Symphony No. 15 (Mozart)
The Symphony in G major Köchelverzeichnis 124, by Wolfgang Amadeus Mozart in 1772 in Salzburg. After the Old Mozart Edition, the symphony has the number 15
General
The autograph score of the symphony by Mozart is labeled " Sinfonia del Sigr: Cavaliere Wolfgango amadeo Mozart Salisburgo 21 Febrario 1772 ". The Cavalier Title Mozart had been awarded the papal " Order of the Golden Spur", but he rarely used. The concrete composition occasion is not known.
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 use to enhance the bass voice, or the basso continuo instrument.
Performance time: approximately 16 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 Köchelverzeichnis (KV) 124 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
G Major, 3/4-time, 111 cycles
The set opened as signal -like " triad - Rufmotiv " in unison and a strong, backed by tremolo melody of the voting leading 1st violin with dotted rhythms and characteristic interval jump upwards. This first theme (bars 1-12) ends on the dominant of D major and goes only by a brief pause interrupted the second topic about.
The second theme (bar 13 ff, D major, piano ) is initially characterized by the pendulum-like pizzicato dialogue between horns / viola / bass on the one hand and oboes / violins on the other. In bar 17, the character changes with a cantabile legato figure for the violins, accompanied by sustained D of the horns. The issue concludes with a brief tremolo passage of the entire orchestra in Forte. The final section (bars 25 ff ) starts contracts again contrasting with the piano with a trill figure for the violins. After the unexpected fermata on the A Major - Septnonakkord ( bar 29 ) Mozart finished the challenge with virtuosic semiquaver runs in the violins.
The implementation ( measure 37 ff ) starts with a new eight-bar, predominant theme in D major, for the Tonikaparallelen changes as Fort weaving of E minor. In E minor, the head is now taken from the first issue and then sequenced down the bass on tremolo and sustained chords. With a dance motif (bars 65 ff ) conducts Mozart back to the recapitulation (bars 73 ff ), which is structured like the exposure. However, at the end of the block, the head of the first issue occurs again. Exposure and development and recapitulation are repeated.
Second movement: Andante
C major, 2/4-cycle, 56 cycles
The rate is based on three themes / motifs that are presented in the exposure succession. In the first theme (bars 1-10 ), only the strings play an upbeat, singable melody with somewhat melancholy character. Voice Leading is the first violin, while the second violin accompany flowing semiquavers, viola and bass with bottoming neighborhoods. The four-bar melody is repeated in the postscript of the theme in chromatic coloring. In the second theme (bar 11-20), the wind plays in dialogue with the violins a two-bar motif. In the final section (bars 20-24 ) is again the violins with their two-stroke, falling motif are voting leader.
The middle part (cycle 25-32 ) brings a further spin -drying from the first issue and is designed a total of more than on circuit- like leadership. The recapitulation (bars 33 ff ) corresponds structurally to the exposure. Both main parts of the sentence to be repeated.
Volker Scherliess writes for the treatment of the wind instruments in the Andante and Minuet that esp. here, " the older " Pedal practice "in which the harmonies are amplified, and the individual" performance " against [ are ], in which oboes and horns - some with separate motives, some with affirmative interjections -. excel solo "Even Arnold Werner -Jensen says that in the" start easy chromatically colored Andante to light " the " brass colors. "
Third movement: Menuetto
G Major, 3/4-time, 28 24 bars
The main melody of the minuet with courtly Schreitendem character is characterized by the alternation of forte ( full orchestra ) and echoartigem ( string ) piano as well as by the extensive lead voice in unison. The beginning reminds of his melodies, the unison and the quarter breaks at the beginning of the Allegro ( also on a 3/4 cycle). The eight-bar theme is extended in the first part by an " unexpected two-bar break " (measure 7/8) to ten bars.
The chamber music trio (strings only ) in D major is kept consistently piano. The leading vote first violin plays a singable melody with distinctive fourth upwards in ganztaktigen notes ( at the beginning of the second part as a fifth).
Fourth sentence: Presto
G Major, 2/4-cycle, 141 cycles
The set is constructed as a Rondo with the main theme ( chorus ) and three couplets.
The chorus is periodically structured with ten cycles antecedent and consequent. The beginning is similar with its three - chord Forte blows to the final sentence from the short previously written symphony KV 114 After the three chords, G to an upward movement of the violins in the piano pizzicato and tremolo passage follows down.
First couplet 1 (cycle 21-44 ) replaced with a motive in contrary motion of Violins and Viola / Bass on E minor, G major and A major to the dominant D major, in which then a section with continuous eighth notes in the bass over tremolo in the violins sound. Finally, only play the two violins piano a remote - energized, upbeat quaver figure with dual tone repetition.
Couplet 2 (cycle 65-83 ) is the trill phrase in the first violin dialogue - in 2nd violin / viola, while in couplet 3 ( clock 105-120 ), a change of syncope and cadenza -like chord progression ( tonic - subdominant - dominant) occurs. Mozart finished the sentence as a coda (bars 121 ff ) with eight-bar Akkordmelodik exclusively to G major, which was probably intended as a musical joke.