win me over either. If you are looking for something quick and inoffensive, this is it.
Symphony no. 22 has self-contained movements without inner repeats, making the heft of the work feel somewhat slight. Even the rather simplistic use of C Major arpeggios for its melodies and repeated slow harmonic motion seems a little too easy from Mozart at this point.
At least the second section provides some storminess to offset the genial nature of the opening. And don't think I missed the use of col legno right at the end of this movement. What to think?
Movement 2
Key: F Major
Meter: 2/4
Tempo: Andantino grazioso; Fischer:
. = 56Winds: oboe, horn
There is a lovely pastoral quality to this middle movement, compounded by the use of bright-sounding oboes. When the two oboes and two horns are allowed their little fanfare interlude to themselves, it becomes a rather special moment.
Truth be told, I am seduced by this movement's charms.
Movement 3
Key: C Major
Meter: 6/8
Tempo: Presto assai; Fischer:
. = 144Winds: oboe, horn, trumpet
Another rather clunky C-Major arpeggio opens this last movement as well, bookending a symphony without too many charms in the outer movements.
I was not offended by this slight symphony, but it certainly didn't win me over either. If you are looking for something quick and inoffensive, this is it.
Symphony 23 in D Major, K. 162b
Movement 1
Key: D Major
Meter: Common time
Tempo: Allegro spiritoso; Fischer:
= 148Winds: oboe, horn, trumpet
Directly following the last symphony, here is another with trumpets, yet no timpani. So too, the harmonic motion is again rather slow and there are no inner repeats to the first movement's structure.As a matter of fact, this movement leads directly into the second movement without pause, making for a true Italian Sinfonia. If the second theme doesn't remind you of Rossini, with its decorative melody echoed by winds, all amidst many extreme dynamic changes, nothing will.
Movement 2
Key: G Major
Meter: 3/8
Tempo: Andantino grazioso; Fischer:
. = 44Winds: oboe, horn, trumpet
The brief second movement is nearly a concertante work, with a solo oboe taking over the role of ingénue. During this portion, nothing but string accompaniment exists opposite the solo. Hardly the ingenious texture from Mozart.
This movement also directly links to the third movement, with no break in between.
Movement 3
Key: F Major
Meter: 2/4
Tempo: Presto assai; Fischer:
= 168Winds: oboe, horn, trumpet
This is a blink-and-you-will-miss-it symphony. Fischer does add the tiniest bit of solo string work towards the end, but it ends up being too little too late. I sense a pompous British atmosphere about this final-movement music, broken up by a brief minor-keyed episode which exits too quickly.
Again, Symphony no. 23 fits best as an overture rather than a work with any sort of symphonic argument or development. Light stuff overall.
Symphony 24 in B-flat Major, K. 173dA
Movement 1
Key: B-flat Major
Meter: Common time
Tempo: Allegro spiritoso; Fischer:
= 158Winds: oboe, horn
I notice Allegro spiritoso and Andantino grazioso have been marked for the first and second movement tempos in the last few symphonies, without much deviation. Is this an editor's addition, Leopold making fast work of commissioned music, or is there another purpose?
More loud unison arpeggios. At least this time they are downward moving and broken up by string decorations. Mozart doesn't even bother with a transition, but instead just stops the music for a while and picks up with a second idea.
Fischer really pulls back the tempo in the opening of the transition to the recapitulation, and noticeably so. Also, the unison cellos and basses are really hefty at times, not that I am complaining, but the sheer weight is astounding at times. That pause between sections comes back in the recapitulation again... Yikes!
Movement 2
Key: E-flat Major
Meter: 2/4
Tempo: Andantino grazioso; Fischer: = 62
Winds: flute, horn
Flutes take center stage, sounding out louder than the muted first violins, who play at the octave with each other. Even the horns are allowed to play with the flutes in a larger role during an interlude when the strings tacet.
Movement 3
Key: B-flat Major
Meter: 3/8
Tempo: Allegro; Fischer:. = 88
Winds: oboe, horn
Thank goodness Fischer directs the strings to attack their tremolos furiously, otherwise there would be precious little to this movement.
Fischer has the Danish National Chamber Orchestra repeat the second section, and indeed, there are minute moments of col legno to catch on your listening. What an oddity!
This slew of symphonies is only disappointing in the fact Mozart has done better before. These are short, light throwaways, and while they are affable, there is no real meat for the listener to hook on to. A good think Da Capo made room for Symphony no. 25.
More loud unison arpeggios. At least this time they are downward moving and broken up by string decorations. Mozart doesn't even bother with a transition, but instead just stops the music for a while and picks up with a second idea.
Fischer really pulls back the tempo in the opening of the transition to the recapitulation, and noticeably so. Also, the unison cellos and basses are really hefty at times, not that I am complaining, but the sheer weight is astounding at times. That pause between sections comes back in the recapitulation again... Yikes!
Movement 2
Key: E-flat Major
Meter: 2/4
Tempo: Andantino grazioso; Fischer:
= 62Winds: flute, horn
Flutes take center stage, sounding out louder than the muted first violins, who play at the octave with each other. Even the horns are allowed to play with the flutes in a larger role during an interlude when the strings tacet.
Movement 3
Key: B-flat Major
Meter: 3/8
Tempo: Allegro; Fischer:
. = 88Winds: oboe, horn
Thank goodness Fischer directs the strings to attack their tremolos furiously, otherwise there would be precious little to this movement.
Fischer has the Danish National Chamber Orchestra repeat the second section, and indeed, there are minute moments of col legno to catch on your listening. What an oddity!
This slew of symphonies is only disappointing in the fact Mozart has done better before. These are short, light throwaways, and while they are affable, there is no real meat for the listener to hook on to. A good think Da Capo made room for Symphony no. 25.
Symphony 25 in G minor, K. 173dB
Movement 1
Key: G minor
Meter: Common time
Tempo: Allegro con brio; Fischer: = 182
Winds: oboe, horn (4)
Movement 1
Key: G minor
Meter: Common time
Tempo: Allegro con brio; Fischer:
= 182Winds: oboe, horn (4)
Isn't this what we all have been waiting for; Mozart's first symphony set in a minor key? What I like about Mozart's use of minor here is he doesn't hide the fact it is in minor. Sure, the second thematic area moves to major, but when the same section returns in the recapitulation, that major-key theme is now in minor, and works even better!
Boy, do Fischer and the Danes dig into this music. It is frightening how strongly they throw themselves at this music. I would imagine some think it too much, but what a rout!
I like how Mozart pitches the cellos and basses high at the very opening, only turning to their normal bass range after the initial statements. When that happens, the oboe sounds so forlorn, making for a lovely contrast to the roughly-handled opening. Some of the joys of having four horns on hand also make themselves known here as well, although the horns seem to be going for a more congested sound then I remember previously, especially in the more aggressive moments. Perhaps this is just their range in this work.
How naturally Mozart transitions from the exposition to the development, done so in a remarkably seamless manner. Such as has been in these early symphonies, the development is not at all lengthy, but I suppose when centered in a minor key, there are less extravagant places for Mozart to noodle around in.
What a texture change Fischer makes six measures into the development. It is as if their musical spacing has completely changed from before, and perhaps a slight pulling back from the hands of Fischer. Mozart adds a little Coda to bring the moto perpetuo to a conclusion.
Movement 2
Key: E-flat Major
Meter: 2/4
Tempo: Andante; Fischer: = 54
Winds: oboe, bassoon, horn (2)
Happily, and despite being set in a major key, Mozart does not shirk his duties to the main minor key, finding his way into minor for small sections of this movement.
Maybe I am in the minority, but I find this second movement maddening. It is the unending call and response of the bassoon which drives me absolutely nuts, a musical idea which is taken up by other instruments elsewhere in the movement. In the second section, Mozart finds even more opportunities for the bassoon to rhythmically or harmonically echo too. Ugh!
Movement 3
Key: G minor & G Major (Trio)
Meter: 3/4
Tempo: Menuetto; Fischer: = 166
Winds: oboe, bassoon, horn (4)
Ahh... a Minuet again! And this one brings us back to G minor. One could imagine a a jangly harpsichord tripping along underneath this music too.
Mozart gives the entire Trio over to the wind instruments, certainly a curiosity in and of itself. The Trio almost sounds as if it exists completely separate from the Minuet, so different is it from where the music continues on.
Fischer is pretty elastic with the tempo here too, pulling and pushing upon the music a fair bit more than I am used to from the Hungarian conductor. He does so that it makes sense, however, and I enjoy his take on this music.
Movement 4
Key: G minor
Meter: Common Time
Tempo: Allegro; Fischer: = 245
Winds: oboe, horn (4)
Boy, do Fischer and the Danes dig into this music. It is frightening how strongly they throw themselves at this music. I would imagine some think it too much, but what a rout!
I like how Mozart pitches the cellos and basses high at the very opening, only turning to their normal bass range after the initial statements. When that happens, the oboe sounds so forlorn, making for a lovely contrast to the roughly-handled opening. Some of the joys of having four horns on hand also make themselves known here as well, although the horns seem to be going for a more congested sound then I remember previously, especially in the more aggressive moments. Perhaps this is just their range in this work.
How naturally Mozart transitions from the exposition to the development, done so in a remarkably seamless manner. Such as has been in these early symphonies, the development is not at all lengthy, but I suppose when centered in a minor key, there are less extravagant places for Mozart to noodle around in.
What a texture change Fischer makes six measures into the development. It is as if their musical spacing has completely changed from before, and perhaps a slight pulling back from the hands of Fischer. Mozart adds a little Coda to bring the moto perpetuo to a conclusion.
Movement 2
Key: E-flat Major
Meter: 2/4
Tempo: Andante; Fischer:
= 54Winds: oboe, bassoon, horn (2)
Happily, and despite being set in a major key, Mozart does not shirk his duties to the main minor key, finding his way into minor for small sections of this movement.
Maybe I am in the minority, but I find this second movement maddening. It is the unending call and response of the bassoon which drives me absolutely nuts, a musical idea which is taken up by other instruments elsewhere in the movement. In the second section, Mozart finds even more opportunities for the bassoon to rhythmically or harmonically echo too. Ugh!
Movement 3
Key: G minor & G Major (Trio)
Meter: 3/4
Tempo: Menuetto; Fischer:
= 166Winds: oboe, bassoon, horn (4)
Ahh... a Minuet again! And this one brings us back to G minor. One could imagine a a jangly harpsichord tripping along underneath this music too.
Mozart gives the entire Trio over to the wind instruments, certainly a curiosity in and of itself. The Trio almost sounds as if it exists completely separate from the Minuet, so different is it from where the music continues on.
Fischer is pretty elastic with the tempo here too, pulling and pushing upon the music a fair bit more than I am used to from the Hungarian conductor. He does so that it makes sense, however, and I enjoy his take on this music.
Movement 4
Key: G minor
Meter: Common Time
Tempo: Allegro; Fischer:
= 245Winds: oboe, horn (4)
The main theme to this last movement is almost as sturdily built as the Minuet, however, Fischer takes the music at quite a clip in comparison, although they maintain an intense musical profile throughout. Also, the unison melodic settings in Symphony no. 25 doesn't make clod-hopping sounds like the previous symphonies on this volume did.
Mozart adds another small Coda to bring the work to a close.
Despite a second movement I could do without, here is a symphony finding the composer back in the saddle again. Certainly, the timing of 24' 57" brings it very close to Symphony no. 20, which came in at 25 minutes flat. If nothing else, the length makes the work feel more substantial.
One thing Mozart doesn't do, which Haydn does, is play with contrapuntal textures, especially in minor-keyed symphonies. This isn't a deal breaker, but shows the composer's youth and inexperience in Austria.
Final Thoughts
Thank goodness we have Ádám Fischer and the Danish National Chamber Orchestra in this grouping of symphonies. I could imagine these coming off as dull as ditch water in other hands. As is the case across these volumes, the performers breathe life into Mozart's early music, mostly towards the positive. While nothing hides the lesser features of these symphonic works, the performers at least add to the pleasures of the music.
Some might abjure to Fischer's rough handling of Symphony no. 25, but if you have followed the series up to now, you will know this is part-and-parcel of their general approach. Certainly it is exciting. Whether or not it displaces other recording of the 'Little G minor' is up for grabs and to individual tastes.
Works
Symphony 27 in G Major, K. 161b (14.04)
Symphony 22in C Major, K. 162 (7.31)
Symphony 23 in D Major, K. 162b (8.56)
Symphony 24 in B-flat Major, K. 173dA (9.20)
Symphony 25 in G minor, K. 173dB (24.57)
Performers
Danish National Chamber Orchestra
Ádám Fischer, conductor
Label: Da Capo
Year: 2013
Total Timing: 65.19
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