Symphony, K. 96 (Mozart)
The Symphony in C major Köchelverzeichnis 96 ( 111b ) may have been composed by Wolfgang Amadeus Mozart in 1771 in Milan.
General
Alfred Einstein ( 1937) suggested that the Symphony in October / November 1771 was in Milan, according to Italian type as a three-movement work, and that Mozart minuet later the nachkomponierte. On the other hand, expresses Mozart in his letters to his sister, the intention to write minuets for its symphonies composed in Italy.
The authenticity of Köchelverzeichnis (KV) 96, however, is still unclear, since no autograph exists. Accordingly, the datings partially vary significantly depending on the author: they range due to style or compare individual parallels to other works 1770-1774.
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 96 has the number 46 ), even if it is earlier works as Mozart's last symphony, K. 551 by 1788.
About the Music
Instrumentation: two oboes, two horns in C, two trumpets in C, 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 reinforce the bass line or use as continuo.
Duration: about 15 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. 96. Sentences 1, 2 and 4 correspond more 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
C major, 4/4-time, 69 cycles
The Allegro corresponds in character an overture, which along with numerous fanfare, the frequent tremolo and the Dreiklangsmelodik also it shows that the set expires without repetition and without implementation. The main theme is viertaktig and consists of a fanfare ( upbeat " rolling" triplet and ascending triad forte unison, Scene 1) in a descending interrupted by eighth piano movement ( Scene 2 ) transitions. In particular, the start - triplet is characteristic for the whole set.
After the repetition of the theme follow the tremolo ascending triads ( C major, F major, C major ) and Motif 2 as a variant. In bar 17, the dominant G major is reached, in which now a Tonwiederholungsmotiv (motif 3 ) is used, initially in the bass with overlying tremolo. From bar 29 changes on Mozart G major, E major and A minor, beginning with motif 2, then with the Auftakttriole in combination with tremolo. The final section (bars 42 ff ) attacks the Eingangsfanfare on again, and ends the exposure to shock chord on the dominant G major.
The second part of the sentence (cycle 47 ff ) starts as the first with the main theme in C major, Scene 2 leads but then to F and repeats the theme of D major with continuation to G major. This structure is first formed while listening to the impression that the repeated exposure ( subjects beginning in C), at the Fort spin drying to F and the following topics repetition in D think you are in an implementation. However, the further course is largely identical to the exposure (small deviations concern, for example, the absence of the passage with motif 3 in the bass ).
Second movement: Andante
C minor, 6/8-measure, mention 43 cycles, trumpets and timpani
The short-term exchange of forte and piano are characteristic for this " serious and measured " border set in siciliano style. By nature, the Andante is a work of about 1771 unusually content- heavy, " and the stylistic discrepancy between his late baroque intensity and modernity of conventional sets one, three and four are difficult to explain. " Possible Structure:
Part One: clock 1-19
- Scene 1 ( main theme, clock 1-7): Alternating between piano and forte - quarters eighths ascending melody line with offset use of the instruments ( bars 1-2 ), then descending with dotted rhythm (cycle 3-4); Theme is repeated.
- Motif 2a (cycle 7-11) with dotted rhythms and interval jump down; chromatic sequencing upstream (Bass line: G - As - A - B), degree in B flat major;
- Scene 2 b (bar 12-19 ) with dotted rhythms and interval jumping up in the bass ( to put in the viola), also stressed derivative of the upper parts; Fort then spin drying; Change from E flat major ( Tonikaparallele ) and A flat major (the dominant); Motif is repeated.
Part Two: 20-43 clock
- Scene 1 ' (cycle 20-26 ), begins in E-flat major; changes in repetition to the subdominant F minor;
- Interlude (bars 27-31): falling bass line in dotted rhythm, arc-like response of the violins and Fort spin drying;
- Scene 2a ' (cycle 31-35): as above, degree in G major;
- Scene 2 b ' (bar 36-43 ): as above, alternating between C minor and F minor.
Both parts are repeated.
Third movement: Menuetto
C major, 3/4-time, with Trio 51 cycles
The minuet in the character of a courtly dance is based on two two-bar, another contrasting motifs. The beginning of the second part brings a crescendo passage with staggered use of the instruments.
For the Trio in F Major (without trumpets and timpani), the contrast between a passage for string trio ( without viola, 2nd violin easy to tune like the 1st violin) is characteristic and the Forte Tutti response.
Fourth proposition: Molto Allegro
C major, 2/4-cycle, 120 cycles
The first theme is based on the offset change from ascending triads ( C major / G major ) and a separate quaver movement. The opening sentence is thus analogous to the Allegro; similar beginnings from the first and last movements are also found in other symphonies that time such as 112 K. Both topics halves are each achttaktig and can be further divided into smaller blocks. Without reconciliation connects to the second theme (bar 17-24 ), the " soft lines in ascending and descending, pliable, like a auskomponiertes swells in acts. "
This is followed by two each time repeated motifs: the first with pendulum movement that is repeated like an echo in the piano, the second with chords, and "bell" character. In particular, this " jagged " motif, but also the previous one as well as the first topic have a march-like character. The exposition ends at bar 48 in the dominant G major and is repeated.
The short " implementation " (measure 49-76 ) begins with the main theme in G, then modulated but with a tremolo in the descending and echo- like, repetitive tone row for Tonikaparallelen A Minor, which also includes the motif pendant occurs (measure 65 ff ). The recapitulation (bars 77 ff ) largely corresponds to the exposure, but the second half is changed from the first theme.