Symphony No. 1 (Mozart)

The Symphony in E flat major, K. 16, by Wolfgang Amadeus Mozart in 1764 /65. After the Old Mozart Edition, the symphony has the number 1, but it is unclear whether it really is Mozart's first symphony.

General

The Mozart talked since April 1764 in London. Due to the strong requirements, the health of the family was struck. On the Origin and Conditions of Wolfgang's first symphony sister Maria Anna ( " Nannerl" ) reports after Mozart's death:

" The 5th of August they had except the city of London in chelsea a country house miethen so that the Vatter was able to recover from a dangerous neck Woe, which brought him almost on the verge of death (...) than our father lay sick unto death, we were touch a piano. To deal then, Mozart composed his first Symphony with all instruments - primarily trumpets with timpani. I had to, sitting next to him, to write off. As he wrote, and I wrote off, he said to me: Remind me that I give the horn to do something right "!

It is possible that at KV 16 is not Mozart's first, but only to the first surviving symphony. So the autograph is in Wolfgang's handwriting, while Nannerl reported that they had helped her brother in the transcript (see above). Because of numerous changes to the work of Wolfgang may have been caused by a prevalence of corrections, however, to make this copy and there followed a contemporary practice be, after the trumpets and timpani parts were partially recorded separately and then circulated without these voices - this the absence of the mentioned Nannerl trumpets and timpani would explain. But could also be argued that E-flat major developed into one of Mozart preferred Trumpet Key. But wearing the envelope containing the autograph Einzelstimmen Symphony KV 19, in addition to instructions in Leopold's handwriting that he first for the votes of a Symphony in F major (presumably KV 19a ) and then for a Symphony in C major (probably KV 19b ) was used, no remarks about a symphony in E-flat major. May therefore mentioned by Nannerl first symphony is not identical to KV 16, but could be included sketches for the first symphony in London Sketchbook. It is also conceivable that Nannerl in the recollection of the occupation of the Symphony (ie the trumpets and timpani) also has a bit embellished.

The world premiere of KV 16 was held on February 21, 1765, a further performance at London farewell concert of Mozart on May 13, 1765th all played symphonies here (besides KV 16 KV probably 19 KV 19a and 19b may KV ) were more than " overtures " announced.

Father Leopold was the son in this time studying symphonies of known contemporaries (eg, Carl Friedrich Abel, Johann Christian Bach, JG Eckard, Hermann Friedrich Raupach ). Wolfgang did so, inter alia, the fact that it completely in E Flat Major wrote off a symphony of Abel and according to this pattern, wrote a second symphony ( KV 19). More than 100 years later, this copy has been included as Symphony KV 18 in which displaced by Breitkopf & Härtel Mozart 's complete works.

In the first symphonies (KV 16, KV 19, KV 19, KV 22 ) Mozart used initially, the three-movement Italian form. Shortly thereafter follow in Vienna already some four-movement works (eg KV 43, KV 45, KV 48).

If you want to draw a comparison between Mozart of traditional first and last Symphony, K. 551, should include the relevant context. KV 16 differs in scope, complexity and originality only slightly from the former models, esp. the symphonies of Opus 3 by Johann Christian Bach and the Opus 7 by Christian Ferdinand Abel.

About the Music

Instrumentation: two oboes, two horns in, 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.

Performance time: approximately 10 minutes (depending on speed and keeping the reps ).

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 only with restrictions on this symphony. Sentences 1 and 2 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 molto

E-flat major, 4/4-time, 120 cycles

The set opened as E flat major - Dreiklangsfanfare the whole orchestra in unison and Forte, followed by a contrasting, cadenza-like series ( tonic - subdominant - dominant) Provision of the Piano (main theme or topic first ). The repetition of these 11 cycles is derived in the following section tremolo with grinder figures and "Drum Bass" on to it. In bar 30 the action on the dominant of B flat major comes to rest. It follows the " second theme " in the Piano: First mention the wind, while the violins play a motif with dotted rhythms. From bar 35 the entire orchestra begins, first with syncope in the first violin, then with a new motif, which in turn has a dotted rhythm. The final section (bars 45 ff ) is by tremolo in the violins, Ascending runs in the bass as well as a motif with thirds and Trilllern ( bar 53 ff ) marked.

At the beginning of the second part of the sentence the first theme in the dominant B flat major and then in the Tonikaparallelen C minor is first presented. The subsequent tremolo passage from the exposure then changes from C major on B- flat major to the tonic E-flat major, then begins with the clock in the 93 " second topic ". The further course of the movement corresponds structurally to the first part. The second part of the sentence is repeated.

A detailed description of the set can be found in Volker Scherliess.

Second movement: Andante

C minor, 2/4-cycle, 50 cycles

The set consists of two parts, each of which is repeated: Cycle 1 to 22 and 23 to 50 clock The main motif is a rising and falling transition movement in the bass of five notes in staccato. In addition to semiquaver triplets in the violins store (also in staccato ) and ganztaktige half marks of oboes and horns. It sounded in the violins in part on the first quarter dissonant seconds, which dissolve in the second quarter to thirds. Mozart modulated during the course of the first part, inter alia, to G major, E-flat, B- flat major and F minor, the second part even after flat major.

Only the section of cycle 29 to 34 fans the almost minimalist structure of the sentence, by the uniform repeated notes of the violins is broken with falling triads. This section with brief Forte (the only one in the sentence) ends on the dominant of G pianissimo. The following is a " Reprise" from bar 35 to the main subject in C minor, first instrumented only for the violins and bass. The section from clock 35 to 41 is repeated (cycle 42 to 48 ). The movement ends with chords in C minor.

The particular tone of this sentence is achieved by

The " minimalist " structure ( base of the set is a very simple bass motif);
Dissonances in the even- flowing movement of the violins;
Dissonances in the sparingly but effectively used blowers with their half notes on the fluid motion in the strings.

" The two-part Andante negotiate with the sustained notes of wind instruments, the mysterious violin and Bratschentriolen in conjunction with the furtive duplets the bass very successfully the impression of Accompaniment to a secretly - night rendezvous scene in a contemporary opera. "

The kit includes the horn (eg stroke 7 and following) esp. from the finale of Mozart's last symphony, K. 551 known four-note motif. It is also found in other composers (eg in the Gradus ad Parnassum by Johann Joseph Fux, and in the final movement of Joseph Haydn's Symphony No. 13); Mozart himself used later, for example, in the symphony KV 319 and KV 192 and 257 fairs

Third movement: Presto

E-flat major, 3/8-time, 153 cycles

The final movement, a rondo with two couplets, has as usual for symphonies that time a " Clean Sweep " character. After Neal Zaslaw is "the character of the chorus (...) very diatonic, but the episodes are filled with amusing piquant chromatic swabs in the latest test gala style." The set consists of the following parts:

Presentation of the choruses ( triad motif ) Forte ( position 1 to 16);
Couplet 1 with three smaller motifs, two of them with chromaticism, each repeated once, the last scene with energetic accents in octaves (bars 17-61 );
Chorus (cycle 62-77 );
Repetition of couplet 1 ( clock 78-122 ), then a short new part (bridge like the chorus, clock 123-134 );
Chorus with final chords (bars 134-153 ).

References, notes

Web links, notes

Symphony No. 1 in E flat major K. 16: Score and critical report in the New Mozart Edition
Symphony No.. 1: notes and audio files in the International Music Score Library Project.
Wolfgang Amadeus Mozart: Sinfonia in mi bem, K. 16 PR 624, Ricordi publishing house, Milan 1987 ( pocket score ).

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