Symphony No. 18 (Mozart)

The Symphony in F major Köchelverzeichnis 130, by Wolfgang Amadeus Mozart in May 1772. According to the Old Mozart Edition, the symphony has the number 18

General

After the symphony Köchelverzeichnis (KV ) 124 of February 1772 created May to August six more symphonies (K. 130 in May 1772): 128-130 KV and KV 132-134. It was the first time that such a concentration of Mozart symphony production occurred. It is striking that the six works are in different keys. Possibly this is related to it that Mozart wanted to make an impression at his new employer, Count Colloredo, with a representative collection symphony. In printed Symphony collections, it was customary that the most six symphonies were in different keys. One possible grouping may look like this:

• KV 128, KV 129: are the only three movements;
• KV 130, KV 132: Instrumentation with four horns and unusual trio;
• KV 133, KV 134: In the first sentence, the recapitulation begins with the second issue.

On the other hand, one could also KV 130 and KV 134 belong to a group, since flutes are used instead of oboes.

Alfred Einstein (1953 ) evaluates KV 129, KV 130, KV 132 and KV 133 as "Final - symphonies " in the sense that the finale will no longer occurs as a lightweight clean sweep, but is gaining weight over the head set.

Several authors KV 130 is assigned a special meaning:

• Alfred Einstein ( 1937) writes: "After occupation, extent and content of the epoch-making works in Mozart's works, his first great symphony. "
• Bernhard Paumgartner (1957 ) praises: "With the F major symphony Mozart has created within an incredibly short time a new type in his symphonic oeuvre. It is thus a crucial step forward came by the way of the various spheres of influence to itself ( ... ) " In comparison to the contemporaries of Mozart's work increasingly lifted from: " (...). Better in the litter, in the Fort spin -drying the topics subtle in the sense of the subtle art of interior variation in place convenient Redikte, gorgeous in the illumination of a spirited return, a warm-hearted lyrical twist, in a sleek, impeccable growth of Ganzeit a symphony, in the variety of secret relations between the basic ideas in the precision of a seemingly incomprehensible sense of the sound (...). Our F Major - Symphony is one such example of early personal confirmation of her young master. You'd have to give it a hundred places in the factory, from the remote-acting force of the fourth jump in the main thoughts about the coda of the first movement of time, the Andantio, the finals in until the diversity of ideas in this sparkling set. "
• Hermann Abert (1955 ) says, " that Mozart here makes a first attempt to merge four movements into a more streamlined, ideal unity and thus to enter ever closer to the difficult problem of symphonic music. In K. V 130, it is the strict thematic and contrapuntal writing and the spirited solo treatment, which connects the sets. "

About the Music

Instrumentation: two flutes, four horns (two in C alto, two in F, in the second set, two in B), 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. It is striking that no oboe used.

Performance time: approximately 19-23 minutes (depending on compliance with the prescribed repetitions).

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 130 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

F Major, 4/4-time, 132 cycles

The set begins with the first theme, which is initially held piano. The main components are the fourth down and " rhythmically incisive repetitions " of the first violin, accompanied only by second violin (falling figure) and Viola (quarter movement). This five-bar first theme is half forte repeated by the whole orchestra, before the second half of topics piano joins, which is also ( shortened ) repeatedly. The subsequent passage from bar 18 includes runs, tremolo, and syncope. In bar 29, the double dominant G major is achieved, which leads to the dominant C major the following second theme. The second theme ( from bar 30, piano, C major ) is in the first half from a remote figure of the 1st violin with trills, initially only accompanied by second violin and horn. With a little more extensive occupation of the first half of the theme is repeated before the second half of subjects followed from bar 38 with its two-bar motif. Final section from bar 62 contains more runs, tremolo and a surprising another appearance of the first theme in a slightly different form. With a unison motif, which takes up the fourth down again, ending the exposure.

In the relatively short implementation (measure 63-83 ) appear to elements of the first theme in staggered applications and different harmonies; partially creates a slightly more coherent effect. From bar 71 the tone turns into minor. The recapitulation at measure 84 is similar to the exposure structured. Depending on your view, the last bars to watch the extension of the fourth motif as a coda.

Second movement: Andantino grazioso

B flat major, 3/8-time, 120 cycles, violins to clock 112 with dampers

As in the Allegro, the first theme is first stated quite restrained by the strings in the piano. It consists of two three-bar halves, the strings are complementary in some cases against vote like. From bar 11, the theme is repeated, then the whole orchestra and the Forte. A brief closing formula of the first theme (bars 17-20 ) is derived directly for the second "theme" in the dominant F major on ( two-bar motif of a broken chord, cycle 20-24 ). By the end of exposure in 39 clock in the final section, two other motifs are presented: one with trills, and the other from remote motion, which is divided between the flute / viola and the violins.

The implementation (measure 40-55 ) taps the first theme as a variant on, swings from bar 44 shortly after minor and is kept relatively short with a total of 15 cycles.

The onset of stroke in 56 Reprise is similar to the exposure up. From bar 88, however, is an extension that can be broken down as follows:

• New motif 1 with the horns in B, tact 88-92;
• New design 2: flutes with downward continuous sixteenth - pendulum figure, clock 93-96;
• New design 3: Horns with derivative -like figure is repeated shortened stroke 97-100;
• Third appearance of the first theme in the tonic, clock 104-109;
• Three bars closing formula; Development and recapitulation be repeated;
• After repeating: one with " Coda " overwritten section clock 113-120 with the first half of the first theme in unison and forte; Block end with final chords.

The horns offer exotic splash of color and melody sections. Howard Chandler Robbins Landon (1991 ) thinks that the sound " out of the fog is bright sunlight " breaks out when the dampers are removed for the coda. After Robbins Landon, Mozart started as second sentence " a slightly more complicated Andante ", then this but discarded in favor of Anda Tinos.

Third movement: Minuetto

F Major, 3/4-time, with Trio 38 cycles

The vigorous minuet is kept compact, with its two eight-bar parts. Characteristic of the upbeat melody with her fourth at the beginning is the continuous eighth accompaniment oscillating seconds. The first part consists of the four-bar piano " question " of the strings that is " answered " by the whole Orcherste forte. The second part spins the material continued in use staggered, with the continuous quaver movement is dominant briefly in accompanying horn fanfare.

A special feature is the Trio in C major is: it has no clear melody, but consists of a cadenza-like sequence of harmonies. The second part begins as a fanfare in G major, before continue the cadences. Overall, the trio has a slightly " medieval " timbre. This " tendency to Eccentric " is also found in the trio of the Symphony K. 132

Fourth movement: Allegro molto

F Major, 4/4-time, 196 cycles

The first theme consists of two four-bar, identical halves with signalartigem Quart jump F - C down ( tonic - dominant) and again after cadential figure F with running eighth and tone repetition. The subsequent Forte block is initially characterized by its in - and outgoing figure in border areas, after which the previously accompanying tremolo from reduction of the walking figure and reduction of note values ​​( eighth ) is dominant.

The second theme in C major (bars 22-30 ) consists of the contrasting change a broken pauses upward movement of the violins in the piano, " answered " by Forte interjections of the entire orchestra with tremolo. As in the first and second set, the portion of the second theme is extended until the end of exposure, here in particular. There appear several new motifs / themes from runs, tremolo, syncope and repetitions (eg, echo -like repetition of forte and pianissimo: clock 59/60 ) exist. Striking is next to the dance proposal motif ( 51-54 clock ) of the chromatic retained portion (cycle 42-50 ) for strings, which can be interpreted depending on your view as a third subject. After the musical events is increasing in tempo from bar 66, the motion is abruptly interrupted in measure 72. The subsequent final group brings a first to the previous events contrasting, twice ansetzendes piano motif in neighborhoods ( " fourth issue," C major ) before Akkordmelodik terminates the exposure in C major.

The implementation uses (eg from dance proposal motif from clock 51) on different motifs of exposure. In terms of exposure 83taktigen the implementation of 23 measures seems rather short. The recapitulation is similar to the exposure structured but slightly changed in their harmonies.

References, notes

Web links, notes

Symphony 18 (Mozart): Score and critical report in the New Mozart Edition

• Wolfgang Amadeus Mozart: Sinfonia in Fa, K. 130 PR 788, Ricordi publishing house, Milan, 1955 ( pocket score ).