Mozart: Symphony 40 & 41
There is no doubt in my mind that Mozart's finest achievements in the symphony genre rest within these two works. I must take back what I said in the last handful of symphonies - occasionally I would hear wind combinations and harmonic progressions which would remind me of Beethoven; however perhaps I should have said mature Mozart. I suppose in Beethoven, we are given a continuation of sorts of what could have been in Mozart if his life wasn't cut off so soon. I heard similar qualities in the London Symphonies of Haydn, also continued on through Beethoven. To have two genius Classical Era composers conflagrate within the latter composer is not too far of a stretch, I don't think.
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 will provide a video of these same performers I am listening to in order to make it easier to follow along with my thoughts.
Movement 1
Key: G minor
Meter: Cut time
Tempo: Allegro molto; Fischer: 𝅗𝅥 = 120
Winds: flute, oboe, clarinet, bassoon, horn
Of course, in contrast to the second motivic area, the latter is most definitely in major. He also breaks up this second motive between strings and winds, an ultimate point of synthesis between these two ensemble sections. In the conclusion to the exposition, listen to how Mozart overlaps how winds and strings share the small motivic ideas. And such occasions only continue on from here.
This must be Mozart's finest development section up until now as well. I love the lengths the composer goes to circle around and around through sequencing, one which continues well into the recapitulation, occuring between motivic sections. Plus, Mozart's use of his main melody as a fragmentary device is so effective throughout, especially with the bass line chugging around all over the place.
Movement 2
Key: E-flat Major
Meter: 6/8
Tempo: Andante; Fischer:
. = 40Winds: flute, oboe, clarinet, bassoon, horn
It just goes to show how little I visit Mozart's symphonies that these inner movements are not as familiar to me. Sometimes I stay away from major works to keep them fresh in my mind without the music becoming stale to me. I think these have stayed away far too long.
In this second movement, Mozart keeps his ensemble resources in reserve, keeping the texture rather thin except for major musical points. One of the last big tutti chord progressions before the end of the 'A' section is simply confounding, with one chord sounding out rather dissonantly. What a harmonic moment for the books!
The 'B' section continues on in a stormy manner, mostly circling around in sequences. The return to the opening material, though, goes through an extended development, where the music goes much further afield than expected, nodding to the minor key of the work rather strongly.
Movement 3
Key: G minor & G Major (Trio)
Meter: 3/4
Tempo: Allegretto; Fischer:
= 172Winds: flute, oboe, clarinet, bassoon, horn
What a nasty little Minuet this is, with Ádám Fischer really leaning into an edgy sound. I could imagine a harpsichord giving this music a manic energy if it were included. The 'B' section has a wonderful little imitative section, followed by a chromatic wind descent, all combining to give this music character.
The Trio is much more sensitive, moving to the parallel Major. The strings and winds go back and forth with their material, mostly separate from each other. Another example of the fine use of Mozart's instrumental resources.
Movement 4
Key: G minor
Meter: Cut time
Tempo: Allegro assai; Fischer: 𝅗𝅥 = 142
Winds: flute, oboe, clarinet, bassoon, horn
I am also pretty familiar with this final movement, another well known symphonic movement from Mozart with a catchy melody. It is funny... I now have a realization that the composer's use of G minor is more mischievous in the opening and closing movements rather than gloomy, angry, or melancholic, and I think that informs the success of this work as a whole for this listener.
The first contrasting section to the opening is much more pastoral, mirroring the starting movement. The use of clarinets and little skipping figures in the violins gives a certain bucolic sound to the section, at least before the furioso strings being sawing away.
Another chromatic, circling section of sequencing begins the development section, a substantial one from Mozart again, going a further with the music than the listener expects. For those interested, Fischer does indeed repeat both sections of this final movement.
Speaking of Fischer, he is on his best behavior in this popular symphony, not particularly leaning into excess or individuality. Sure, he is boisterous and forward moving, but that has been his vision from the start of this cycle. Most will be interested in Fischer's phrasing choices and pauses, as this sets him apart from other recordings.
Symphony 41 in C Major 'Jupiter', K. 551
Movement 1
Key: C Major
Meter: Common time
Tempo: Allegro vivace; Fischer:
= 160Winds: flute oboe, bassoon, horn, trumpet, timpani
First, note this symphony is in a celebratory C Major, thus trumpet and timpani are present, with the latter ready to beat the band, literally. As before, this work regales the listener with the synthesis of winds and strings as an interactive, complete whole. The first lyrical section is a prime example of this, where the upper winds and violins trade musical material back and forth winsomely. Even in doubling, the balances are thus in this recording that the instruments are more interactive than mere coloring. So too, the few pizzicatos come through strongly, not lost amidst the orchestral texture.
And then that abrupt shift to C minor shows up, only to unexpectedly move to C Major shortly thereafter without much in the way of preparation for the listener. It is a solitary moment for Mozart who then reminds the listener of both the beginning and its complementary lyrical section. And this is all contained in the exposition.
The development section is, in general, genial. Even the return of the opening is done so in a rather gentle way before really getting down to business in the recapitulation. I do not sense Mozart is in as much of a developmental mood in this recapitulation as he was in K. 550, yet there are difference from the composer in this last section, always keeping the listener on their toes.
Movement 2
Key: F Major
Meter: 3/4
Tempo: Andante cantabile; Fischer:
= 40Winds: flute, oboe, bassoon, horn
The exaggerations between dynamics is not as wide in this movement as is usually the case with Fischer. Maybe because the string are muted he keeps things relatively chaste here, although the tempo catches almost a dance-like feel before the section break.
I haven't discussed it in a while, but these are moments when I wish the strings would use vibrato. Yet, when the violins are a playing as a mere whisp on mutes, I do enjoy their texture, so there is give and take. And of course, Fischer is able to get the strings to play just upon the edge of hearing, a choice the Hungarian has been fond of from time to time.
Movement 3
Key: C Major & C Major (Trio)
Meter: 3/4
Tempo: Allegretto; Fischer:
= 162Winds: flute, oboe, bassoon, horn, trumpet, timpani
In contrast to K. 550, this is a rather graceful Minuet, although the timpani and horns give them their brand of punch to the music. The 'B' section is quite elaborated in concept, building on what came before, and certainly building upon what came before in Symphony no. 40.
It isn't often Mozart keeps the same key moving between Minuet and Trio, but he does so here. Really, all this means is the Trio feels all of a piece rather than as a separate contrasting section. If there is a success in this movement, it is the solid dance feeling throughout the movement.
Movement 4
Key: C Major
Meter: Cut time
Tempo: Molto allegro; Fischer: 𝅗𝅥 = 148
Winds: flute, oboe, bassoon, horn, trumpet, timpani
I love the use of the semibreve as a bell-like motivic idea, as it is here. With this, Mozart is communicating to me that imitation, or more intense contrapuntal textures, are destined to appear in this movement. Indeed it does, and this is perhaps his finest purely orchestral use of these musical techniques.
Otherwise, this movement scurries along across many melodies and orchestral textures in a joyful manner. If there is a detriment, it is Fischer does not repeat the second section as he does the exposition repeat. If he had repeated, this would have been the longest symphony in the set, but as it is, it ties the Prague Symphony in sheer length and timing.
Final Thoughts
If you come to this final volume expecting it to blow away your favorite version of these symphonies, I think most will walk away disappointed. That is not the way to approach different performances and interpretations. Instead, I think most will be taken, either positively or negatively, with Fischer's direction of instrumental phrasings, allowing certain instrumental textures to pop out, occasionally taking rests or musical moments out of time, and of course, Fischer's joyous view of this music, played with abandon by the Danish National Chamber Orchestra.
I have had a wonderful time with this set, now concluded. My memories of Mozart's symphonies come from Karl Böhm and other older recordings, so Fischer certainly blows away the cobwebs from that approach. And while I eventually got used to the minimal vibrato in the strings, I yearn for a fuller string sound still, something I re-noticed upon this last volume.
In these last two symphonies, Fischer doesn't push the boundaries as much as he did in the earlier symphonies. Even the tempos, while flowing, are not beyond ordinary. Nor does he call for col legno or sul ponticello effects as he occasionally did in the earlier symphonies. I almost wish he had done more to bring forth his own personal view of these works, although fear of going to far may have stayed his hand.
In the end, the joy of Mozart's final two symphonies are here to behold. Whether Fischer's motions work for you or not, will only be in comparison to what you already know of these works upon your last or most comfortable past listenings.
ADDENDUM:
I should probably spend a moment describing my journey with Mozart's symphonies.
I had just finished Haydn's 104 symphonies before embarking on to Mozart, also with Fischer at the helm. However comparisons between Mozart and Haydn need to stop right at the beginning. Mozart was just a wee one, albeit a musically remarkable wee one. Haydn's symphonies found him in a career right from the start. But for his father, a solid career eluded Mozart, brought on by his distaste of out-of-the-way hamlets. Haydn learned the way of the symphony through his employ in an out-of-the-way hamlet. If Haydn was eager to ply his wares at bigger horizons, he bade his time and waited with great patience. Suffice to say, patience bore fruit. Mozart didn't have time for bearing fruit, even if his personality allowed such. Unfortunately, we just get to the good stuff when there is no more for the listener from either composer.
And yet, with Haydn's London Symphonies and Mozart's late symphonies, there is a sort-of coming together of mature Classical Era musical ideas. The fact both composers reminded me of Beethoven at some point, and in small doses, tells me more about Haydn and Mozart, and the future that was still in store for Beethoven.
With Mozart, there was a time when the composer moved from student to innovator, and I mentioned so in one of the volumes where I had read as much, a reading which underlined my thoughts. From that moment on, Mozart's music never stands still and always moves forward, even if it was in smaller steps than his mature works.
As to this recording, if I never fully felt Fischer attained the otherworldly magic of Mozart's slower movements, such as beauty of The Divine, such a thing is hard to nail down in writing, other than when you hear it, you know it and feel it within your soul. What Fischer imbues into the music otherwise is well worth its weight in salt, thus I am not faulting this set one mite. These, though, are Earthly glories...
Works
Symphony 40 in G major, K. 550 (18.14)
Symphony 41 in C Major 'Jupiter', K. 551 (28.15)
Performers
Danish National Chamber Orchestra
Ádám Fischer, conductor
Label: Da Capo
Year: 2013
Total Timing: 64.32
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