Symphony No.18 in F major - Wolfgang Amadeus Mozart

Northern Chamber Orchestra conducted by Nicholas Ward.
I - Allegro: 0:00
II - Andantino grazioso: 5:32
III - Menuetto: 11:23
IV - Molto allegro: 13:40
Mozart's Symphony No.18 was composed in Salzburg on May 1772, a couple of months after Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. Unlike the two previous symphonies written in the Italian overture form, No.18 represents a significant step forward for the genre and Mozart's development. It is longer, more sophisticated, well-developed and features a distinctive orchestration with four horns and flutes instead of oboes. Overall, the work represents a fusion of the best of the Viennese symphonic traditions with the distinctly Italian cantabile. Premiere date and performers involved are unknown.
Between 1769-73, the young Mozart and his father Leopold made three Italian journeys. The first, an extended tour of 15 months, was financed by performances for the nobility and by public concerts, and took in the most important Italian cities. The second and third journeys were to Milan, for Wolfgang to complete operas that had been commissioned there on the first visit. From the perspective of Wolfgang's musical development, the journeys were a considerable success, and his talents were recognised by honours which included a papal knighthood and memberships in leading philharmonic societies. Wolfgang's Italian triumphs proved short-lived however; he failed to obtain a court position, and despite the critical and popular successes of his Milan operas, he was not invited to write another, and there were no further commissions from any of the other centres he had visited.
The first movement is structured in sonata form. It begins with a lively and animated main theme in F major, introduced in piano by violins in canon before passing to full orchestra in forte. A tremolo transition leads into the playful and light second theme in C major, dominated by a trill figure. After this exposition is repeated, the development starts with several entries of the main theme in imitative counterpoint, which then leads to several modulations and reaches a dramatic climax. The material is then recapitulated in the home key of F major. An elegant coda ends the allegro with an optional repeat from the development onwards.
The second movement is also written in sonata form. It opens with a lyrical and cantabile main theme in B-flat major, presented by muted violins before passing to forte in full orchestra. A more gracile and bucolic second theme in F major then appears, exposed by the orchestra with abundant use of trills. This exposition is then repeated. The ensuing development is concise, focusing on the main theme in a minor key modulation. The material is then recapitulated in the home key of B-flat major. This recapitulation is extended by new motives on flutes and horns, deviating from the classical standards. String mutes are also removed in the solemn coda of the andantino.
The third movement is a minuet in ternary form. It begins with a two-part, rhythmic and elegant main theme in F major, introduced by violins over a continuous two-note ostinato from violas before passing to forte in full orchestra. Each part is repeated. The central trio section offers a two-part, dance-like second theme in C major. It then progresses towards a cadenza-like sequence of harmonies, only briefly interrupted by horn fanfares in G major. The minuet is then repeated in its entirety, ending the movement gracefully.
The fourth movement is structured in an expanded sonata form, being the most substantial part of the whole symphony. It opens with a jovial and animated main theme in F major, exposed forte by full orchestra. A tremolo transition leads to an equally lively second theme in C major, presented through a series of dynamic contrasts between piano violin figures answered by forte orchestral tuttis. It is followed by a bucolic third theme (also in C major), introduced by violins but later in tandem with flutes. A vigorous climax is reached, leading to a repeat of this extended exposition. The development section is short in comparison, transforming and modulating a series of motives derived from the main material. The themes are then recapitulated in the home key of F major. A brilliant coda ends the work.
Picture: Anonymous portrait of Wolfgang Amadeus Mozart at the age of 13 in Verona (1770, attributed to Giambettino Cignaroli or Saverio Dalla Rosa).
Musical analysis partially written by myself. Source: tinyurl.com/26...
To check the score: tinyurl.com/2a...

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