The  SYMPHONY № 29 in A major, KV 201 / 186a was completed by Wolfgang Amadeus Mozart on April 6, 1774 in Salzburg. It, together with Symphony № 25, is among his most famous early symphonies. Perhaps the summer and early fall of 1773 in Vienna, where Mozart had the opportunity to listen to much new music, including Haydn quartets, stimulated his maturation. The symphony captivates with the perfect classical balance between grace and energy, and Mozart’s ability to get the most out of the color and expressiveness of the small orchestra of strings, 2 oboes and 2 horns (a characteristic ensemble for his work from this period). Years later when he moved on to Vienna, Mozart still recognized the quality of this symphony and asked his father to send him the score for performance at his Viennese Akademie concerts.

Built in a classical four movement cycle, the symphony begins in a quiet dynamic, followed by the energetic main theme of the first movement (Allegro moderato).  A series of charming melodic ideas form the second subject, culminating in a lovely imitative duet between first and second violins. The middle development section packs the maximum of excitement in the minimum of space. The muted and refined second part (Andante in 2/4) is a shining example of the composer’s endless imagination and his ability to extract multicolor from a small orchestral ensemble. Yet while it has the manners of rococo court music, but the quarter of the wooden wind instruments contribute to the new Mozart color, rich in different moods. The dotted rhythm of the third-movement minuet Allegretto) contrasts to the trio in which the pulsation is delicately muted. The energy gallops in the (Allegro con spirito in 6/8) finale, written in the style of the “hunting” finales, so popular Mozart’s days. But behind the general “galloping” enthusiastic sound, Mozart sculpts various details that distinguish his music with a unique personality.