Luogo e data di registrazione		St. Barnabas' Church, London (United Kingdom): - gennaio 1984 (K. 167s) Walthamstow Assembly Hall, London (United Kingdom): - agosto 1985 (K. 16a, 45a)
	Registrazione: live / studio		studio
	Producer / Engineer		Morten Winding / John Dunkerley
	Prima Edizione LP		Oiseau Lyre - 417 234-1 (1 LP) - durata 56' 02" - (p) 1986 - Digitale
	Prima Edizione CD		Oiseau Lyre - 417 234-2 (1 CD) - durata 56' 02" - (p) 1986 - ADD
	Edizione Integrale CD		Decca (Editions de l'Oiseau-Lyre) - 480 2577 (19 CD's) - (p & c) 2009 - ADD / DDD
	Note		-

Symphony in G major, K.45a (A221) At the beginning of January 1769 the Mozart family stopped at the Benedictine monastery at Lambach, which, like many monasteries, provided rooms and meals for travellers, and maintained an orchestra andchoir for worship and entertainment. It was a convenient way-station for the Mozarts on journeys between Salzburg and Vienna, and the abbot was a family friend. This visit, not mentioned in the Mozarts' correspondence or diaries, is known solely from inscriptions on two musical manuscripts. Both are sets of parts for symphonies in G major, one inscribed Sinfonia / a / 2 Violini / 2 Oboe / 2 Corni / Viola / e / Basso. / Del Sig:re Wolfgango / Mozart. / Dono Authoris / 4ta Jan: 769 and the other bearing an identical inscription with 'Leopoldo' in place of 'Wolfgango'. Alfred Einstein, in assigning Wolfgang’s work the number 45a in the 3rd edition of the Köchel Catalogue (1937), guessed that it was composed in 1768 while the 12-year-old composer was in Vienna. Subsequently however, it was discovered that the Lambach manuscripts were the work of a Salzburg copyist and must have been copied there in 1767. In recent years it was proposed, and widely accepted, that the two works had carelessly been interchanged by a librarian at Lambach. (For details of this proposal and for Leopold's Lambach symphony see Volume 7 of the Mozart symphonies on D173D3). The confusion was resolved in February 1982 when the Munich Staatsbibliothek announced the rediscovery of the original parts for K.45a, comprising first and second violin in the hand of a copyist, 'basso' part in the hand of Mozart’s sister Nannerl, and the rest in Leopold’s hand. The title page in Leopold’s hand is virtually identical to that on the Lambach copy but ends 'à la Haye 1766'. K.45a therefore forms a pendant to the Symphony in B flat, K.22, also composed at the Hague, where the Mozarts were enthusiastically received (see Volume 1 on D167D3). These two symphonies may have been written (with the Galimathias musicum, K.32) for the investiture of Prince William of Orange. In that case they were what Leopold referred to in a letter when he wrote that Wolfgang 'had to compose something for the Prince's concert' of 11 March 1766. Comparison of the Hague and Lambach manuscripts reveals that K.45a was revised in Salzburg in 1767: no bars of music were added or removed and no new ideas introduced; rather, dozens of details were altered, especially in the inner parts. The revision of K.45a suggests its performance in Salzburg between December 1766 and October 1767, after which the work was taken on tour to Vienna. The first movement of K.45a begins with the melody in the bass and tremolo in the violins, a texture that Mozart usually reserved for near the ends of expositions and of recapitulations. In a number of his early symphonies the incipits of the first and last movements have similar melodic contours; in K.45a however, the second or lyrical subjects of those movements are so related. The 3/8 finale is so much of a piece with the 3/8 finales of the other early symphonies, K.16, 19, 19a and 22, that all may be said to belong to the same general conception. As for the Andante, the Lambach version is the first of Mozart’s symphonies to use a favourite orchestral texture found in the andantes of eight later symphonies: the wind are silent or reduced, violins muted, and cellos and basses play pizzicato. But mutes and pizzicato are not indicated in the Hague version, and the occasional slur in the bassline shows that pizzicato was not intended by the ten-year-old composer. This is the first recording of the original version of K.45a. Symphony in Aminor, K.16a (A220) In February 1983 newspapers in many countries reported the rediscovery of a lost Mozart symphony The facts as they later emerged were these: the librarian of the municipal orchestra in Odense, Denmark, was examining a collection of music which at the end of the eighteenth century had belonged to the local Collegium Musicum. Among several late-eighteenth-century symphonies, the librarian found the lost Symphony in A minor, K.6a. According to an annotation on its title page, K.16a came into the possession of the Collegium no later than 1793, but this set of parts was not new then for the watermark in the paper used reads '1779'. None of the hands in the Odense parts belongs to a copyist associated with the Mozarts or their circle. How did it happen that a work previously unknown can have had a Köchel number waiting for it? The answer is that when, from around 1799, the Leipzig publishers Breitkopf & Härtel attempted to collect Mozart’s works from his sister, his widow and musicians, copyists and publishers all over Germany and Austria, they were sent this symphony. It was duly listed in their manuscript catalogue of Mozart’s works, with an incipit of four bars of the first violin part and the work’s source: 'Westphal'. (This was the Hamburg music dealer Johann Christoph Westphal.) By Köchel's time, this manuscript had vanished, and he placed the work in his appendix for lost works as Anhang 220. In the 3rd edition of the Köchel Catalogue, Einstein speculatively inserted such incipits of lost works into the chronological sequence of works. Solely on the evidence of the incipit, he guessed that the work’s style was Mozart’s earliest and closely related to that of J.C.Bach and C.F. Abel, whose symphonies Mozart studied in London in 1764-65 (see Volume 1). He therefore arbitrarily assigned it a number immediately following Mozart’s earliest surviving symphony K.16, of 1764. With the music in hand, we may guess that the work is later. But even if it may be stylistically closer to Mozart’s symphonies of the later 1760s and early 1770s, without an authentic source it can be neither firmly attributed nor precisely dated. Indeed, many things about K.16a are stylistically unlike any work of Mozart’s. The opening Allegro moderato presents two contrasting motives - a descending broken chord, sforzando and unisono, and a more lyrical idea, piano - organized into three-bar phrases and providing the material for the first thirty bars, which end (as expected) in C major. The second theme group begins with a new idea, and at bar forty-eight the exposition ends (astonishingly) in F major, with a closing theme derived from the lyrical idea of the opening. There is no repeat. The development section begins with the exposition’s closing theme and then offers a modulatory section leading to an incomplete recapitulation and closing ritornello. The second movement, a short sonata form, opens with a songful theme that, like a few of Mozart’s other early symphony andantes, is reminiscent of 'Che farò senza Euridice' from Gluck's Orfeo. The finale, like those of many of Mozart’s early symphonies, is a rondo. Its refrain has some of the 'exotic' flavour that Mozart and his contemporaries called 'Turkish', which was apparently an imitation of music of Hungarian peasants who themselves parodied what they took to be Turkish music. Symphony in D major, K.167a (K.185) Orchestral serenades and symphonies had different functions. Serenades provided entertainment for such celebrations as birthdays, promotions, ends of school terms, investitures, and the like; whereas symphonies were the briefer prefaces to more formal occasions: plays, operas, oratorios and concerts. As Mozart’s Salzburg serenades were made up of a march, minuets, concerto movements, and symphony movements, they could easily be raided for suitable movements when symphonies were needed. Of Mozart’s six orchestral serenades, symphony versions survive for five of them. In the sixth and present instance, no symphony version survives, but there must have been one as the work was listed as a symphony in the already mentioned Breitkopf & Härtel manuscript catalogue. The date on the autograph of K.167a ('August 1773'?) was tampered with and is nearly illegible. If, as is generally believed, the work is 'the Finalmusik for Antretter' mentioned in the Mozarts' correspondence, then it was written for the end of the Salzburg University term, celebrated annually in early August. In August 1773 the Mozart’s friend Judas Thaddäus Antretter was completing his fourth year at the University. The symphony version was presumably made sometime shortly thereafter. The first movement, Allegro assai in common time, begins with a theme in the bass, which returns at the beginning of the recapitulation and, in unison and in contrary motion, at the ends of the exposition and recapitulation. As in a number of Mozart’s other D major movements, brilliance and pomp is contrasted with lighter and even comical ideas, while lyricism is conspicuously avoided. In characteristically expansive serenade spirit, this sonata-form movement has both sections repeated and a full coda. Yet despite the striving for length, the development section is slight and the overall spirit closer to an Italian opera overture than to an Austrian concert symphony. The andante grazioso which follows (the tempo indication was written by Leopold, not Wolfgang) is in A major and the customary 2/4. Trumpets and drums fall silent, a pair of flutes replaces the oboes of the other movements, and the mood turns lyrical. After an imitative opening with the wind prominent, the violins dominate the rest of the movement in a homophonic texture of a binary form with both halves repeated and a coda. In the Minuet the full band returns and the movement opens with a fanfare used by Mozart in a number of other pieces. Here, the character seems stagey and perhaps even burlesque. The first Trio calls for upper strings alone, with a mock-pathetic violin solo in D minor providing a jarring contrast to the hurly-burly of the Minuet proper. The second Trio, in D major, features the wind in an attractive al fresco style. An eleven-bar Adagio in which stern unisons, noble dotted rhythms, and touches of chromaticism momentarily thrust us into the world of tragic opera opens the finale. But Mozart is only teasing, for this solemn introduction leads to a spirited 6/8 jig (Allegro assai, in Leopold’s hand), rounding off the symphony in high spirits. This jig is a largescale sonata-form movement with a fine development section and full coda in which, as a final surprise, Mozart inserted a so-called 'Mannheim crescendo'. The D major Trio, the Adagio introduction, and the principal theme of the jig are linked by transformations of a common wind motive: © 1986 Neal Zaslaw