In this edition which we call “3 Symphonies and a Lost Vocal” we explore some quickly composed works by Mozart.
First, we will hear “Regina coeli”, or at least, what has survived of this once grand mass. While Mozart was considered to be the composer of this work, this was not proven until the lost title page was discovered in 1964. Only 3 movements of this work exist today. The remaining movements were destroyed in World War 2.
This performance is the by CMD Philharmonic and Chorus of Paris and conducted by Dominique Beaulieu. All of the performances in this broadcast are available now at ClassicalRecordings.co
Now we will hear 3 symphonies composed in rapid succession my Mozart in May of 1772. Music historians believe these symphonies were composed during the period when Mozart stayed in Salzburg between 2 trips to Italy. The autograph pages of these symphonies are preserved in the National Library of Berlin. All 3 symphonies are widely accepted to be inconsequential in Mozart’s compositional library and are often overlooked.
Here at Classical Music Discoveries, we like to differ. We believe, as Mozart was abandoning the Italian style of composing, that he used these symphonies to explore the German or Mannheim style of composing. If you listen carefully, you can hear subtle explorations into distorted harmonies and chord structures, which would not to be fully developed in much later works of Mozart.
First, we will hear Symphony 16 in C Major. This symphony is scored for 2 oboes, 2 horns and strings which is not Mozart’s full orchestra that he has used in the past. Evidence again, that these 3 symphonies were strictly for experimental purposes in composition. The 3 symphonies will be performed by the CMD Paris Philharmonic and conducted by Dominique Beauleau.
Symphony 17 in G Major is another experimental 3-movement symphony scored for 2 oboes, 2 horns and strings.
Symphony 18 in F Major is an experimental 4-movement symphony scored for 2 flutes, 4 horns and strings. Here Mozart not only experiments with the creation of musical harmonies, but he also experiments with instrumentation. There are no oboes in this symphony and for the first and second movements, a second pair of horns is used, which is a rare occurrence for Mozart.