Symphony No. 11 (Mozart)

The Symphony in D major KV 84 Köchelverzeichnis may have been composed by Wolfgang Amadeus Mozart in 1770 during his first trip to Italy. After the Old Mozart Edition, the symphony has the number 11

General

On August 4, 1770, Mozart wrote to his sister from Italy: " Meanwhile, I have 4 itallienische symphonies componirt (...). " Maybe it involves the four D major symphonies Köchelverzeichnis (KV) 81 KV 84 KV 95 and KV 97 The authenticity, however, is not completely clear, inter alia because no autograph exists.

The Symphony KV 84 is delivered in three copies:

  • A Viennese copy, ascribes the work of Wolfgang Amadeus Mozart: top right of the manuscript is " In Milano, il Carnovalo 1770 ," and below " Del SIGRE Cavaliero Wolfgango Amadeo Mozart á Bologna nel mese di Luglio 1770 ". Einstein believed, therefore, that the symphony could have been designed in January or February in Milan and completed in July in Bologna last version. This is plausible since the Mozart stayed from January 23 to March 15 in Milan and in July 1770 in Bologna.
  • A copy of Berlin, only with the remark " del Sig: re Mozart" provided (that is, no first name ), this copy was partially Wolfgang, partly attributed to Leopold Mozart.
  • Prague has a copy to the work of Carl Ditter von Dittersdorf.

Neal Zaslaw refers to an "in-depth analysis of style by Jan La Rue ," which revealed that KV 84 most likely comes from Wolfgang. Similarly, Wolfgang Gersthoferstrasse expresses: "Of course, the four works in question, not only in a quite homogeneous group, so that probably to be expected with the authorship of a single composer; also can be with respect to a number of features similarities to find authentic Italian Symphony Corpus Mozart (...). (...) In short, from an authenticity of all four D Major - Symphonies KV 81, KV 84, KV 95 and KV 97 might be assumed with reasonable probability "Despite these (expert ) estimates, residual doubt..

In form and character of the piece corresponding to the Italian Symphony and Overtures - type: in three movements with a first set that passes through without repeats, a melodious middle and a finale of " Clean Sweep " type. Symphonies of this kind were then often performed, for example, at the beginning of a concert evening. The rates are based on a series of short and usually once each repeated motifs.

Volker Scherliess praises the work as " very charming, as well as spraying of thematic inventiveness characterized by clear Formbau Symphony", while John Forner criticized the " almost stereotypical triad theme " in the final sentence. However, the dominance of Dreiklangsmelodik 's symphonies for this ( overture ) type and the then fashionable " gallant - light" style quite common.

About the Music

Instrumentation: two oboes, two horns in D, 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 10 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 therefore can be transferred 84 to restrictions on the Symphony KV. The sets correspond more to 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

D major, 4/4-time, 135 units

The set opened as a fanfare from the gradually ascending D major - chord played forte of the entire orchestra, followed by a piano - "answer" the violins. This symmetrical structure of two phrases is the " first theme " that is repeated. The subsequent passage brings two stereotyped motifs will vote with leading violins bass accompaniment of tone repetition: Motif 1 plays around the tones of the broken D Major - triad with trills, Scene 2 consists of a remote figure with " grinder ". Both motifs are repeated. With a short cadenza Mozart switches to the dominant A major.

After a general pause, followed by the second theme (bar 28-35 ) with its characteristic proposal figure ( grinder ) on the accompanying "carpet" of the playing pizzicato strings rest. In the repetition of the theme, the wind comes in succession with sustained chords added concomitantly. In bar 36 is another section with tremolo and Akkordmelodik begins (change from E major and A major ), a slightly melancholy theme in the first violin over descending bass line ( an octave lower and varies from 2 Violin and Viola repeated) and broken chords in the bass over tremolo, each repeated as an echo in the piano.

The exposition ends with its characteristic end group pizzicato and a simple, leading to A major cadence chords in measure 62 Without repeating the exposure of over a pedal point on A 1 immediately followed by a brief transition (cycle 62-72 ), Violin and Viola parallel one (again ) play stereotyped attractive subject. The tremolo passage from bar 70 provides a transition to the recapitulation. This corresponds almost word for word the exposure, but the section is no longer related to the dominant A major, but on the tonic D major from the second issue.

The conditioning of the sentence with clearly defined parts is highlighted by several authors.

Second movement: Andante

A major, 3/8-time, 79 cycles

At the beginning of the strings play in legato, the vast, symmetrically constructed first theme, which is amplified in the repetition of the winds. In bar 17 directly uses the symmetrical structure also second theme in the dominant key of E major, where the wind comes in a short dialogue with the strings. After the characteristic pizzicato passage with change of B major and E major (measure 24-28) follows from bar 29 the played only by the strings final group that the first part ( " exposure " ) in measure 35 in E Major completed. A brief unison transition leads to the repetition of the first part ( " Reprise" ), but the harmonies are based on the tonic A major from the second topic ( instead of the previous E- flat major ).

Third movement: Allegro

D major, 2/4-cycle, 188 cycles

The beginning of the sentence is structurally similar to the input Allegro: a signal like a broken D major - chord as antecedent, but now in forte unison, and a postscript of the two violins piano. This already contains the dominant in the further course of the movement triplets that give the Allegro a swiftly flowing character. The total eight-bar theme is repeated.

In bar 17 is a passage with Akkordmelodik and triplet tremolo in the second violin and viola. From bar 24 the triplets are highlighted even more in the form of a motif with energetic, " babbling " repetitions.

The second theme in the dominant key of A major, will be carried out by the violins and viola in the accompanying piano. It is also interspersed with triplets and is repeated. The Triolenfluss is then continued: as a continuous repeated notes on a bass motif consisting of three ascending fourths in Legato (cycle 48 ff ) and as falling line without bass (bars 73 ff ) with subsequent cadence to A, the exposure in bar 92 terminated with chord strokes.

The second part consists of the slightly altered timing of exposure. The " implementation " takes the first subject first in A- flat major, and then moves it a step upwards to Tonikaparallelen B minor. The passage from bar 108 (analog clock 17 ff ) transitions from B minor to G major, and the " Plapper Passage " analog clock 24 ff ends in A major ( instead of the previous E major ). The further course of the movement ( " Reprise" ) corresponds to the exposure, but the harmonies are now based on the tonic D major instead of the previous A- flat major. Both main parts of the sentence to be repeated.

Occurs at the very end again on the signal-like broken triad from the first theme. The reuse of the opening idea used at end of block Mozart, for example, in the finale of the symphony KV 543

References, notes

Web links, notes

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