Symphony No. 19 (Mozart)

The Symphony in E Flat Major Köchelverzeichnis 132, by Wolfgang Amadeus Mozart in 1772 in Salzburg. After the Old Mozart Edition, the symphony has the number 19

General

The work was probably used as well as the other resulting in temporal proximity symphonies ( Köchelverzeichnis (KV) 128-130 and 132-134 KV, KV 130 for details ) to entertain the Archbishop of Salzburg, Colloredo. Not only Mozart, Michael Haydn symphonies regularly provided at this time for the concerts at the archbishop's residence. Perhaps Mozart was at KV 132 (as well as in KV 130) by Michael Haydn's penchant for unusual instrumental compositions inspired There are four provided instead of the normal two horns, two of them in it alto - the highest pitch of a horn in the 18th century. Neal Zaslaw (1989 ) suggested that the required pitch could have been achieved by a converted contemporary horn.

About the Music

Instrumentation: two oboes, four horns (two in Es alto, two in it basso ), 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. 132 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

E-flat major, 4/4-time, 148 cycles

The set opened as a contrast theme from fanfarenartigem triad trill motif in Forte (reminiscent of the beginning of the Piano Concerto K. 482 ) and Piano response of the strings in dotted rhythm. This sequence ( " first subject " ) is repeated. At Forte - section from bar 11, bass and brass throw a broken triad figure to dialog -like, accompanied by tremolo strings. While Mozart switches to the dominant B flat major, two other small subject close to having Schleifer phrase and syncope, the second has again fanfanartigen with his Dreiklangsmelodik character. The section ends with a virtuosic semiquaver run over two octaves and chords, on the dominant B major.

The second theme is floating from bar 29 on a " rolled carpet " (Organ focus of the deep horns and viola on F, this is a total of 13 cycles held ) in the piano approach and is based on a character of two violins in thirds and eintaktigem interlude of oboes. The harmony switches between the (semi- dominant) F major and B flat major. Wolfgang Gersthoferstrasse (2007) refers to similarities of the theme to the second theme from the first movement of Johann Christian Bach Symphony Opus 3 No. 1 The final section (bars 42 ff ) brings in turn " noisy " character with tremolo a remote by pauses bass motif down with characteristic octave leap and ends the exposure to a cadential figure.

The implementation (measure 60-89 ) starts, surprisingly, than of sustained G- major chord with the third in the bass. Abruptly then the harmony changes to C minor with a new, trill -like motif. This structure is repeated, but now with Forte chord in F major and then trill motif in B flat major ( bar 69 ff.) It closes at bar 77, the triad - bass motif of clock 11 ff at, first in B flat minor, then changes Mozart F major and achieved with a fanfare-like tremolo passage the tonic E-flat major, in the then in measure 90, the recapitulation begins. This is structurally similar design of exposure.

The whole movement is executed with no repeats; with its fanfares and the tremolo he gets an overture -like character.

Second movement: Andante grazioso / Andante

Mozart composed for the symphony two slow movements (both without horns in alto ): A Andante Andantino grazioso and a. After Neal Zaslaw (1989 ), the Andante is the first version, which Mozart had finally rejected because of its length in favor of the shorter Andantio grazioso. Since all leaves of the symphony 's written on the same paper type, all rates would probably composed in quick succession.

Andante B- flat major, 3/8-time, 151 cycles

The first theme is the antecedent of a sound carpet with long ausgehaltenem F in the first violin, while second violin and viola accompany with evenly - suspended sixteenth - tone repetition and the bass with single notes. The postscript contrasted with the Forte schleiferartigem run up one octave, triplets and trills phrases. He leads from the dominant E-flat major, which ended in the front set, back to the tonic B- flat major. The Oktavlauf upward returns throughout the movement, forming a characteristic element.

After a short transition begins in bar 21 in F major a chromatic falling Forte motif that is repeated like an echo in the piano ( interpreted depending on your position as the second theme). After another short transition section follows in measure 37, a motif that is similar to the preceding first, but then continues otherwise is ( as the beginning of the end section or be interpreted as a third theme ). The section to the end of exposure in bar 58 is characterized by uniform semiquaver movement. Remarkably the conclusion is: the already known grinder like running up followed by trills, performed only by the violins in Forte.

The development begins first with the first theme in the dominant F major. From bar 71 new elements are introduced, and the harmony changes to C minor. With a viertonigen knock signal of the fan on the F -Dur - seventh chord in measure 91 the incipient Reprise is announced. It opens with the first theme in the tonic B- flat major, the antecedent is then, however, recognized like sequence of different steps. From bar 113 the structure is again similar to that of the exposure. Finally, the grinder is like running up stresses in the forte unison again. Exposure and development and recapitulation are repeated.

Alfred Einstein ( 1953) speaks at the Andante of " personal restlessness of the soul and originality ," the something almost " Expressionist " is intrinsically. Wolfgang Plath (1974 ) points out that Mozart (as well as in the trio of the minuet ) processes church music notes and works quotes Gregorian melodies and even the Christmas song " Resonet in laudibus " (Joseph lieber Joseph mein ) out.

Andante grazioso: B- flat major, 2/4-cycle, 56 cycles

Strong melodic themes found in this set of fairly warm tone does not, instead, dominated the work with smaller designs. The "first issue " consists of a superposition of phrases of the instruments with uniform movement of the sixteenth - second violin, from which rises at the end of cycle 2, the first violin as a vocal leader. After a reconciliation with Provision passage begins in measure 11, the " second theme " as a dialogue of oboes and violins. The final group is characterized by triplets in staccato.

In the development section (bars 20-32 ), the dialogue from the second topic processed ( change of key, motifs in reverse ). The recapitulation corresponds to the structure of the exposure. Development and recapitulation are not repeated in contrast to exposure.

Third movement: Minuetto

E-flat major, 3/4-time, with Trio 68 cycles

Polyphonic passages featuring the original third movement of this symphony. The two begin violins offset by three-quarters blows with the upbeat stressed main subject before measure 5 the other strings with this very subject and from bar 8 and the accompanying winds draw near ( composed crescendo ). At the end of the first part and the second part of the motif also appears in the inversion.

The trio ( C minor, only strings) also begins with staggered mock main motive, but then goes into a passage with exotic - scale tone. The contrasting with stronger movement and Forte middle part contains a new, dance-like motif, which is then surprisingly made ​​only in C major short to B major. Several authors, the special timbre of the trio is highlighted. After Wolfgang Plath (1974 ), who evaluated the trio as " by far the most interesting ( n ) block of the whole work ," Mozart used here as well as in the Andante a " church modes " colored harmonies; Neal Zaslaw (1989 ) speaks of a psalm -like atmosphere.

Fourth movement: Allegro

E-flat major, 4/4-time ( Alla breve ), 139 cycles

The set is constructed as a Rondo with the main theme ( chorus ) and three couplets. The horns are each involved only in the chorus. The couplets consist of two once repeated passages.

• Presentation of catchy, two-piece main theme (Refrain ) clock 1-16. Both parts are repeated. Alfred Einstein ( 1953) speaks of a " shirt-sleeved " melody. Neal Zaslaw (1989 ) interprets this as a parody of the French music of Mozart then little appreciated.
• First couplet, clock 17-38, B- flat major, second passage with chromaticism.
• Chorus, clock 39-54
• Second couplet, clock 55-77, C minor, with chromaticism.
• Chorus, clock 89-94
• Third couplet, clock 95-110, A-flat major
• Chorus, clock 110-126
• Coda, clock 126-139 in Forte with full orchestra use.

References, notes

Web links, notes

• Symphony KV 132: Score and critical report in the New Mozart Edition
• Symphony No.. 19: notes and audio files in the International Music Score Library Project.
• Wolfgang Amadeus Mozart: Sinfonia in mi bem, K. 132 PR 789, Ricordi publishing house, Milan, 1955 ( pocket score ).