Mozart: The Symphonies

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This cycle also includes the rarely heard K 17 and K 18 (neither of which is by Mozart) and K 444 in its entirety (Mozart wrote only the slow introduction to this symphony by Michael Haydn). Better still, there are no repeats which is a blessing for those who’ve heard these works countless times. Favorite Moment:One of my all time favorite Mozart moments comes in the andante of this symphony where the winds take over in with a simple melody in tiers offset by a measure. The arrangement is so simple but creates such a magical effect, exemplifying Mozart’s genius. Favorite Moment:The driving string theme in the first movement. The development section soon after. The tutti sforzandos in the second movement. The entire fourth movement is unmissable. Having failed to deliver my promised review of the Sony Bruno Walter – The Complete Columbia Collection (Sony 19075923242, Favorite Moment:I have a couple favorite moments in this symphony, both in the incredible first movement. The first is when after repeating the opening motif many times, Mozart twists it into a series of tensing chord changes. The second is the climactic fake out and race to the finish.

The first and second movements together constitute the overture to the opera Il sogno di Scipione, K. 126. The third movement is listed separately as K. 161/163. Symphony In G Major K Anh. 221 (45a) "Old Lambach" = G-dur "Alte Lambacher" = En Sol Majeur "Lambach"

This is a list of symphonies by the classical composer Wolfgang Amadeus Mozart. Symphonies No. 2 (attributed to Leopold Mozart) and 3 (written by Carl Friedrich Abel) are spurious. Mozart's "37th symphony" is actually Michael Haydn's 25th symphony; Mozart only added a 20-bar slow introduction to it. Some symphonies of uncertain authenticity were included in either the Alte Mozart-Ausgabe or the Neue Mozart-Ausgabe; they are in this list but marked as uncertain or spurious (in the cases of K. 16a and K. 98, which later scholarship demonstrated have nothing to do with Mozart). No. 11 (K. 84/73q) is considered by scholars to be of uncertain authenticity. Further spurious and doubtful symphonies can be found at Mozart symphonies of spurious or doubtful authenticity. The finales of both are done with exceptional vitality and the rhythmic resilience that's characteristic of these performances.

The first and second movements together constitute the overture to the opera La finta giardiniera, K. 196. The third movement is listed separately as K. 121/207a. Alte Mozart-Ausgabe, the full name of which was the "Wolfgang Amadeus Mozarts Werke: Kritisch durchgesehene Gesamt ausgabe". There are no symphonies "GA 49" and "GA 53". Mozart worked in Salzburg from 1767 until his move to Vienna in 1781. During this time, he worked as a court musician for the Archbishop of Salzburg. He composed many of his most famous works during this period, including his operas The Marriage of Figaro and Don Giovanni, and his Requiem. One of the most famous, the “Haffner” symphony, named for a benefactor family of Mozart, is identical in structure down to the movement types as No. 28, but is fleshed out and developed further. The first of his “late” symphonies sets the bar high with a stupendous opening allegro whose intrigue lasts through the many repeats, the beautifully flowing andante (proto-Beethoven 6), and the fierce closing presto. The only real weak point is the quaint but forgettable Menuetto. Throughout the work Mozart recycles a lot of motifs from older symphonies into a more complex orchestral sound, and thankfully a more interesting string arrangement. It’s no secret that Wolfgang Amadeus Mozart is one of the greatest, most prolific composers of all time. While he excelled in many different types of composition, including opera, chamber and piano works, it’s his symphonic work that best shows his musical genius. The symphonies spanned his entire career, from ages 8 to 32, showing his range and development, originally numbered as brilliant 41 works. Although some have since been identified as falsely attributed, the remaining number still ranks him as one of the most impressive of all the major symphonists, behind only Haydn who wrote an astonishing 106.

Where Did Mozart Work In Salzburg?

Mozart and his father returned from their last stay in Italy in March 1773. His father’s benefactor, Archbishop von Schrattenbach had died and was succeeded by Hieronymus von Colleredo. Upon their return, the new archbishop appointed young Mozart as assistant concertmaster with a small salary. During this time, young Mozart had the opportunity to work in several different musical genres composing symphonies, string quartets, sonatas and serenades and a few operas. He developed a passion for violin concertos producing what came to be the only five he wrote. In 1776, he turned his efforts toward piano concertos, culminating in the Piano Concerto Number 9 in E flat major in early 1777. Mozart had just turned 21. Mozart’s orchestral work spans 24 years from 1764 to 1788. According to the most recent investigations, Mozart wrote up to 68 complete works of this type. Mozart revised some of the symphonies (K.297, 385, and 550) after they had already been written. Piano sonatas and other piano pieces were Mozart’s first attempts at writing music. Mozart wrote 20 piano solo works between 1782 and 1786, including the piano solo classics (sonatas, variations, fantasias, suites, fugues, and rondo); the Horn Concertos are frequently performed by professional horn players. Almost everything he wrote for the piano was intended to be played solo. Mozart created over 100 types of dance for orchestra, such as Minuetto (more than 100), Contredanse, and Allemande. Mozart’s sacred music, which combines Gregorian choral elements with rigorous counterpoint, has a rich stylistic mosaic. All of his sacred music is distinguished by consistent styling and symmetry. Favorite Moment:While I the opening theme is a simple genius and I love the violin interplay in the fourth movement, my favorite section is this blending of winds and violins in the Andante; a precursor for the masterful orchestration in the Andantes of the later symphonies. Symphonies 1-20 are in stereo; 21-41 are mono. The mono sound is very clear and not congested, and I enjoyed the mono recordings as much as the stereo ones.