Once again, I’m listening to Sir Neville Marriner leading the Academy of St. Martin in the Fields.
Couldn’t find a YouTube version of this recording.
Symphony No. 36 in C, K. 425 “Linz”
1. Adagio – Allegro spiritoso
- Slow intro
- Mournful a little
- The allegro spiritoso music begins quietly happy.
- Very active bass role
- Some nice woodwind moments
- Four double quarter pickup entrances, each with different instruments and dynamics. It’s funny hearing them all.
- In first theme, I like the play between the first and second violins.
- Really effectively builds tension to cadences here.
2. Andante con moto
- Dreamy beginning.
- Simultaneous accompanying arpeggios of different rhythms happening at one point.
- Returns to repeated unison notes in horns and winds and timpani at various dynamic levels. Kind of foreboding. Idea introduced with single notes and then is expanded.
- Coooooool development. Love the addition of different musical ideas over time. Patient and not overbearing. Tied together with repeating bass lines.
- It’s a minuet.
- Restrained tempo.
- Lots of parallel harmonies in trio.
- Quiet/loud. K
- All very active
- Contrasting lines in violins vs. viola/cello/bass in second section. Cool effect. Built up slowly.
- Then imitative lively entrances
- More tension building towards cadence of exposition.
- Violins and cello/basses having a back and forth.
- Oboe for color.
- In recap, oboes added to what had just been the string imitative entrances.
- Wow. Tension build up to coda. Grace notes flying on higher notes. First violins have syncopated accents on C (had been in second violins, and on a lower note before). Really effective.
- Subtle changes in the recapitulation make it a more exciting ending.
I enjoy this piece. The minuet/trio is pretty standard issue, but there’s a lot to listen to in the other movements, which are all in sonata form. There’s a lot more interesting things happening within instrument groups than I noticed from his earlier symphonies.
Additionally, the idea that Mozart finds some musical novelty to tie pieces together is also very much in play here, but instead of tying together a whole piece, they tie together sections within a movement. There are several instances where such ideas grow over time and transform within their respective sections, such as the development of the second movement with the rising bass lines.
I guess that’s all the symphonies that I’ll be listening to for this project unless I jump way back to his earliest works. Which I probably won’t do.
Until next time.