Uploaded January 2026 | Updated September 2026, 2 weeks ago
Vienna Philharmonic Orchestra conducted by Riccardo Muti.
I - Allegro moderato: 0:00
II - Andante: 10:00
III - Menuetto. Allegretto: 20:35
IV - Allegro con spirito: 23:54
Mozart's Symphony No.29 was composed in Salzburg between March and April 1774, when the composer had reached the age of 18. Mozart was growing increasingly dissatisfied with his position as concertmaster at the Salzburg court. The pay was low and there was little chance of progress in his career, specially for writing opera. Since the previous three travels to Italy failed to obtain any secure position, Wolfgang and his father Leopold visited Vienna and Munich. Neither of these attempts were fruitful, though the Munich journey resulted in a popular success with the premiere of the opera buffa "La finta giardiniera". For whom or what occasion the symphony was composed for is unknown, as so are the premiere date and performers involved.
After the intense burst of symphonic writing between 1772-3, which resulted in sixteen symphonies, Mozart's activity in the field diminished as the quality of each work grew. Over the next two years, only three new works appeared, of which No.29 is the most remarkable. Mozart had the chance to examine and learn from Haydn's latest string quartets and symphonies, which contributed to his own expansion of the symphony from a light form of musical entertainment, to a more serious and ambitious genre. Notwithstanding its major key, No. 29 has many of the same serious and intense qualities as the famous No. 25 in G minor, composed the previous fall. Several authors emphasize the importance of this piece as the preliminary high point in Mozart's symphonic work.
The first movement is structured in sonata form. It begins with an elegant and graceful main theme in A major, introduced in piano by strings before expressively passing to forte in full orchestra. A tremolo transition leads to the melodic and dance-like second theme in E major, exposed in piano by strings. This exposition is then repeated. The development is centred mostly on new material, motives which are transformed as tonality modulates from D major to E major, F-sharp minor, B minor and back to E major. The main themes are then recapitulated in the home key of A major, leading to a second repeat from the development onwards. A vigorous coda, based on the main theme, ends the allegro.
The second movement is also written in sonata form. It opens with a lyrical and cantabile main theme in D major, presented in piano by muted violins before unfolding in a contrapuntal way. A transition modulates to B minor and E major. A graceful and dance-like second theme in A major is then exposed by first violins, followed by the rest of strings in a series of dynamic contrasts. This exposition is repeated. The development is focused on the main themes, which are subjected to harmonic modulations. The material is then recapitulated in the home key of D major, leading to a second repeat from the development onwards. A solemn coda ends the andante.
The third movement is a minuet in ternary form. It begins with a two-part, rhythmic and march-like main theme in A major, introduced in piano by violins and passing forte on full orchestra. Each part is repeated, with an audacious modulation to B minor before the minuet starts from the beginning. The movement as a whole makes effective use of sudden dynamic contrasts. The trio features a two-part, more melodic and cantabile second theme in E major, exposed in piano by strings before the dotted rhythm returns near the end. Each part is repeated, before the minuet is then reexposed in its entirety. The music then suddenly stops without a real coda.
The fourth movement is structured in sonata form. It opens with a bright and lively main theme in A major, exposed forte on full orchestra and characterized by virtuoso runs and Mannheim crescendos. A tremolo transition leads to the graceful and dance-like second theme in E major, introduced in piano by violins in canonic form. As before, the exposition is repeated. The ensuing development starts with the main theme in G major, modulating to C major, C-sharp major, F-sharp major and F-sharp minor. All while there is a constant back and forth between forte basses piano violins. The material is then recapitulated in the home key of A major, followed by a second repeat from the development onwards. A rushing coda, based on the main theme and Mannheim crescendos, ends the entire work brilliantly.
Picture: Anonymous miniature of Mozart (c. 1773, attributed to the Austrian-Italian artist Martin Knoller).
Musical analysis partially written by myself. Sources: tinyurl.com/26kfp4br and tinyurl.com/2avxlxdy
To check the score: tinyurl.com/2ak9fatf
Vienna Philharmonic Orchestra conducted by Riccardo Muti.
I - Allegro moderato: 0:00
II - Andante: 10:00
III - Menuetto. Allegretto: 20:35
IV - Allegro con spirito: 23:54
Mozart's Symphony No.29 was composed in Salzburg between March and April 1774, when the composer had reached the age of 18. Mozart was growing increasingly dissatisfied with his position as concertmaster at the Salzburg court. The pay was low and there was little chance of progress in his career, specially for writing opera. Since the previous three travels to Italy failed to obtain any secure position, Wolfgang and his father Leopold visited Vienna and Munich. Neither of these attempts were fruitful, though the Munich journey resulted in a popular success with the premiere of the opera buffa "La finta giardiniera". For whom or what occasion the symphony was composed for is unknown, as so are the premiere date and performers involved.
After the intense burst of symphonic writing between 1772-3, which resulted in sixteen symphonies, Mozart's activity in the field diminished as the quality of each work grew. Over the next two years, only three new works appeared, of which No.29 is the most remarkable. Mozart had the chance to examine and learn from Haydn's latest string quartets and symphonies, which contributed to his own expansion of the symphony from a light form of musical entertainment, to a more serious and ambitious genre. Notwithstanding its major key, No. 29 has many of the same serious and intense qualities as the famous No. 25 in G minor, composed the previous fall. Several authors emphasize the importance of this piece as the preliminary high point in Mozart's symphonic work.
The first movement is structured in sonata form. It begins with an elegant and graceful main theme in A major, introduced in piano by strings before expressively passing to forte in full orchestra. A tremolo transition leads to the melodic and dance-like second theme in E major, exposed in piano by strings. This exposition is then repeated. The development is centred mostly on new material, motives which are transformed as tonality modulates from D major to E major, F-sharp minor, B minor and back to E major. The main themes are then recapitulated in the home key of A major, leading to a second repeat from the development onwards. A vigorous coda, based on the main theme, ends the allegro.
The second movement is also written in sonata form. It opens with a lyrical and cantabile main theme in D major, presented in piano by muted violins before unfolding in a contrapuntal way. A transition modulates to B minor and E major. A graceful and dance-like second theme in A major is then exposed by first violins, followed by the rest of strings in a series of dynamic contrasts. This exposition is repeated. The development is focused on the main themes, which are subjected to harmonic modulations. The material is then recapitulated in the home key of D major, leading to a second repeat from the development onwards. A solemn coda ends the andante.
The third movement is a minuet in ternary form. It begins with a two-part, rhythmic and march-like main theme in A major, introduced in piano by violins and passing forte on full orchestra. Each part is repeated, with an audacious modulation to B minor before the minuet starts from the beginning. The movement as a whole makes effective use of sudden dynamic contrasts. The trio features a two-part, more melodic and cantabile second theme in E major, exposed in piano by strings before the dotted rhythm returns near the end. Each part is repeated, before the minuet is then reexposed in its entirety. The music then suddenly stops without a real coda.
The fourth movement is structured in sonata form. It opens with a bright and lively main theme in A major, exposed forte on full orchestra and characterized by virtuoso runs and Mannheim crescendos. A tremolo transition leads to the graceful and dance-like second theme in E major, introduced in piano by violins in canonic form. As before, the exposition is repeated. The ensuing development starts with the main theme in G major, modulating to C major, C-sharp major, F-sharp major and F-sharp minor. All while there is a constant back and forth between forte basses piano violins. The material is then recapitulated in the home key of A major, followed by a second repeat from the development onwards. A rushing coda, based on the main theme and Mannheim crescendos, ends the entire work brilliantly.
Picture: Anonymous miniature of Mozart (c. 1773, attributed to the Austrian-Italian artist Martin Knoller).
Musical analysis partially written by myself. Sources: tinyurl.com/26kfp4br and tinyurl.com/2avxlxdy
To check the score: tinyurl.com/2ak9fatf
