Case study: Mozart, Symphonies in E flat major K543, G minor K550 and C major K551

The original sound world of Mozart's last three symphonies can arguably never be recreated, if only because the evidence is fundamentally insufficient. In any case, to what extent can modern taste cope with primary materials that are sometimes decidedly uncomfortable? This is a fundamental question, since it would be scarcely surprising if the many intricacies of Mozart's last symphonies were not revealed at their premieres. It further seems likely that subsequent early performances would not have exhibited the degree of standardisation and consistency to which we have become accustomed. If this chapter cannot aspire even to speculate effectively, it can at least aim to open up some fruitful areas for reflection. The example of twentieth-century composer Edward Elgar is instructive; his own recordings from the 1920s and 1930s remain readily available yet have never been truly recreated, despite their primary perspective on both performance styles and technical standards. This would surely be true of aural evidence from 140 years earlier, were we to possess it