The first of the seven Vienna symphonies is in D major (part 5, 384 K. (likely 385 K. DW)), and was composed by Mozart, at his father's wish, for a Salzburg fête in the summer of 1782. He wrote it under the pressure of numerous engagements in less than a fortnight, sending the movements as they were ready to his father (Vol. II., p. 211). No wonder that when he saw it again he was "quite surprised," not "remembering a word of it." For performance in Vienna (March 3, 1783) he reduced it to the usual four movements by the omission of the march and of one of the minuets, and strengthened the wind instruments very effectively in the first and last movement by flutes and clarinets. A lively, festive style was called for by the occasion, and in the treatment of the different movements the influence of the old serenade form is still visible. The first allegro has only one main subject, with which it begins; this subject enters with a bold leap--[See Page Image] and keeps its place to the end with a life and energy enhanced by harsh dissonances of wonderful freshness and vigour. The whole movement is a continuous treatment of this subject, no other independent motif occurring at all. The first part is therefore not repeated, the working-out section is short, and the whole movement differs considerably from the usual form of a first symphony movement. The andante is in the simplest lyric form, pretty and refined, but nothing more; the minuet is fresh and brilliant (Vol. I., p. 219). {THE D MAJOR SYMPHONY.} (31) The tolerably long drawn-out concluding rondo is lively and brilliant, and far from insignificant, though not equal to the first movement in force and fire. A second symphony was written by Mozart in great haste on his journey through Linz in November, 1783; it was apparently that in C major (part 6, 425 K.), which with another short symphony in G major (part 6, 444 K.), bears clear traces of Haydn's influence, direct and indirect. (Note: By M. Haydn--the Introduction only by Mozart. DW)