Conducted by Giedrė Šlekytė, the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) performs Wolfgang Amadeus Mozart’s Symphony No. 31 in D major, K. 297/300a, better known as the Paris Symphony. This performance was recorded at the hr-Sendesaal Frankfurt on October 6, 2023.

Conducted by Giedrė Šlekytė, the hr-Sinfonieorchester performs Wolfgang Amadeus Mozart’s Symphony No. 31 in D major, K. 297/300a, better known as the Paris Symphony. This performance was recorded at the hr-Sendesaal Frankfurt on October 6, 2023.

Mozart’s Symphony No. 31 “Paris”

Mozart’s Symphony No. 31 in D major, K. 297/300a, known as the “Paris” Symphony, marks a significant point in Wolfgang Amadeus Mozart’s symphonic output. Composed in 1778 during Mozart’s stay in Paris, when he was 22 years old, the symphony reflects both the influence of the city’s vibrant musical scene and Mozart’s efforts to appeal to the Parisian audience’s tastes while showcasing his own compositional mastery. The “Paris” Symphony is celebrated for its grandeur, innovative orchestration (the piece is notable for having an unusually large instrumentation for its time), and clever integration of Parisian musical preferences of the time.

The genesis of the “Paris” Symphony was motivated by Mozart’s desire to establish himself in one of Europe’s cultural capitals. Paris was known for its large orchestras and the public’s fondness for spectacular and elaborate musical works. Mozart, keenly aware of these preferences, composed the symphony to cater to the Parisian audience’s tastes, incorporating features such as a prominent role for the wind instruments and a grand opening that was designed to capture the listeners’ attention from the outset.

One of the notable aspects of the “Paris” Symphony is its orchestration. Mozart took advantage of the larger orchestral forces available in Paris, employing a richer array of wind instruments than was typical for him, including flutes, oboes, bassoons, horns, and trumpets, along with timpani and strings. This expanded instrumentation allowed Mozart to explore new colors and textures, resulting in a work that was both vibrant and sophisticated.

The symphony was well-received by the Parisian public, particularly the innovative first movement, which featured a dramatic opening and a cleverly designed sonata form that included a repeat of the development and recapitulation sections, a departure from the norm that surprised and delighted the audience. Mozart’s ability to blend the expected with the innovative in the “Paris” Symphony demonstrates his keen understanding of the audience’s tastes and his desire to push the boundaries of the symphonic form.

Despite its initial success, the “Paris” Symphony also reflects a period of personal difficulty for Mozart. His mother, who had accompanied him to Paris, died during their stay, and Mozart’s efforts to secure a permanent position in the city were ultimately unsuccessful. The symphony, therefore, stands as a poignant reminder of Mozart’s ambitions, his adaptability as a composer, and the personal challenges he faced during his time in Paris.

Movements

With the start times in the video:

  1. Allegro assai 00:00
  2. Andante 07:24
  3. Allegro 13:22

1. Allegro assai

The first movement of Mozart’s Symphony No. 31 is marked Allegro assai and stands as a brilliant example of Mozart’s mastery in crafting symphonic forms that are both engaging and innovative. This movement, in particular, showcases Mozart’s ability to combine the grandiosity expected by the Parisian audience with his own unique compositional voice.

One of the defining features of this movement is its majestic opening, which immediately captures the listener’s attention with a full orchestral texture that includes a prominent role for the wind instruments. This was a deliberate choice by Mozart to cater to the Parisian taste for lush, powerful orchestral sounds and to make a strong initial impact. The opening also serves as a thematic anchor for the movement, with its motifs developed and revisited throughout.

The Allegro assai is structured in sonata form, a common framework for the time, consisting of an exposition, development, and recapitulation. However, Mozart introduces a level of innovation within this traditional structure. The exposition presents two contrasting themes: the first is bold and assertive, characterized by its rhythmic drive and orchestral grandeur, while the second theme offers a contrast with its lyrical and more graceful character. These themes are not only memorable but also demonstrate Mozart’s skill in thematic development and orchestration.

During the development section, Mozart manipulates and explores the thematic material introduced in the exposition, demonstrating his compositional creativity. This section is marked by modulations, variations in texture, and intricate interplay between the orchestra’s sections, all of which serve to heighten the music’s tension and complexity.

Uniquely, Mozart designed the recapitulation in this movement to include a repeat of both the development and recapitulation sections when performed, a novel approach that surprised and delighted the Parisian audience. This compositional choice not only provided an opportunity to revisit the movement’s thematic material but also added to the overall drama and scale of the piece, aligning with the grandiosity expected by Parisian listeners.

The movement concludes with a coda that reinforces the symphony’s majestic character, bringing the Allegro assai to a powerful and satisfying close. Throughout this movement, Mozart’s orchestration is masterful, balancing the dynamic and timbral capabilities of the orchestra to create a sound that is both rich and nuanced.

2. Andante

The second movement of Mozart’s Symphony No. 31, “Paris,” has a unique history that showcases Mozart’s adaptability and consideration for his audience’s preferences. Originally, Mozart composed two versions of the second movement for the “Paris” Symphony, reflecting his desire to appeal to the varied tastes of the Parisian audience.

The first version he wrote was an Andante in 6/8 time, which is characterized by its lyrical beauty and graceful, flowing melodies. However, concerned that this movement might not align with the expectations of the Parisian concert-goers, Mozart composed an alternative version, marked as Andantino in 3/4 time, offering a different character and mood to the symphony’s middle section.

The surviving version commonly performed today is the Andante, which stands as a testament to Mozart’s mastery of melody and his ability to convey profound emotion through orchestral music. This movement contrasts with the energetic and grandiose nature of the first movement, providing a moment of introspection and serenity. The Andante is noted for its elegant melodies, which are passed between the strings and winds, creating a dialogue that is both delicate and expressive. The orchestration is carefully crafted to highlight the individual colors of the instruments, showcasing Mozart’s skill in creating rich textures and harmonies.

The structure of the Andante is straightforward, allowing the beauty of the melodies and the clarity of the orchestration to take center stage. The movement unfolds with a sense of grace and poise, with each phrase carefully shaped to convey a sense of calm and contemplation. The use of dynamics is subtle but effective, adding depth to the music and enhancing its emotional impact.

Despite its beauty, the alternative Andantino version that Mozart composed indicates his willingness to adjust his music to suit the tastes and expectations of his audience. This flexibility is a testament to Mozart’s pragmatism as a composer and his desire to succeed in the competitive environment of Paris. Although the Andantino is less frequently performed, its existence provides valuable insight into Mozart’s creative process and his ability to compose music that could engage listeners in multiple ways.

3. Allegro

The third movement of Mozart’s Symphony No. 31 in D major, “Paris,” is a vibrant and spirited finale that showcases Mozart’s brilliance in crafting music that is both engaging and structurally sophisticated. Marked as Allegro, this movement is characterized by its lively tempo and the joyful energy that courses through its measures, providing a fitting conclusion to the symphony.

This movement is structured as a rondo, a form that Mozart favored for his symphonic finales. The rondo form is known for its recurring main theme (the refrain) that alternates with contrasting sections (episodes), creating a sense of musical variety and unity. The main theme in this movement is memorable for its rhythmic vitality and catchy melody, which Mozart ingeniously weaves throughout the movement, returning to it with variations and developments that keep the music fresh and engaging.

The orchestration in the finale is bright and full of color, with Mozart making effective use of the winds to add tonal contrast and depth to the texture. The interplay between the strings and winds is particularly notable, with the winds often taking a prominent role in the thematic material, reflecting the Parisian audience’s taste for prominent wind parts. This orchestral balance contributes to the overall brilliance and clarity of the movement.

The episodes between the returns of the main theme offer moments of contrast and allow Mozart to explore different musical ideas and moods. These sections showcase his mastery of harmony and counterpoint, as well as his ability to create music that is both complex and immediately accessible. The movement’s energy never wanes, propelled forward by Mozart’s rhythmic inventiveness and the dynamic interplay between the orchestra’s sections.

The finale’s culmination is both triumphant and elegant, bringing the “Paris” Symphony to a close on a note of unbridled joy and celebration. Mozart’s ability to maintain the movement’s momentum while ensuring that each return of the rondo theme feels fresh and exciting is a testament to his compositional skill and his understanding of the symphonic form.

Sources

M. Özgür Nevres

Published by M. Özgür Nevres

I am Özgür Nevres, a software engineer, a former road racing cyclist, and also an amateur musician. I opened andantemoderato.com to share my favorite music. I also take care of stray cats & dogs. This website's all income goes directly to our furry friends. Please consider supporting me on Patreon, so I can help more animals!

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