Abel wrote his six symphonies, Opus 7, in 1764, and the young Mozart was so impressed with the last symphony of the set that he wrote out a copy of the work, at the same time giving himself transposition practice by replacing Abel’s oboe parts with clarinets. Because this copy survived, the music was for a long time thought to be Mozart’s own, and it is only relatively recently that the true authorship has emerged.

It is easy to see why the young Mozart was so impressed with the Symphony Op 7, No 6. It is written in the key of E flat major, a key in which Mozart was to set some of his warmest and noblest compositions, and the harmonic richness and textural variety are particularly advanced for the period. The writing for oboes and bassoon in all three movements is especially vivid and soloistic, and the sombre middle movement, in C minor, also anticipates some of Mozart’s own E flat major masterpieces such as the ‘Jeunehomme’ Piano Concerto, K271 and the Sinfonia Concertante, K364.

from notes by Ian Page © 2018