Symphony, K. 75 (Mozart)
The Symphony in F major Köchelverzeichnis 75 is a classical symphony in four movements, which may have been composed by Wolfgang Amadeus Mozart.
General
The Symphony in F major Köchelverzeichnis (KV) 75 was probably composed in Salzburg from March to August 1771. Like several other works of this period (eg KV 97), also CR was only 75 survived in parts of the Leipzig publisher Breitkopf & Härtel, who were destroyed in the Second World War. Mozart's authorship is therefore used not beyond doubt. Volker Scherliess (2005), however, thinks that " the vast number of professionals they for real" holds.
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 75 has the number 42), even if it is 551 from 1788 is earlier works as Mozart's last symphony KV, which bears the number 41 after the Old Mozart Edition.
About the Music
Instrumentation: two oboes, two horns in F, 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 reinforce the bass line or use as continuo.
Duration: about 13 minutes.
In the terms used here based on the sonata form is considered that this scheme was designed in the first half of the 19th century (see below) and can be transferred from there to restrictions on the Symphony K. 75. Sentences 1, 3 and 4 correspond to even more of the two-part form, in which the second part of the sentence is considered as a modified run of the first ( " exposure "). - 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
F Major, 3/4-time, 136 cycles
The structure of this sentence is characterized by series of smaller motifs. Frequently occurs on a characteristic, " restless - floating" action figure of three notes: two sixteenths ( second upwards ) followed by one-eighth ( second down).
The first theme consists of a two-bar, sequenced motif ( motif A ) with initial sixteenth - phrase of the first violin and ascending chord of the first oboe, backed by chords of the remaining instruments. This is unusual in that in contemporary symphonies mostly the violins are voting leader. The subsequent section from bar 9 changes with the stereotyped stick motif B of the tonic F major on the subdominant B flat major to the dominant of C major. The "second theme " (rather: motif) in C major at bar 21 in turn consists of the two set phrases like motifs C and D. C is maintained in the piano, characterizes down by a tenth and appears displaced in the two violins, D is the forte and B is similar to set up. The section of the second theme ends in measure 32 with a downwardly continuous Synkopenfigur on the double dominant G. By the end of the exposure cycle 56 now follow other motifs (motif A1, contains the phrase of the 1st violin of motif A, alternating G and C major, motif e: chord with trills and tremolo accompaniment motive Q: downgoing figure with repeated note is one octave lower repeated in the piano ). The exposition ends with final chords and one-sixteenth race (cycle 53-56 ), they will not be repeated ( as usual ).
The following is a reconciliation part (cycle 57-77 ), which begins as a derivative action of the winds and is otherwise kept only for strings. 1st and 2nd violin and viola play the piano puts a long, archwise singable figure, creating a polyphonic effect is created. The recapitulation at measure 78 is composed almost exactly like the exposure.
Second movement: Minuetto
F Major, 3/4-time, with Trio 42 cycles
The minuet has with its arc-like figures in the piano rather reluctant - cantabile as dance character and only get through sections with inlaid, partly chromatic movement somewhat " force ". Also, the chamber music -like Trio in B flat major, in which only play the strings, has a restraining effect. Volker Scherliess (2005 ) thinks that the listener here may be to get a surprise by first believes the normally listen to Second in a symphony expected slow movement, until he realizes gradually that it is a minuet.
Third movement: Andantino
B flat major, 2/4-cycle, 61 cycles
In the two-part scale Andantino the violins play with mutes, the horns are silent. The first theme is indicated in the antecedent by trills, in postscript by a falling figure while the second theme (bar 12 ff ) has characteristic grinder. The final section (bars 20 ff ) stands out for its fourth.
In short transition section (bars 26-36 ) over G minor and D major then two new images are presented, which (like the previous designs ) are each repeated. The recapitulation at measure 36 is similar to the exposure up.
Just as the second set, the character of the Anda Tinos is sanglich - restrained. Both phrases are repeated.
Fourth movement: Allegro
F Major, 3/8-time, 103 cycles
The first issue is at the forte and has an upbeat - progressing character with a catchy melody. The antecedent ends on the dominant of C, the consequent taking up the motif from the antecedent, but leads it by interrupting the movement in 8 clock back to F. This section is now repeated (bars 10-18 ), but without wind and with mirror-image dynamics: the Forte section is at the piano, the piano section in Forte. Without reconciliation that also upbeat and catchy second theme begins in measure 18 in the piano. The interspersed with eighth rests melody moves between C and F - major. It is presented by the first violin, backed by steady sixteenths of the second violin. There follows a repetition in the Forte with wind accompaniment. The end of the exposition, the portion of clock 36-47 with sixteenth - runs in two violins and a characteristic final turn with trills (bars 44-47 ).
The brief transition ( 48-55 clock, fully Piano ) by broken through eighth rests tones of the first violin and even sixteenths of the second violin is reminiscent of the second theme. The recapitulation at measure 56 is similar to the exposure structured. The second theme is now available in B- flat major, the melody is slightly altered. At the very end sounds the final twist with the first trill in the piano, then again in Forte. Exposure as well as reconciliation and recapitulation are repeated. Overall, the set has an almost dance-like character - possibly as a " compensation " for the more singable minuet.
Volker Scherliess (2005) arises in this set musical figures in front of that " as figures go on an imaginary stage between light and shadow, excel soon, then crouch to speak again. " Particular significance he sees in the final turn, the trill design: " It attacks the subjects head, the first measure of the set, and repeats it so that a cohesive gesture arises when one may think of a buffoneske situation, such as a complement Arlecchino. " then lifts Scherliess different " lighting " the final turn by their occurrence in the Piano (exposure ) or piano and forte (Reprise) out.