Symphony No. 38 in D major, K. 504, “Prague”
Composed 1787; Duration: 29 minutes
First BPO Performance: December 18 & 20, 1949 (William Steinberg, conductor)
Last BPO Performance: January 24-25, 2015 (David Alan Miller, conductor)
Early in Mozart’s adult career, his father secured him employment in their Salzburg hometown, but the ambitious composer had his sights set on one of Europe’s bustling, cosmopolitan urban centers. He set out for Vienna in 1781, where the popularity of his symphonies, piano concertos, and operas brought him fame and financial security, but even the industrious Mozart was not immune from the city’s fickle tastes. This was not so in nearby Prague, where his consistent popularity provided reliable support when Vienna was less kind.
From 1782-87, Mozart’s career flourished with his quarterly performances of his own new piano concertos. As the revenues for these events waned, he turned his attention to opera, mounting his Le nozze di Figaro. Although it was received well in Vienna at its 1786 premiere, its production in Prague was enormously successful, leading to another project, Don Giovanni, the next year.
Premiered in Prague in January 1787, between the productions of his most famous operas, there is plenty of evidence to suggest the symphony was composed specifically for the city. Some suggest that the novel use of winds points to the city’s reputation of supporting virtuosic wind players, and the peculiar three-movement structure may have been an homage to a fellow Czech composer who favored the outdated format. Whatever his motivations, the public adored the work, giving it the nickname “Prague.”
Two other symphonies, numbers 36 (“Linz”) and 39, feature slow introductions, but this one is even more unusual for its length and complexity. This is perhaps to add time to account for the omitted third movement, but nevertheless contains dramatic intrigue that sets up the energetic and contrapuntal first movement.
The Andante achieves a wide emotional range, opening with a clever chromatic melody and venturing into tense minor-keyed territory. With a skillfully balanced approach, the Minuet goes unmissed as the Presto finale hums along with eager excitement.