Symphony, K. 141a (Mozart)
The two-movement overture to the opera " Il sogno di Scipione " Köchelverzeichnis 161 added Wolfgang Amadeus Mozart in 1772 by adding a final sentence KV 163 for a three-movement symphony concert.
General
In March 1772 Mozart in Salzburg had his opera " Il sogno di Scipione " Köchelverzeichnis (CT) 126 composed, which is initiated by a two-movement Overture in D major. This overture with its own social security number 161 goes directly into the first scene. Later, Mozart added both sets by a nachkomponiertes Finale ( KV 163), in order to play the work as a three-movement concerto Symphony separately, presumably for performances at Milan's patrons in the fall of 1772. Similarly, Mozart had taken place at the previously composed in Singspiel Ascanio in Alba ( KV 111, KV 120 nachkomponiertes finals ).
The Symphony was especially in Mozart's youth still no uniform genus, eg opera overtures were referred to as Sinfonia o a, ( Concert ) symphonies vice versa, such as when they formed as Ouvertura the introduction piece for a concert evening. The overtures to the operas Mitridate, re di Ponto, and Lucio Silla KV 87 KV 135 Mozart had from the outset - as is customary for a contemporary Italian Overture - created as a three-movement works. Of the works of Mozart symphonies show usually referred to as, for example, KV 74, KV 162, KV 181 and KV 318 overture -like traits. KV 161/163 has typical features of this plant genus:
- Pompous introductory sentence with signal artiger Dreiklangsmelodik, forte - piano - contrasts, operatic " dramatic " tremolo, sudden minor intrusions; the sentence is executed with no repeats;
- Sanglicher, slow middle movement with pastoral peaceful mood;
- Fast-paced, short final as " clean sweep ";
- Merging into one another sentences.
The Alte Mozart Edition ( published 1879-1882 ) leads 41 symphonies with the numbering from 1 to 41 More works were published until 1910 supplementary volumes. The symphonies are sometimes contained therein with the numbers 42 to 55 referred to (KV 161/163 has the number 50 ), even if it is earlier works as Mozart's last symphony, K. 551 from 1788, which according to the Old Mozart Edition, the number 41 carries.
About the Music
Instrumentation: two flute, two oboes, two horns, two trumpets, timpani, two violins, viola, cello, double bass. In contemporary orchestras, it was also common, even without separate listing bassoon and harpsichord (if available in the orchestra ) to use to enhance the bass voice, or the basso continuo instrument.
Performance time: about 8 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 subject to restrictions on the Symphony K. 161 can be transmitted. - 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 moderato
D major, 4/4-time ( alla breve ), 135 units
The opening of the sentence is marked by contrasts: First, a fanfare- like triad signal forte unison, then two piano motifs with dotted rhythm in Pizzicato - thirds. This first theme (bars 1-12) is repeated, and then leads into a brief reconciliation with Akkordmelodik proposal and figures, the changes to the dominant A major.
The lyrical second theme (bar 36 ff, A- flat major ), with its repeated two-bar motif is announced by a carpet-like accompaniment figure of the second violin / viola. It gets in his Fort spin drying with syncope a brief haze after a minor and results from measure 43 in the final group with descending bass line over tremolo and Akkordmelodik.
The second part of the sentence begins after a general pause as surprising chord on F # ( third Ais - Fis ), which serves as the starting point for a new, initially changing to B minor issue. After A Major moved, it is repeated before from bar 76 is already using the forward line to the recapitulation with a four-bar phrase. The recapitulation (bars 88 ff ) first runs as the exposure. However, the repetition of the first theme into a new passage with dissonant chords, tremolo and energetic repeated cadential forming sequence of tonic - subdominant - dominant - chords. The second theme is missing, instead of the head from the first issue occurs again on: first in D major, then abruptly moved to the B- flat major, slowly evolves from where the music is in D minor and the A flat major - chord with fermata comes to rest.
Second movement: Andante
D major, 3/4-time, 69 cycles
The two-part scale Andante begins with his vocal, quiet theme (bar 1-12, A- part ) in which flutes are in addition to the first violins oboes, then vocal leader. The theme is built periodically. In bar 17 is followed by a new short motif with separate movement (B section ), which leads via a bound figure in thirds to repeat the entire section, the B section is varied. The phrase sounds worn - sluggish as a result, ganztaktiger chords including short minor turbidity and fades away after a decrescendo "open" on the E- flat major - seventh in pianissimo.
Third movement: Presto
D major, 3/8-time, 159 cycles
The first theme of this " last dance " set ( clock 1-16 ) is based on a fully formulated dominant-tonic - turn with attachment from virtuosic semiquaver runs which are repeated an octave lower in the postscript. Immediately the second theme includes in the dominant of A major, in which the first violin plays down her motive with characteristic fourth above defective in flowing semiquaver movement of the second violin / viola.
The rather long final section contains a small motifs with Dreiklangsmelodik and short runs, the first of these motifs by first violin and viola / bass will be carried forward offset. It merges seamlessly into the central part, in which the formerly more motif -like second theme is spun out to vocally - predominant melody. About a crescendo with virtuoso runs, the recapitulation announces (cycle 86 ff ), which is constructed as the first part of the sentence. A brief coda in D major - chords finished the sentence.