The twelve symphonies, not published as a set, are all in three movements, developed from the Potsdam style of the Graun brothers. The Sinfonia No. 1 in D major opens with characteristic panache, proceeding to a minor key slow movement, its theme punctuated by plucked notes. Any passing melancholy is dissipated in a rapid final movement. The horns assume some importance in the opening theme of the Sinfonia No. 2 in G major, a lively movement that is followed by a moving minor key Andante. The horns return for the last movement with its recurrent refrain. An energetic opening theme marks the energetic Allegro of the Sinfonia No. 3 in C major. There is again a minor key slow movement dominated by the violin thematic material. The last movement brings a return to the key of C major in a solidly rhythmic final Allegro. The Sinfonia No. 4 in F major summons attention in its first notes, followed by music of the expected brilliance and energy. A note of poignancy is added in the minor key Andante, dispelled in the final Allegro. The Sinfonia No. 5 in G major has the expected vigorous opening, a call to the attention of the listener, in a lively movement with the necessary elements of thematic and dynamic contrast. A minor key Andante molto follows, capped by a cheerful final Tempo di Minuet to in which a flute adds contrast. Sinfonia No. 6 in E flat major is distinguished by its use of a solo violin, making of the opening and final Allegro concerto movements in a style that must suggest Mozart’s violin concertos of 1775.
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