Symphony No. 22 (Mozart)
The Symphony in C major Köchelverzeichnis 162, by Wolfgang Amadeus Mozart in 1773 in Salzburg. He was 17 years old. After the Old Mozart Edition, the symphony has the number 22
General
Between March 1773 and November 1774, Mozart wrote in Salzburg, the nine symphonies K. 184: March 1773 (possibly until the autumn of 1773), K. 162: March or April 1773, KV 199: April 1773, KV 181: May, 1773 KV 182: October 1773, K. 183: October 1773, K. 201: April 1774, KV 202: May, 1774 KV 200: November 1773 or 1774th
For whom or what the occasion, Mozart composed the works is unknown. It is possible that he has designed for Italian patrons or wanted to present the group with regard to employment. Some of the works of Mozart appears to have particularly appreciated because it she performed in 1783 at his Viennese academies again. However, since it was unusual to present old compositions to the audience, he had to publish them as new symphonies. Maybe this is the reason why the Mozart datings made illegible autographs by shaving and blackening with ink ( the datings could be reconstructed with modern technology, in part, at KV 162 and KV 200 remain uncertainties ).
The Symphonies KV 162, KV 181, KV 182, KV 184 and KV 199 are in three movements and carry up to KV 199 overture -like trains ( Italian opera symphony ), while K. 183 202 represent, KV 200, KV 201 and KV with a minuet four-movement concert symphonies. The dated 19th or March 29th or April 1773 Symphony KV 162 shows the typical features of the Opera Symphony / Overture: A three-movement, rather short work with continuous first sentence, pastoral middle section and a " Clean Sweep " as a finale. More Mark are fanfares, Akkordmelodik and fortepiano - contrasts. Works of this kind have been performed, for example, at the beginning of academies ( concerts ).
About the Music
Instrumentation: two oboes, two horns in C, two trumpets in C ( " trombe lunghe " = long trumpets ), two violins, viola, cello, double bass. Moreover, it was customary to use to enhance the bass bassoon and basso continuo instrument as harpsichord, the same applies to the often used parallel with trumpets timpani (both provided in the orchestra present).
Performance time: about 8-9 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 162 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 assai
C major, 4/4-time, 135 units
The sentence begins as a fanfare at Forte of the entire orchestra ( tutti ) with a characteristic bass line of broken C major triad over tremolo and held chords of the wind instruments ( bars 1-2 ), followed by an interspersed with eighth rests ascending motion in Oboe, Horn and viola. This four-bar pattern is the dominant G major and then again in the tonic C major repeated ( " first subject " position 1 to 12). In bar 13 ff a forte section follows, the ornament phrases, backed by tremolo Unisonobewegung and turn fanfare-like Akkordmelodik on the dominant G major contains. The now well-established G major is emphasized at the end of this passage by three strong quarter-note beats.
The second theme (bar 32 ff ) consists of three motifs. The first theme in G major piano contrasts with the previous course of the movement: the second violin begins here with a " ticking " going down quaver movement, added followed by the first violin. This figure ends in D major - chords ( double dominant ). The second motive brings an ornament phrase in G Major Forte, the third descending motion with accents. Motif 2 and 3 are repeated in each case together.
Clock clock 52 ff ff 48 brings in the Tutti - Forte a triad figure with tremolo in the alternation of G major and D major, another motif with dotted rhythm: According to this pattern of motifs that are repeated once, the set continues. From bar 60 sets as the final group again the first topic on, but now in G major. The issue ends " open" chord without bass, followed by a general pause with fermata.
The short implementation ( bar 68 ff ) begins with a unison E, which is followed by the beginning of the second theme. This combination is then sequenced down on unison unison -D and -C. In bar 80 is in the subdominant F major the reconciliation portion corresponding to clock 13 ff a. Depending on your viewpoint, either here or at the start of the second theme in measure 99, the recapitulation are set, its subsequent course is designed according to the exposure. According to his ouvertürenhaftem character exposition and development and recapitulation are not repeated.
Overall, the set is reminiscent of a " baroque colored solid music ", especially in recordings with timpani.
Second movement: Andantino grazioso
F Major, 2/4-cycle, mention 70 cycles, trumpets and timpani
The set consists of a sequence of one time each (varies ) repeated motifs and can be divided into two main parts.
The first part consists of five designs:
- Scene 1 ( bars 1-4 ): two-bar, sang Handsome design with the ascending line in the strings, final phrase with horns;
- Reconciliation (cycle 4-8): contrasting movement with a falling line, change to C major;
- Motif 2 (cycle 9-12): one-measure motive with trills and repeated notes, repeated twice going downhill;
- Scene 3 (cycle 13-16): fanfare -like motif in the oboes and horns with the ascending line;
- Scene 4 (cycle 17-20): "answer" the strings to scene 3, also with trills and repeated notes, however, unlike motif 2;
- Clock 21-28 repeat motif 3 and 4;
- Scene 5 (cycle 28-32): two-bar motif with staccato triplets in the strings, with the repetition in legato with brass participation;
- Clock 32 -35: Coast with remote triplet and trills; End of the first part on the dominant of C major.
The second part is a repetition of the first part, but from bar 43 (equivalent to clock 9 ff ) the harmony is based on the tonic. During slow movements are otherwise often kept in a reduced orchestration, oboes and horns come here out clearly and bring the special timbre.
"So that brings Andantio Although, formally, two ( almost) identical musical processes that are behind the other as blocks without really develop. But the way Mozart 's oboe and horns against the strings sound begins - and the associated refinement of the set of technology - are precisely no longer " barockisierend " static ".
Third movement: Presto assai
C major, 6/8-measure, 116 cycles
As in other symphonies that time (eg KV 199, KV 202, as for example, KV 96 and KV 112) Mozart uses for the finale to the first theme of the first movement: The serving as bass theme in C major - triad is heard now in unison Forte, but the rhythm changed ( change of quarters and eighths ). This antecedent is compared with a postscript of parallel violins in piano with characterizing exchange of staccato and legato. After the repetition of the theme begins in measure 13, a passage in which stressed suspensions and a Zweiundreißigstel proposal figure occur over by running eighth notes in the bass in the upper voices.
The second theme (bar 26-34 ) in the piano has dance- predominant character. In the postscript, the oboes are voting to set aside the violins. In forte tutti followed by a four-bar trill passage that is repeated an octave piano (cycle 38-42). The final section (bars 42-45 ) contains abgwärtsgehende, broken G Major - Chords in Forte.
The general pause separated by a middle part (cycle 46-65 ) brings three new motifs / phrases:
- Q & A - motif in the alternation of piano and forte;
- Cadenza-like passage with supported by chords, trills;
- Darkly chromatic falling line is repeated with brass participation.
The structure of the recapitulation (bars 66 ff ) corresponds to that of exposure. As in the first set, no phrases are repeated.
References, notes
Web links, notes
- Symphony in C major KV 162: Score and critical report in the New Mozart Edition