Symphony n° 36 of Mozart

The Symphonie n° 36 in major C, Kv 425, known as “Linz” is a Symphonie composed by Wolfgang Amadeus Mozart in 1783.

At the time of the summer 1783, Mozart, married since one year with Constancy Weber, left with his wife to Salzburg, at its father. Indeed, the purpose of it was to alleviate the relations tended between his wife and Leopold; but its attempt does not succeed and in October, it decided, disappointed attitude of his/her father, to return to Vienna where it resided. In way, the couple made stage with Linz, on October 30th.

One gracefully offered hospitality to them and one invited Mozart to give on November 4th a public concert to the theater of Linz. But the type-setter, party “on vacation”, did not have any partition of his works on him; as he wrote it catastrophe with his father, he “was constrained to write a symphony with any pace”. Useless to add that the evening in the concert, the symphony was completed, the partitions copied and that the first was carried out, probably without repetition. The Symphonie in major C K 425 n°36 “Linz” had been born. It quickly became very popular and remains today one of the most played symphonic works of the Master.

This symphony adopts a very traditional diagram, characteristic of works of Haydn and the late ones of Mozart:

Adagio, Allegro idiot spirito
Poco adagio (makes Andante of it)
Menuet & Trio
Presto

The introduction of the first movement is a Adagio with old, of invoice clearly haydnienne, which, as wrote it an observer during creation with Vienna of work, “wakes up waiting of something of exalté”.

It is not misleading: the Allegro idiot spirito which succeeds to him is a perfect example of the traditional writing in term of Symphonie S. Of rigorous proportions, merry movement but with the noble maintenance, it oscillates between a heroic feeling which continues and a grace suave and spiritual, of such as it is constantly likely to fall into a disappointing theatricalness if it is badly interpreted.

The Poco Adagio , which one often notes Andante , is particularly remarkable by the multiplicity of the secondary topics, full with interrogative meditations to the character alleviating and cherishing, very mélodieux.

The Menuet which follows is particularly formal and uninteresting; although elegant and gracious, it does not present any musical originality. It however constitutes an excellent contrast with the finale Apollinian Presto which leads work towards a peroration and a triumph which brings it closer to the Symphonie in D “Haffner” Kv 385 .

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