Symphony No. 17 (Mozart)
The Symphony in G major Köchelverzeichnis 129, by Wolfgang Amadeus Mozart in 1772 in Salzburg. He was then 16 years old. After the Old Mozart Edition, the symphony has the number 17
General
Mozart composed the symphony quiver directory (KV) 129 in May 1772 part of a six-part symphony group (see for KV 130). Within this group it forms with the Symphony KV 128 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 " (from the first movement of the Symphony, K. 132, as well as parts) had in the direction of Johann Christian Bach -setting ( in the early summer of 1772 flexible, graceful, always in a change " and Mozart three sonatas of Opus V by Johann Christian Bach worked as a piano concertos KV 107). Alfred Einstein ( 1953) therefore describes the first movement as " relapse " which "could be written under Johann Christian influence already in London and The Hague ," but praises the other sets, the " already breathe Haydn's spirit." Howard Chandler Robbins Landon (1991 ) referred KV 129 as " a delightfully fresh plant for open-air performance ".
About the Music
Instrumentation: two oboes, two horns, 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 therefore can be transmitted 129 only with restrictions on the Symphony KV. - 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 maestoso
G Major, 4/4-time, 114 cycles
The symphony begins as a powerful, broad G major - chord played forte. The G will be held for the following eight measures as pedal point in the horn or accented with the " drum bass " in the lower strings, while the violins play a dance- hopping character with trills and Lombard rhythm. The transition to the second theme (bars 9-17) changes to " brilliant " passage with Akkordmelodik, tremolo and virtuoso runs in the violins from the tonic to the dominant G major D major. The second theme (bar 18 ff, D major ) begins at offset use of the instruments: first, only the " primer " ( be amused A of the horns and tone repetition of the viol on A), then put one after 1st violin, 2nd violin and Bass with the " Hüpfmotiv " from the first theme a, each with a new design as a counter- voice. From bar 26, another section joins, which begins as a crescendo from pianissimo to forte and then brings virtuoso runs and smaller, " brilliant " motives for voting leading violins. The final section (bars 47 ff ) is held in the contrasting character: no more fast then flowing, but border, interrupted by pauses.
In the implementation (measure 47 ff ), the " Hüpfmotiv " processed by the second theme: First Mozart presents the subject in D major with his vote against, but then modulated in the alternation of forte unison and piano "answer" with trills to e minor, in this passage with tremolo short cadenza also ends. The subsequent remote motion leads to D major, which prepares the entry of the recapitulation in measure 68. The recapitulation is similar to the exposure structured. Exposure and development and recapitulation are repeated.
Second movement: Andante
C major, 2/4-cycle, 73 cycles
The vocal, song-like main theme with border bass line is first introduced by the piano strings, then repeated by the full orchestra forte. In the dominant G major a motif thirds and follow - the first part finally - a motif with throbbing tone repetition.
In the short implementation (measure 31-38 ) Mozart can be a new, one-measure motive vibrated by the strings move. The recapitulation (bars 39 ff ) is similar to the exposure structured, but the third passage with forte -piano- exchange is extended. The set is completed by a twist that can be imagined derived from the main theme. Exposure and development and recapitulation are repeated.
Bernhard Paumgartner (1957 ) feels at the start of the " pretty " to Joseph Haydn Andante recalls, especially on the slow movement of the Symphony No. 100
Third movement: Allegro
G Major, 3/8-time, 192 cycles
The first theme reminds his forte unison emerging - line, especially the upbeat Dreiklangsmelodik at the beginning of hunting theme and has similarities to the last movement of the Piano Sonata K. 576. After the brief interlude of violin / viola (cycle 9-24 ), the subjects head in the dominant D major repeated with other Fort spin drying, which established the dominant. The second theme (bar 45 ff ) contrasted with his reluctant - floating character of the opening of the sentence. Involved are only the strings, with the first violin plays first a falling figure with over holding on the first, strong beat, which is then continued as a variant in dialogue with the second violin. After a " noisy " tremolo passage the final group terminated (cycle 71 ff ), with its piano -forte - motif, reminiscent of the subjects head of the sentence start, as " humorously abrupt end to " the exposure.
The performance begins at first as the exposure with the first topic, now in D major. After a tremolo modulation passage Mozart finally reached the Tonikaparallele E minor. There are three appearances of the head from the first issue, with the last two stand out by their characteristic dissonance. The recapitulation begins in measure 128 with the interlude analog clock 9 ff and is similar to the exposure structured. Exposure and development and recapitulation are repeated.