Symphony No. 21 (Mozart)
The Symphony in A major Köchelverzeichnis 134, by Wolfgang Amadeus Mozart in August 1772 in Salzburg. After the Old Mozart Edition, the symphony has the number 21
General
For general information regarding the Salzburg Symphonies (KV 128, KV 129, KV 130, KV 132, KV 133, KV 134) see at 130 KV
The Symphony, K. 134 was formed in May 1772 was probably intended for a client in Milan. Alfred Einstein (1953 ) speaks of " a pronounced" flirtatious " throughout the symphony ," in which " but also a new type of cantabile and also a finer sense of imitation " show. Hermann Abert (1955 ) tells KV 130 and KV 134 Mozart that reach a height here, " he has only rarely climbed again in the following period, " and raises the " romantic train, in the soon in intimate enthusiasm, soon bizarre mood, now in heaven-storming passion manifests " as a unifying element of the sets out.
Each set except the minuet has a coda; there are flutes used instead of the usual oboes, and the byplay total elaborated in some detail (eg, second violin in the first sentence ).
About the Music
Instrumentation: two flutes, two horns in A, two violins, viola, cello, double bass ( no oboes). 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 18 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. 134. - 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
A major, 3/4-time, 173 cycles
The first theme consists of broken chord patterns and Provision in the first violin ( vocals ), backed by the chords of the wind instruments and the rest of the tremolo strings. After the first eight bars at Forte follows to clock 16 is a repetition in the piano, but now with no wind and an octave lower. It joins a forte section at that picks up the broken triads with dotted rhythms, but now in the second violin and the cello / double bass, while getting the first violin and the viola with tremolo with runs and chords accompanying function.
The second theme ( dominant E major, piano ) has melodious character and a periodic structure. Again, the first violin is voiced leader, while subordinate to the other instruments accompanying. From bar 42 follows an existing motifs from the second theme brief transition, until the final section begins in measure 50. This again includes the triad of material from the first theme, sometimes in unison, sometimes in contrary motion. From cycle 58 to 61 play - contrasting to the previous and subsequent use of the full orchestra - only the two violins piano. The exposition ends as "open" seventh chord on E and is repeated.
It follows the implementation in which the chord motif is led by the first theme by the strings. The performance ends with a passage in unison and with chromatic elements on the dominant E, then in the recapitulation begins - but not as usual with the first theme, but with the first part of the second subject. From bar 112 again follows a section in which - as in the development section - the chord motif of the first theme is processed. This section also ends on the dominant of E, and now includes ( from bar 122) the second part of the second subject on first in the strings in A minor and the piano, then in the tonic A major forte of the entire orchestra. The final group is designed similar to the exposure. The end of the sentence ( development and recapitulation are not repeated ) forms of clock 156-173 a coda whose main part is a crescendo from piano to fortissimo.
In the Symphony, K. 133, the recapitulation begins also with the second issue.
Second movement: Andante
D major, 2 /4 time, 73 bars
For the rate constant, uniform motion is characteristic by Zweiundreißigstel notes, thus a slightly mumbling character or a " carpet-like " arises accompaniment in the byplay.
The first violin begins with her melodious, characterized by arches and suspensions theme (bar 1-10). The antecedent is piano, the consequent forte held. Accompanying affects the second violin, the viola, in part, with broken, constantly running as Zweiundreißigstel triads in staccato or legato, the bass with slow border octave jumps and the players with chords.
The second theme (bar 10-18) follows without major transition in the dominant key of A major. Base is a motif of four Zweiundreißigstel marks, lapping at a sound; formerly the accompanying Zweiundreißigstel movement is so " upgraded ". This subject is at first only in the first and then in the second violin, followed by a crescendo, where the viola and the flute the subject to take. After a short decay of the movement is in bar 19 the final group with characteristic bass movement in octaves, tone repetition and alternation of forte and piano one. The exposition ends on the dominant seventh chord as on A and is repeated.
The basic key of the following reconciliation part is first (cycle 25-31 ) D, it is through continuous tremolo in the second violin, which held octave horns on A ( acts like a pedal point ) and the short motif with trills in the first violin and the flutes embossed. It joins the Forte a cadence with all strings in tremolo, which ends in F sharp minor, followed by a fanfare-like section that represents the return to the recapitulation. This is similar to the exposure structure, but is not repeated. Mozart finished the sentence as a three-bar, cadential coda.
"(...) One of those charming midnight blue " Garden and Fontaine plays " Mozart: Tender Melodisieren the Primgeigen einbegleitend about buzzing murmur of the second violins, an exciting gust of wind, minor twist, discrete Horngetön, repatriation, all in a confined framework of a precise " Coda " unsentimental, but lächenlnd dismissed. "
Third movement: Menuetto
A major, 3/ 4 - stroke, 30 strokes ( Minuet ); 28 clocks ( Trio)
The predominantly at Forte held Minuet is composed by trills and the two violins or offset played triplets marked.
The first part of the trio in D major consists of a vast, sequenced strings motif in the piano. It follows in the second part of a strongly contrasting passage in Forte: The horns 'ask' four times with three quarter-note beats on A and each with three quarter-note beats of the violins ( ddA ) " answered "; accompanied by eighth-note tremolo on the Viola A.
Fourth movement: Allegro
A major, 4/4-time ( Alla breve ), 141 cycles
The set begins with the melodic, upbeat first theme (bars 1-10 ), which is only piano played by the violins. The second beat is emphasized as ( syncope). Then set the whole orchestra with a motif of five repetitions ( " Fünftonmotiv " ) in a Forte, which is repeated in the echo-like piano, followed by a passage with trills motif.
The second, again a melodic vocal theme in the dominant key of E major contains on the first beat of a derivative action, so that the syncope here produces a different effect than in the first topic. The following section processes the first issue that occurs in addition to the violins and bass. The exposition is repeated.
The middle part begins as under waited general pause. Then the tone changed abruptly: Starting with C sharp minor, it is the Forte of the entire orchestra and in characteristic jumps in on bass F sharp major and D major, finally, to E major. The recapitulation sets in measure 74 with the first theme in the tonic A major and is similar to the exposure structured. After the repetition of development and recapitulation of the movement ends as a coda (bars 131-141 ), consisting of A- flat major chord with the " Fünftonmotiv ".