Symphony No. 10 (Mozart)
The Symphony in G major Köchelverzeichnis 74 composed by Wolfgang Amadeus Mozart in 1770 during his first trip to Italy. After the Old Mozart Edition, the symphony has the number 10
General
At the end of the first movement Mozart wrote on the autograph praise God ( " Finis Laus Deo " ), but otherwise lack both record labels such as dating from his handwriting. Therefore, the concrete emergence period is unclear: In the sixth edition of Köchelverzeichnis ( 1964), " probably in 1770 " is specified, while Alfred Einstein ( 1937) had " December 1770 " is written in the third edition, and thought that the work was created in Milan. Wolfgang Hildesheimer (1977 ) has, however, " October 1770 " as the emergence period from.
About the first sentence of the publisher Johann Anton André " Overture to the opera Mitridate " written, but the last three words are crossed out again. Whether the symphony originally as an overture to this opera incurred during the same period ( Köchelverzeichnis (KV) 87) was designed in a different or unrelated is this is unclear. After all, KV 74 is held in the style of an Italian overture and thus would theoretically at least as an opera opener in question. Ultimately, Mozart used as an introduction to Mitridate another, also three-movement overture, which was popular in the 18th century as a concert symphony.
About the Music
Instrumentation: two oboes, two horns in G, 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.
Running time: about 7-8 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. 74. Clauses 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
G Major, 4/4-time, 117 cycles
The rate is based on a sequence of mostly two - or four-bar, repeated motifs. As is typical for the Italian overture this time, it runs without repetitions and without pronounced implementation.
The sentence begins as a sequence of G Major - chords, and a remote by breaks on the ascending and descending eighth notes of the violins, continued in the winds. This four-bar motif ( " first subject " ") is repeated. Similar sentence beginnings are found in the equally overture -like first sets of the symphonies K. 95 and KV 97, which even during Mozart's first visit to Italy probably evolved ( see there). Subsequent passage ( clock 9-25 ) as it is the beginning of a sentence consistently in Forte. contains a sequence of four pictures with broken chords in the bass over tremolo, interrupted by pauses chord figures, ornament flourishes, trills and runs. from bar 25 in A major stabilized than double dominant to the following dominant of D major.
The second theme (bar 25-37, D major ) uses on a "carpet" of syncope of the second violin. It consists of the repetition and sequencing of a two-bar motif with separate movement. Voice Leading is the first violin. The conclusion is a short tremolo passage.
The final section begins contrasting with her four-bar motif that is structured down from two corresponding phrases with typical Septimsprüngen: Phrase 1 ends "open" on A major and is only played by the violins, Phrase 2 ends " closed " on D major Forte of the entire orchestra. The motif is repeated with a different phrase 2. The exposition ends at bar 54 with a motif trills and legato pizzicato change.
Instead of an implementation, which relies on the material of the exposition, brings the following brief transition (cycle 55-60 ) a dialogue between the two oboes above the pedal point of the horns on D ( similar structure in the first movement of Symphony KV 73). The recapitulation (bars 61 ff ) corresponds to the structure of the exposure. The section starting at measure 112 ( syncope, tremolo, runs) can be seen as a transition to the second set, in which the Allegro merges seamlessly. The harmonic reinterpretation of the G major of the tonic to the dominant of the following C major occurs.
Wolfgang Gersthoferstrasse (2007) has 17 ff ( also ) clock 17 et seq of the Symphony KV 95 and clock 11 et seq of the overture to the opera Artasere by Johann Christian Bach attention to the similarity of stroke.
Second movement: Andante
C major, 3/8-time, 82 cycles
The first two bars still continue the movement of the Allegro in the new 3/8-time before the change of pace slow with a quaver movement manifested audibly. As in the previous sentence, the Andante is characterized by the loose sequence of smaller, usually repeated motifs; However, here is no clear second issue to identify. The initial design has a calm quaver movement in the string legato singing a character. In the further course of the movement, a longer passage with external movement of the first violin is noteworthy about " mumbling " accompanied by the rest of the strings. The memorable final design consists of ascending and descending, stepped movement with a short splash of color of the fan. The first part ends in measure 43
After only four bars Reconciliation follows the almost literal repetition of the first part, the harmonies are like a reprise based on C major ( instead of G major in the first part ). Amazingly, the second part does not begin with the melodious strings motif, but with the two "Reconciliation cycling", which still have the restless character of the Allegro.
Third movement: Allegro
G Major, 2/4-cycle, 129 cycles
The 16taktige, lively chorus of this Rondos consist of achttaktigem antecedent and consequent ( in turn from each four-bar phrases ), the antecedent is only played by the violins in the piano.
The first couplet (cycle 17-32 ) sequenced initially an ascending triad over G major, E minor and C major, but then develops with virtuoso runs and chords on A- flat major to D major.
After repetition of the refrain (bars 33-48 ) is followed by the second couplet in G minor - Piano, by the " grinder figures" and a little exotic chromaticism ( "Turkish" ) gets timbre. Other examples of this type are found in the Violin Concerto K. 219 and the Piano Sonata KV 331 These pieces represent a style that even contemporaries of Mozart (eg, Michael Haydn, Carl Ditter von Dittersdorf ) from the folk music of the peasants and gypsies in the border area between Hungary and the Ottoman Empire developed, using the impersonated this the music of their Muslim neighbors or parodied. The couplet is in three parts according to an ABA - applied structure, the middle section in B major.
At the chorus (bars 89-104 ), a final section with Akkordmelodik joins, which initially takes up the figure with the virtuosic run of clock 24 ff.