Symphony No. 12 (Mozart)
The Symphony in G major Köchelverzeichnis 110 ( 75b) composed by Wolfgang Amadeus Mozart in 1771 in Salzburg. After the Old Mozart Edition, the symphony has the number 12
General
Mozart composed the symphony Köchelverzeichnis (KV) 110 in July 1771 in Salzburg in the time between the first and second trip to Italy. The autograph bears the inscription: " Sinfonia del Sgr. Cavaliere Amadeo Wolfg. Mozart in Salisburgo nel Luglio 1771st "
In comparison with the earlier symphonies K. 110 displays a " burst of development " in Mozart's Symphony creation:
- It is a " full-blown " concert symphony with a Menuettsatz, repeat both parts in the outer movements and a 157- clocking relatively long opening sentence ( the header records of earlier symphonies were usually much shorter); similar in a timely manner resulting Symphonies KV 112 and KV 114
- Occurrence of counterpoint in all sets, especially in the minuet. Possibly, it shows the influence of Padre Martini, in which Mozart was taught during his first trip to Italy in counterpoint.
- The first sentence already largely corresponds to what would later be known as typical sonata form, but the schema of the sonata form can only be applied to a limited work of 1771 ( see below).
About the Music
Instrumentation: two oboes, two flutes (these only in the second set ), two horns in G, two violins, viola, cello, double bass. In the second set also two bassoons are listed separately, which were in accordance with the then usual performance practice probably (if the orchestra present) as well as the harpsichord used for the other sets to reinforce the bass voice (or harpsichord as a basso continuo instrument).
Performance time: approximately 18 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. 110. - 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. "Exposure "
First movement: Allegro
G Major, 3/4-time, 157 cycles
The set opens with a powerful, emerging topic in Forte with voting leading violins and oboes. A characteristic feature is the emphasis on the low-lying fundamental tone followed by interval jumping over a tenth or eleventh upward. Bass and viola accompany in eighths as a " bass drum " and thus add to the flowing character of the subject. This is achttaktig with blocks of 2 2 4 bars and is repeated (bars 1-16). The reconciliation ( bar 17 ff ) Mozart uses this structure to, but in the reduction of design units from 1 1 2 bars and from bar 25 in a further reduction to 2 2 bars.
The second theme (bar 36 ff, D major ), which you can think of possibly derived due to the rhythm of the first theme, again the violins with the oboes are voting leader - but now for the first time in the piano set. It also contrasts with its vast, melodious character and the lack of continuous eighth notes in the bass to the previous events. The theme is built viertaktig and is repeated. It follows from bar 45 as the beginning of the end section a tremolo passage of a transitory, zweitaktigem bass motif, the ( now in D major ) opens into the renewed set appearance of the first theme. The exposition ends after another tremolo passage with broken chords in syncopation in measure 69 with chords, on D major.
The following section ( " implementation " ) is held only for strings in the piano and captures the quiet - cantabile character of the second theme. The play puts strings and rhythmically varied a falling figure in uniform, some remote district movement (reminds turn to the second issue ), so that the impression of a more coherent mesh is created. The return to the recapitulation is done with the tremolo passage and the " current " Bass analog clock 45 ff
The recapitulation (bars 93 ff ) is mainly structured in a similar exposure. However, the transition is altered to the second issue that the exposure played in succession blocks ( semiquaver movement down broken chord in quarters ) are now played in parallel. Exposure and development and recapitulation are repeated.
Second movement: Andante
C major, 4/4-time ( Alla breve ) mention 52 bars, two flutes instead of oboes, horns
The strings begin the set, which is characterized in addition to his singing quality through the use of counterpoint in the two main themes: the first theme (bars 1-5, C major ) play the violin sets the building blocks of the theme, the second theme (bar 10 -14, G major ) 2nd bassoon and first violin on the one hand against 1 Bassoon and 2nd violin on the other. The reconciliation from the first to the second theme (bars 5-9) with a two-bar motif occur the first time the winds accompanying on. In the final section (bars 14 ff ), the flutes playing with the violins a motif first with chromatic derivative, then one with added mock opener. The first part ( exposure) ends in measure 22 and is repeated.
After an eight-bar transition section ( varied repetition of a strain ' ) with an up-down - motif in the violins follows from bar 31, the recapitulation, which structurally corresponds to the exposure ( modified instrumentation for example, when second theme). And the second part are repeated.
Third movement: Menuetto
G Major, 3/4-time, 40 20 cycles
The first part of the minuet is a two -part canon, with the viola and bass offset by a clock running on the violins. The second part spins initially continued the main melody before a contrasting interlude -like passage for strings follows. This is repeated varies forte tutti and then ends in bar 29 back to the opening theme.
The Trio in E Minor ( Tonikaparallele to G major ) is kept only for strings in the piano and characterized by chromatic, sigh -like suspensions.
Fourth movement: Allegro
G Major, 2/4-cycle, 132 cycles
The main theme ( chorus ) with imitatorischem beginning between the violins / oboes and Viola / Bass is in the style of a gavotte. The scale than Rondo set contains two couplets, between each of which the chorus is turned on. The first couplet (cycle 17-32 ) is quite short and consists initially of a slightly chromatic progressions spin drying of the chorus, which then also as a variant in the dominant D major occurs. The second couplet (cycle 49-88 ), however, is much longer and created each of two repeated parts. It contrasts with the change to G minor and passages in unison pizzicato of the strings to the previous events.
The repetition of chorus 2 (cycle 33-48 ) and Chorus 3 ( clock 89-104 ) Mozart had not written out, but " Da capo " exempted by reference to the performers to perform the repetitions or the chorus only once to play. The movement ends with a coda that takes up the main theme for a fourth time.