Symphony No. 13 (Mozart)

The Symphony in F major Köchelverzeichnis 112, by Wolfgang Amadeus Mozart in 1771 in Milan. After the Old Mozart Edition, the symphony has the number 13

General

The autograph of this symphony, which was written during the second trip to Italy, bears the title " Sinfonia del SIGRE Cacaliere Wolfgango Amadeo Mozart à Milano 2 di Novemb. 1771 ", with only the first word Wolfgang and Leopold Mozart wrote the rest. The premiere took place on 22 may or November 23, 1771 at the home of AM Mayr, administrator of the royal privy purse of Archduke Ferdinand instead.

About the Music

Instrumentation: two oboes, two horns in F, 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 use to enhance the bass voice, or the basso continuo instrument.

Performance time: approximately 15 minutes.

Hermann Abert wrote to the symphony: "This German influences have held up well over the second Italian journey, which indeed was not productive to symphonic work. The F major Symphony (K. V. 112 ) (...) Although making in subject matter and Orchestration some concessions to the Italian taste, but blurs the German basics in no way " And in a footnote adds Abert ". Against WSF, which here find a strong relapse into Italian has pointed to the frequent mood envelope, the expressive circuit group and the passionate implementation of the first set, the Stamitzsche Andante and the partly German, partly specific to Mozart's trains of the minuet ( Trio! ) and final rondo with its two side sets be. "

Neal Zaslaw praises: The Symphony " is - from the beautifully proportioned sonata form of the first sentence on careful polyphony played only by the strings Andante to the energetic rondo finale, a Giga - pervaded by a spirit of trust and solid craftsmanship, the perhaps from the successful performance of Ascanio a month earlier resulted. "

The use here terms based on the sonata form is considered that this scheme was designed in the first half of the 19th century (see below) and therefore subject to restrictions on the symphony Köchelverzeichnis (KV) 112 can be transmitted. - 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

F Major, 3/4-time, 124 clocks, originally "Molto Allegro", but the " Molto " erased

The set opened as a result of three motifs: turn played forte by the tutti in unison descending triad in Forte the full orchestra ( tutti ), piano Floksel the violins and viola, triad motif. The motifs 2 and 3 are repeated. The section starting at measure 10 is composed of the subjects head and then goes into virtuosic semiquaver runs, trills and tremolo. It ends with two quarter-note beats on the double dominant G major. The second theme (bar 24-31 ) in the dominant C major is based on a two-bar question-answer motif of oboe and viola, in the two-bar motif of another Violin / Viola as " Streicherkonzertino " is installed (similar to the first topic ). Both motifs are built in thirds.

From bar 32 again follows tremolo, the harmonic structure is partially reduced (eg clock 34: Tremolo only the first violin in G); dazugesellt off clock 36 another motif with pendulum movement in dotted rhythm. The final group of bar 43 to the end of exposure cycle 54 is clearly delineated with the somewhat chromatic motif in the violins. The exposition ends with four bars tremolo and Akkordmelodik.

The second part of the sentence ( " implementation " clock 55-70 ) begins with two bars of tremolo that revolves around the note A. From bar 57 the subject of the final group ( Viola 1st violin, 2nd violin, ) is then added as a variant through the instruments out. With another tremolo passage leads Mozart to the recapitulation (bars 71 ff ) back, which is structured like the exposure. Exposure and development and recapitulation are repeated.

Second movement: Andante

B flat major, 2/4-cycle, 64 bars, strings only

The sentence begins as a ticking figure of the first violin, accompanied by clockwork - like uniform, broken chord figures in the staccato of second violin and viola and bottoming single tones of the cello and double bass. At the end of the four-bar first theme both violins play a figure stepped down.

The second theme (bar 10 ff ) is structured differently: It is based on a two-bar motif, in which the figure of the second clock between the first violin on the one hand and the second violin and the viola on the other hand occurs in the dialog. The clocks 14-17 grab the head of the first theme again before the final group (bar 18ff ) whose elements can be derived from the other motives, the exposure ended.

In the development section (bars 26-37 ) the motif occurs from the first topic in a different harmony, punctuated by a chromatic movement downward. The recapitulation (bars 38 ff ) is similar structured exposure. These and development and recapitulation are repeated.

Third movement: Minuetto

F Major, 3/4-time, with Trio 32 bars ( in the score is the repeating part of the minuet advertised, for a total of 50 cycles )

Characteristic elements of the strong melody of the minuet, the three -fold repetition of tones as well as the triplet down. In the second part of the triplets dominate even two bars long. The Trio for Strings is in C major and is decorated throughout in piano. The first part is made relatively " tight" with many bows. The second part begins with a new, " loose" motif on the C- major triad in staccato; the initial motif occurs only at the end 1 to 2 Violin displaced again.

Neal Zaslaw indicates that the viola as in other symphonic minuets of Mozart does not have its own voice in the minuet, but doubles the bass voice. Since Mozart Tanzmenuette (ie not planned for a symphony minuets ) typically do not use Viola, one could conclude from this peculiarity that the minuet for KV 112 was taken from another plant. The trio has its own Violenstimme and should therefore probably have been composed for the symphony. Volker Scherliess indicates that the minuet part in Leopold and only the trio is written in Wolfgang's handwriting. Thus, Wolfgang could have composed the minuet for a different purpose, while it copied Leopold for this symphony; or it is a Minuet by Leopold, Wolfgang for a trio composed.

Also noteworthy is the uniform structure of the sentence with 8 8 bars in the minuet and trio.

Fourth proposition: Molto allegro

F Major, 3/8-time, 123 cycles

The structured as Rondo set consists of the chorus and two couplets. The theme of the refrain is periodically constructed, each with eight bars antecedent and consequent. These in turn consist of two four-strokes ( phrases): Ascending F major Dreiklangsmelodik (the same opening in the first set ) and also ascending tremolo -like figure.

The first couplet (cycle 17-40 ) consists initially of a " ups and downs " of the two violins in contrary motion, followed by a tremolo passage with a falling melody line that varies is repeated ( with chromaticism and octave leaps ). The second couplet (cycle 57-96 ) with his dance melody and the characterizing proposals is the only section in a minor key ( D minor ) and is structured in two repeated passages.

After the last run of the chorus of the block is terminated by a coda with Akkordmelodik and tremolo.

References, notes

Notes, links

Symphony No. 13 (Mozart): Score and critical report in the New Mozart Edition

• Wolfgang Amadeus Mozart: Sinfonia in Fa, K. 112 PR 786, Ricordi publishing house, Milan, 1955 ( pocket score ).