Symphony No. 30 (Mozart)

The Symphony in D major Köchelverzeichnis 202, by Wolfgang Amadeus Mozart in Salzburg in the spring of 1774. After the Old Mozart Edition, the symphony has the number 30

General

Regarding genesis and composition occasion of the "Salzburg Symphonies " see at KV 162 Symphony Köchelverzeichnis (KV) 202 is dated May 5, 1774. The work is partially evaluated in the literature as " regressive ":

" Because it is not a final symphony, the last sentence is not much more than a " Clean Sweep ", in which is only strange that he again linked thematically with the first; the " Andantino con moto ", for strings alone, could also be in one of the Viennese Quartets à la Haydn are, the minuet is not very characteristic, and the first, most severe sentence applies only to the G minor and A major Symphony acquired technique to a somewhat disparate material. As in those quartets, as Joseph Haydn crazy the concept in this symphony Mozart: Mozart, there are also cases in which the receptive soul is not strong enough to handle a powerful impression entirely. "

After Arnold Werner -Jensen KV would be 202 probably somewhat higher estimated states in the work " not in the shadow of the preceding significant sisters. " Nevertheless, mean the symphony " a throwback to the Convention, or rather in the " normality " of the symphonies of spring 1773 "because their rates " impersonal " were held and the previously newfound weight of the final Satzese will significantly reduce again.

As with several other of the 1773/74 resulting in Salzburg symphonies, Mozart has defaced even in KV 202, the date in the autograph; likely to later in Vienna (1783 ) to hide from the copyists that it is an older work.

About the Music

Instrumentation: two oboes, two horns in D, two trumpets in D, two violins, viola, cello, double bass. Moreover, it was customary to use bassoon and harpsichord to reinforce the bass voice, or the basso continuo instrument, the same applies to the often used parallel with trumpets timpani (in each case provided in the orchestra present).

Duration: about 22 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 202 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 Molto

D major, 3/4- clock, 207 clock cycles

The set opened as a fanfare at the Forte, which gets a energetic and march-like character by its dotted rhythm and the pauses. The following four nachsatzartigen clocks are flowing, but act through the accents at the beginning and the sixteenth-note unison scooter at the end something like a march. On the repetition of the consequent one octave lower and without scooter includes Forte - section with tremolo and sustained wind chords, while first violin and bass play dialog like broken triad figures. These are then spun out between two violins and bass, but now each of the alternation of forte and piano and corresponds almost " verheddernd ". In the double dominant E major arrived, the passage is a unison trill motif: Closed (cycle 25/26 trill with octave jump down), which still occurs several times in the course of another set.

The second theme (bar 27 ff ) in the dominant A- major with a lilting character is initially presented only by the strings, piano, at the repetition accompany the oboes with sustained notes. Interposed is the unison trill motif. From bar 44 is then withdrawn from the subject proposal figure independent.

" Also, the design of the page set proves to be highly individual, not to say idiosyncratic and radical. An original proposal thematic piece moves from the octave to the third together and blows - first in half, then in quarter notes - previous triple meter. It evaporates the melody and seems like a "nothing" to disappear (...). "

In the final section ( from bar 51), the first violin plays a melody ( " third issue " ), in the antecedent again with dotted rhythms. These accompany the other oboe and strings respectively mixed with the trill motive from measure 25 / 26th Before the exposure is completed in cycle 78 with tremolo and tone repetition on A, followed by 62-70 clock nor the echo -like reverberation of the consequent in the piano with pedal point on A. The exposition is repeated.

The implementation ( clock 78-112 ) begins with the sequencing ( A major, D major, G major, E major ) a new theme, with the dotted rhythm reminiscent of the motifs of exposure. From bar 93 the action persists in the whole orchestra, by throwing back the instruments enables the design head. Abruptly, then changes in clock 101 the tone back to a more restrained passage for strings in the piano.

One is soaring figure of the 1st violin forms the transition to the recapitulation (bars 113 ff.) This is mainly structured in a similar exposure. In the coda (bars 198 ff ) again occurs on the subject of implementation.

Second movement: Andantino con moto

A major, 2/4-cycle, 74 bars, strings only

The set begins with the imitative use an ascending phrase ( 1st violin, 2nd violin, viola / bass), unusually for a slow movement in the Forte. From bar 5 which now run parallel second violin, viola and bass the subject continue nachsatzartig, while the first violin plays a motif octave jump. This " main theme " then concludes in measure 9/10 as a short cadence to the tonic A major. Subsequently, several small motifs strung together ( including, for example, a "bell " motif clock 21 ff ), the often abrupt change of dynamics notice. From bar 16 the dominant E major, in which the first part of the sentence also ends become established.

After a short transition passage with minor turbidity follows in measure 38 is already the " recapitulation " of the first part. Both phrases are repeated. The set includes a coda (bars 67 ff ), in the postscript to the main theme occurs again.

Third movement: Menuetto

D major, 3/4-time, 40 20 cycles

In the first part of the pomöpsen minuet with his border district movement a short echo passage falls on the second part replaced initially by a minor to G minor, the far border rhythm is broken up by syncopation in the accompaniment.

The contrasting, chamber music trio (strings only occupation ) in G major is held several voices in the first part ( each instrument with its own voice, such as 1st violin with falling syncopated motif). The second part begins again as contrasting unison turn with dotted rhythm of the entire orchestra before the first part is taken up again.

Fourth sentence: Presto

D major, 2/4-cycle, 219 cycles

The set opened as signal -like triad motif in forte unison, reminiscent by its dotted rhythm of the march-like beginning of the first movement. The dotted rhythm is upbeat and each characteristic of the entire set. Contraindications As guarantee followed by a staccato eighth notes of the violins in the piano. This antecedent with its two contrasting phrases is compared with a corresponding postscript, both together form the periodically structured first theme ( "Contrast Theme ").

Already in the reconciliation passage (bars 16-31 ), the changes to the dominant A major, the dotted rhythm in phenomenon is dominant. The second theme (bar 33 ff ), with its chromatic Schaukeligur is turn up periodically, but not from such contrasting blocks as the first topic. Initially presented only by the strings, the brass part in the repetition, with accompanying chords.

The final group builds with the dotted rhythm, tremolo and long held chords of the wind instruments in ascending melody line initially a voltage which dissolves with the dotted rhythm in the bass on further Tremolo / sustained wind chords. At the end of exposure occurs once the signal motif from the beginning on - but now instead of piano forte.

Also in the implementation ( clock 80-125 ) of the dotted rhythm plays an influential role. He first appears as a dissonant chord fortissimo reduced alternating with a new, contrasting strings motif in the piano, to each of the signal motif is attached from the beginning of a sentence. Mozart modulates it over E minor and B minor, and then changes to a passage, which is characterized by abrupt contrasts of forte and piano (bars 109 ff ), to A major, the dominant table for entry of the recapitulation (bars 126 ff. ) acts in D Major.

The recapitulation is similar to the exposure structured. Development and recapitulation are repeated. The set is completed by a coda in which the first signal motif is heard fortissimo, after a general pause then (similar to the first set ) the strings motif of the implementation. With this design, the phrase on long ausgehaltenem D of the wind sounds from the piano.

References, notes

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