Symphony No. 16 (Mozart)
The Symphony in C major Köchelverzeichnis 128, by Wolfgang Amadeus Mozart in 1772 in Salzburg. He was then 16 years old. After the Old Mozart Edition, the symphony has the number 16
General
Mozart composed the symphony quiver directory (KV) 128 in May 1772 to kick off a six-part symphony group (see for KV 130). Within this group it forms with the Symphony KV 129 in so far a pair of works, as both - in addition to the same "small" occupation - three-movement symphonies are without minuet. In addition, the character of the final movements is similar. Contrast, KV 128 I with the " more rhythmically accented spelling" or " large area, in a sense created stable", KV 129 I rather be with a ": On the other hand, for example, the head sets are rather contradictory created ( but otherwise, constitute a counterpart to each other) Italian character ( s) of liquid - elegant ( s) diction "or " flexible, graceful, always in a process change, " and (as well as parts of the first movement of the Symphony K. 132) pointing in the direction of Johann Christian Bach.
About the Music
Instrumentation: two oboes, two horns in C, 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 12 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 can be transferred from there to restrictions on the Symphony K. 128. - Note that this description breakdown of rates is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.
First movement: Allegro maestoso
C major, 3/4-time, 137 cycles
The symphony opened as a quart jump down in unison, the " motto" of the symphony, and a staccato triplet of the violins in the piano. This four-measure unit is repeated ( " main theme "). From bar 9 the whole orchestra forte attacks the triplet on in more fluid movement, the three -fold repetition of tones strikes, which is emphasized in unison from bar 16 again fanfares. The passage unfolds " a two-dimensional splendor that majestically on rather superficial way " acts. The triplet is then continued as broken chords dialogue between Viola / Bass and the violins. In the meantime established G major ( dominant) now includes a section with over almost striking movement (large interval jumps of at least one octave) in the violins. In the short minor turbidity in the piano (bar 38 ff ) follows then nachsatzartig a four-bar passage in which a bass motif " with the jumping " sixteenth - proposal, tone repetition and octave leap of tremolo again strong intervallic leaps in the violins is superimposed (bar 42ff ). The final section (bars 46 ff ) based on a proposal figure in the violins, while the bass continues the beginning of the " Hüpfmotiv ".
The implementation (measure 54-84 ) begins as a dramatic Forte tremolo in the harmony remote Key E major, which turns abruptly to the G minor and reaches a Septnonakkord A to D minor, where now a contrasting piano passage in legato movement follows. This section is repeated with altered harmonies, where Mozart modulates to E major. In this key starts from bar 74 downward sequencing of a running motif in the bass dialogue - violin. The abrupt change of harmonious implementation extend into the recapitulation: So Mozart leaves in the repetition of the first thematic Viertakters short E major, A minor and F major resonate. The rest of the recapitulation corresponds structurally to the exposure.
Peter Brown interpreted the sentence to which nothing majestic anhafte, as a parody. KV 128 is the first symphony, has not provided in the Mozart development and recapitulation, in contrast to exposure with repeat signs.
Second movement: Andante grazioso
G Major, 2/4-cycle, 67 cycles
The set is kept only for strings and gets thereby, and the use of imitation technique his chamber music character: the beginnings of the two main themes / motifs ( 1-10 clock slightly worn figure with trills; stroke 15-20: Sixteenth sequence in staccato ) can be set to Mozart the instruments occur between connected is a short homophonic passage that alternates with a new cantabile subject to the dominant of D major. The final section (bars 20 ff ) has worked in dialogue: first, between Bass ( upward scan) and viol / violin, then as a swing figure between the violins.
The msg ( 'implementation', clock 27-41 ) develops the idea of the block start first by a minor away and then goes into a series of cadential forming upward - runs of the first violin over. The recapitulation (bars 42 ff ) is similar to the exposure structured. Exposure and development and recapitulation are repeated.
Third movement: Allegro
C major, 6/8-measure, 105 cycles
The Allegro is designed as a Rondo with the main theme ( chorus ) and two couplets. The zehntaktige chorus is consistently in the Forte and his move from "up" - Question and "down" - in response in the extensive unison. In particular, the chorus and the second couplet (cycle 70-89 ) with leading vocal horns suggest associations with hunting themes.
In the first, rather long couplet (cycle 11-59 ) several small, sometimes contrasting motives are behind the other set. The beginning of the piano works by syncope loose - dance, nachsatzartig followed by a running motif in the 2nd violin dialogue - Viola / Bass, a passage with pedal point on G and a section in A minor with vigorous tremolo on E. The return to reprise -like appearance of the refrain is quite detailed design (cycle 45-59 ).
Mozart finished the sentence as a brief coda with tremolo, horn fanfares and Akkordmelodik to C.