Symphony No. 20 (Mozart)

The Symphony in D major Köchelverzeichnis 133, by Wolfgang Amadeus Mozart in July 1772 in Salzburg. He was then 16 years old. After the Old Mozart Edition, the symphony has the number 20

General

In relation to the other, resulting in the same creative period Salzburg symphonies (KV 128, KV 129, KV 130, KV 132, KV 134) stands out the symphony Köchelverzeichnis (KV) 133 out particularly in recordings with drums by an ostentatious, pompous character. To see emergence at 130 KV

About the Music

Instrumentation: Flute ( this only in the second set ), two oboes, two horns in D, two trumpets in D, two violins, viola, cello, double bass. Moreover, it was customary to reinforce the bass and bassoon use a harpsichord as general bass instrument, the same applies to the often used parallel with trumpets timpani (if available in the orchestra ).

Duration: about 25 minutes.

When used herein the terms of sonata form is considered that this scheme was designed in the first half of the 19th century (see below) and therefore can be transmitted 133 only with restrictions on the Symphony KV. - Note that this description and structure of sentences is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.

First movement: Allegro

D major, 4/4-time, 182 cycles

Three strong quarter-note beats open signal like the sentence before the actual first theme begins. This is - unusual for a first subject - from more restrained character: mainly piano, strings only slightly. The theme is based on a two-bar motif and is made up periodically, with the consequent is repeated. From bar 14 now follows a rather long transition part with a lot of tremolo, sixteenth-note runs and chords. Of importance for the further sentence structure here is a motif with dotted rhythms and trills (eg clock 14 = motif B when the main motive of the first theme called motif A ) and one with a sixteenth - run and subsequent large interval leap (motif C, eg bar 20 ff.) In bar 34, the tone of the tremolo section of E major to minor changes, surprisingly, where the listener actually been expecting the second theme. This begins in measure 42 and, like the first theme restrained but with more dotted rhythm. It is repeated with oboe accompaniment. From bar 52 is again followed by a section with fanfare, legs, tremolo and with syncope. Before the actual final section begins in measure 73 with chords and motif B as a variant, enter the strings in the piano interlude with many trills.

The implementation (or midsection, clock 79-125 ) first accesses the variant of motif B from the final group of the exposure on by strings and wind throw himself puts this motif in the piano. From bar 94 then sets back the whole orchestra with a fanfare-like section one, in which the motifs B and C occur.

The recapitulation (bars 125 ff ) does not begin with the first, but with the second theme in the piano ( as in the first movement of K. 134) and then proceeds similarly to the first exposure. Instead of the expected final chords from bar 160 is the first theme " later": First piano, then in the second pass forte and the whole orchestra played. The movement ends with the variant of motif B, accompanied by Akkordmelodik. Exposure and development and recapitulation are repeated.

Strings and winds occur in the sentence often dialogical. Cliff Eisen (1996 ) compares the first set of 133 KV with that of Michael Haydn's Symphony Perger directory 9 This symphony from 1766 was originally in three movements, Michael Haydn but on June 15, 1772 added another set (ie only one month before Mozart KV 133 composed ). Sees similarities iron is that both sets are in a quiet, lyrical main theme, which is not repeated at the beginning of the recapitulation, but only at the end of a sentence - and in both cases the Forte with full orchestra use.

Second movement: Andante

A major, 2/4-cycle, 102 bars, strings with solo flute; Violins with damper

In the sentence usually lead the solo flute and the first violin melody ( doubles the flute, the first violin an octave higher ), while the viola accompany with " mumbling " semiquaver movement, cello and double bass, however, with pizzicato sounds.

The first theme is upbeat and, like the entire set characterized by triplets. It will be repeated before a new motif in measure 16 ( " second theme " ) begins with dotted rhythm, but then quite quickly ( from bar 20) again takes up the triplet. By the end of exposure in clock 45 other smaller motifs follow with triplets and trills.

The middle part is kept quite short (cycle 47-55 ), draws on the two main motifs and changes for three clocks after minor. The recapitulation is similar in structure to the exposure. It is repeated to carry out as well as the exposure, and then goes into a short coda ( 98-102 bar ).

It is possible that Mozart has been guided in this sentence at the Andante from Michael Haydn's Symphony No. 30.

Third movement: Minuetto

D major, 3/4-time, with Trio 58 cycles

The fanfarenartigem with sixteenth - run over an octave beginning minuet closes with his prunktvollen character to the tone of the first movement. The harmony is more conventional; a tutti phrase is repeated by the strings in the echo-like piano. Wolfgang Fischer (1956 ) pointed out the striking similarity to the Minuet from the Symphony in D major by Matthias Georg Monn of 1740 and sees this as a strong after-effect of the old Viennese minuet:

" The same thing Structure type: four bars glamorous Hofmenuett, two bars genuine Landler, repeated like an echo in the lower octave, two or four bars festive conclusion. And similarly in the second part - the whole thing, if you will, a concentrated symbol of Viennese music in general. "

Noteworthy is the consistently held in the Piano Trio in G major for strings and oboe. It has no clear melody, but developed a " washed-out " acting soundscape by staggered motifs as well as numerous over holding and syncope:

" In the trio of the minuet Mozart plays rhythmically hiding place by leading the upper voice in the apparent duple against triple meter of the other instruments. "

Fourth proposition: (Allegro)

( No tempo indication of Mozart, because of the sentence structure believed to be the usual for final movements Allegro. ) In D major, 12/8-Takt, 101 cycles

Throughout the movement is dominated by a vibrant triplet, some with insistent repeated notes, " as a consistent 12/8-Studie in its radical rhythmic one-sidedness. " This material is not very melodic ( many runs and Dreiklangsmelodik ) and the harmonic structure quite simple, whereby the sentence gets a dance, gigueartigen character. Also striking is the " terrace dynamic exchange between forte and piano".

The four-bar first theme is first presented by the violins and the viola piano and then repeated by the full orchestra forte. A transition section (bars 9-17) brings new designs before starting the second motif -like "theme" with its seven energetic repeated notes in measure 17. It follows from clock 27, a new section that contains the constant triplet also tremolo passages. At the end of the exposure the triplets act by fourfold repeated notes in unison particularly energetic.

As a central part now follows up to the recapitulation in measure 60 is a section which is characterized by its fourth motif. In the piano, played by the violins and the viola, at times creates a slightly eerie atmosphere. The recapitulation is similar to the exposure structured. Both parts of sentences ( exposure and central part and Reprise ) are repeated.

Volker Scherliess (2005) suggested for the set of examples from the work of Joseph Haydn, about the finale of Symphony No. 41 of 1770.

References, notes

Web links, notes

• Symphony in D major KV 133: Score and critical report in the New Mozart Edition
• Symphony in D major KV 133: Score and audio files in the International Music Score Library Project.
• Wolfgang Amadeus Mozart: Sinfonia in re, K. 133 PR 790, Ricordi publishing house, Milan, 1955 ( pocket score ).