It is played by two flutes, two horns, two violin parts, and a part for viola, cello, and bass. The symphony has a lighter sound than other symphonies of the time because of the choice of flutes over oboes. The opening of the symphony is a briskly dancing, compact sonata form, which is opened by the first violins. It gives way to the dominant and is followed up by a contrasting secondary theme with the opening violin figure from the first theme. The repeated sections are subtly varied in exposition. The “feel” of the movement is of Italian symphonic composition, despite Viennese features, with typical string figurations. It is more like a movement from one of Mozart’s earlier symphonies of the 1760’s. The second movement is a graceful Andante Grazioso, very much like an Italian opera serenade. The violins play melodiously, which is prominently doubled and echoed by flutes and played over the plucked strings. The movement echoes the sonata principles of recapitulation and tonal resolution. Mozart’s lyricism momentarily avoids repetitive figures of the first movement. Unlike the Allegro, the Andante is more like Mozart’s later
It is played by two flutes, two horns, two violin parts, and a part for viola, cello, and bass. The symphony has a lighter sound than other symphonies of the time because of the choice of flutes over oboes. The opening of the symphony is a briskly dancing, compact sonata form, which is opened by the first violins. It gives way to the dominant and is followed up by a contrasting secondary theme with the opening violin figure from the first theme. The repeated sections are subtly varied in exposition. The “feel” of the movement is of Italian symphonic composition, despite Viennese features, with typical string figurations. It is more like a movement from one of Mozart’s earlier symphonies of the 1760’s. The second movement is a graceful Andante Grazioso, very much like an Italian opera serenade. The violins play melodiously, which is prominently doubled and echoed by flutes and played over the plucked strings. The movement echoes the sonata principles of recapitulation and tonal resolution. Mozart’s lyricism momentarily avoids repetitive figures of the first movement. Unlike the Allegro, the Andante is more like Mozart’s later