K. 22, Symphony no. 5 in B-flat

K. 22, Symphony no. 5 in B-flat

After Nannerl fell ill, Mozart joined.  It took months for both to recover.  During this time, Mozart wrote K. 22.  First thing I noticed was a new manner of horn use.  Was it something about The Hague that requested horns?  Was it his illness?  Or musical exploration?  There is something about horns that is declarative.  As opposed to the questioning strings and winds.  K. 22’s first movement starts of with a triumphant declaration—like that of a noble child raising his arms walking down the red carpet.  But suddenly, he swoons as he marches.  The allegro movement’s mood switches with such immediate intensity. 

The andante movement’s first horn blasts proclaim sorrow has arrived, the winds and strings mourn the announcement.  As the movement flows, it hints hope suggesting good might just come from the tragedy.  All the while, still weeping.  I can’t help but think of Leopold letter’s recounting his conversation with Nannerl as she neared death.  Trying to comfort her, suggesting God takes the innocent to spare them from the world’s corruptions.  Had such conversations affected this work?  Or even other pieces?

The third movement’s horn announces all is right once again.  Did this reflect Mozart yearning in the midst of his sickness?  The winds and strings chime in, ‘we have gone through hard times but they’re over now.’  Together they celebrate and reflect.