Symphony No. 14 (Mozart)

The Symphony in A major Köchelverzeichnis 114, by Wolfgang Amadeus Mozart in 1771 in Salzburg. After the Old Mozart Edition, the symphony has the number 14

General

Compared to most of Mozart's earlier symphonies, the 1771 certainly surviving works Köchelverzeichnis (KV) draw 110 (composed in Salzburg before the second trip to Italy ), KV 112 (composed in Milan ) and KV 114 (composed in Salzburg after the second trip to Italy ) the fact that it is (see for KV 110) to " full-blown " concert symphonies with a minuet and repetitions of the main parts in the outer movements.

The autograph of the Symphony, K. 114, is dated December 30, 1771. Shortly before, the day after her return from Italy (16 December 1771), the Salzburg Archbishop Sigismund von Schrattenbach had died of Mozart's " Wunderkind" - had much career support. Maybe wanted to Mozart KV 114 - also in the light of the upcoming election of the successor of the late Archbishop - take a "business card". The work was probably some living relatively popular, as several German and Bohemian copies exist. Bernhard Paumgartner (1957 ) speaks of a " tender (s ), sometimes dreamy (s) " Symphony. Several other authors emphasize the importance of the symphony, such as the " inventiveness " in the opening sentence ..

About the Music

Instrumentation: two flute, two oboes ( this only in the second set ), two horns in A, 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 20 minutes.

When used herein the terms of 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 K. 114 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 moderato

A major, 4/4-time ( alla breve ), 139 cycles

The movement begins with a song-like melody first stated in the antecedent only by the two violins piano, then repeated in the postscript of the whole orchestra forte. The eight-bar the underlying theme is again divided into two distinct halves: the first four-strokes is characterized by falling intervals ( fourth and fifth), which are then " answered " in the second four-strokes of ascending intervals ( fifth and octave ). As the " Appendix" to the subject, the wind plays a short fanfare- like solo (bars 16/17). The transition to the second theme (bars 18-36 ) begins with tremolo and broken chords in A major, then attacks with characteristic octave leaps up the motif from the first issue: from bar 22 as a one-bar unit first in the violins, from bar 26 then two-stroke in the bass, here rhythmically supported by the horns.

The second theme (bars 36-46 ), a " wide-spreading thought of captivating elegance " in the dominant E major is only by the strings in the piano with imitatorischem beginning ( 1st violin - viola - 2nd violin ) is presented. The second half of the theme is characterized by the dialogue of the violins with short, contrasting phrases, the tone repetition over to E in a Fis -Dur - opens seventh chord with a fermata. The F-sharp major acts dominant table to B major, begins with the final group (bars 47 ff ) in a figure with large interval jumps. After two ascending " starts" the first violin and the final twist with trills the exposition ends in measure 59

In the implementation of a new, two-bar third motif, somewhat reminiscent of the "Appendix" from the first theme (bar 16/17), led imitative in piano by the instruments (flutes, viola, horns ). Then takes the return to the recapitulation over the subsequent syncope Passage in forte. This (measure 80 ff ) is structured as the exposure. Exposure and development and recapitulation are repeated.

Second movement: Andante

D major, 3/4-time, 62 bars, oboes instead of flutes, without horns

The first theme, the melodious sentence with " elegiac charm " is the antecedent - similar to Allegro - played by the violins in the piano, the fourth is striking down at the beginning. In the postscript to give the players with Provision in thirds characteristic " hot " spots of color. About a trill phrase Mozart switches to the dominant A major, where now two additional motifs ( with prelude and Echo: " second theme ", with tone repetition: " final group " ) are presented.

The implementation is characterized by its sweeping melody line in a uniform, flowing and partly imitative einsetzernder quaver movement, initially accompanied by the fourth of the first theme. The " Reprise" (bar 47 ff ) is shorter than the exposure: The first theme is not repeated and goes straight into the opening motif ( " second theme "). Both main parts of the sentence to be repeated.

Third movement: Menuetto

A major, 3/4-time, 26 24 cycles (second version)

The autograph of the Symphony contains two minuets: the first with oboe was crossed out - " possibly because of the motivic near the beginning of the Andante " replaced by a new, slightly longer and " harmonious as set technically " more sophisticated with flutes instead of oboes.

The minuet of the second version begins with a strong, ascending melody in Forte. At the beginning of the second part only play the violin and the viola, the second Violinie mimics the first violin part.

The " imaginative " Trio ( maintained in both Menuettfassungen ) is in A minor and is played only by the strings in the piano. The leading vote first violin plays a melody with " plaintive " tone repetition, accompanied by continuous triplets of the second violin and supportive neighborhoods in Viola / Bass. Neal Zaslaw (1989 ) sees this as ironic towards church music.

Fourth proposition: Molto allegro

A major, 2/4-cycle, 174 cycles

The upbeat and lively set opened with three chords, forte, followed by a trill phrase in the violins in the piano. This four-bar phrase is repeated, the trill phrase is moved a third to the top ( first subject, clock 1-8; similar set beginning at the finale of composed shortly thereafter Symphony, K. 124). The subsequent section contains a repeated cadential sequence of chords ( tonic A major - D major subdominant - dominant E major - A major ) with tremolo and virtuosic semiquaver runs upwards. There may be in this chord progression a reference to a so-called " Bergamasca " ( a dance or song in which the melody is superimposed over a constant succession of these four chords ). The second theme (bar 28 ff, E- flat major, piano ) with a lilting character is built up periodically, with the four-bar front and six-bar consequent phrase be repeated each time. It is significantly longer than the longer motif -like first theme. The final section (bars 48 ff ) returns to the forte and provides two smaller motifs before (the second in the flutes dialogue - violins), which are separated by a tremolo inlay. The exposition ends at bar 73

The implementation ( clock 74-101 ) contains as the Allegro new material: First, a topic with viertaktiger " question " and dreitaktiger "answer" and zweitaktigem blower attachment, which is presented in E major and A major, followed by a four-bar motif with large interval jumps and Synkopenbegleitung. The recapitulation (bars 102 ff ) is similar to the exposure set up with slight changes, for example, in the second issue. Exposure and development and recapitulation are repeated.

References, notes

Web links, notes