Symphony No. 23 (Mozart)
The Symphony in D major Köchelverzeichnis 181, by Wolfgang Amadeus Mozart in 1773 in Salzburg. After the Old Mozart Edition, the symphony has the number 23
General
The autograph is dated 19 May in 1773. Regarding genesis and composition occasion see at the symphony Köchelverzeichnis (KV) 162
From the three-movement form Bring the portion corresponding to the Italian Symphony type ( Overtures - type ), the sets as in KV 184 and KV 318 merge. An overture -like character has in particular the first sentence with the fanfare, virtuoso runs and areal tremolo passages. Volker Scherliess (2005) sees this as an influence of the Mannheim school. " Other features of Mozart's confrontation with the Mannheim style could be given, for example, the narrow, capricious forte -piano- exchange, or even details of the instrument treatment, such as the dialogisierenden games between first and second violins in the Presto assai. " In the middle movement is the aria -like melody for solo oboe striking the final sentence of the Clean Sweep type carries march-like traits.
About the Music
Instrumentation: two oboes, two horns in D, two trumpets in D, two violins, two violas, cello, double bass. Moreover, it was customary to reinforce the bass and bassoon use a harpsichord as general bass instrument (provided in each orchestra present), the same applies to the often used parallel with trumpets timpani.
Performance time: about 8-10 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 181 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 spiritoso
D major, 4/4-time, 181 cycles
The set opened as Forte fanfare, in which the bass on planar tremolo and wind chords a broken triad figure plays ( similar in KV 162), followed by a " rocket -like" ascending D major - Running in the violins. The subsequent section to the second topic is kept for a symphony overture -like type is relatively long (measure 5-69 ) and consists of the following sections:
- Section 1 (cycle 5-23 ): sound surfaces with tremolo and chords on continuous triad figure in the bass (ie similar to clock 1/2); the sound area varies between forte and piano and performs on G minor, D minor and B flat major to A major.
- Section 2 (cycle 23-30 ): quiet passage with tied half notes about Tonrepetitionsbass on D.
- Section 3 (cycle 31-38 ): rising, walking bass movement on Syncope of the violins.
- Section 4 (cycle 39-69 ): Tremolo under by running bass, virtuosic semiquaver runs partly in dialogue 1 to 2 violin. Turns is a fanfare -like motif in dotted rhythm offset between the violins, oboes and Viola / Bass that occurs (measure 50-57 ). The beginning of the bass line in measure 39 is reminiscent of those from clock 31 In bar 69 the dominant A major is reached after a chord cadence.
In A Major now the second theme (bar 80-77 ) piano will be carried forward. It is constructed symmetrically with " question " the first violin and 'answer' of oboes, 2nd violin and viola. This four-bar structure is repeated. In the final section (bars 78-86 ), with its tremolo and of itself unscrewing melody line is followed by a transition passage almost verbatim repetition of the first part of the sentence, but without the Eingangsfanfare and with the exception that the harmonies on the tonic D major are related. With further reconciliation clocking the sentence leads without a break into the Andantino.
Second movement: Andantino grazioso
G Major, 3/8-time, 88 bars, two-part form
The strings play piano melody in their remote movement, which is composed of three four-stroke (cycle 1-12). The melody is from measure 15 of the first oboe (of Mozart in the score with "Solo " is highlighted ) in the dominant D major continued as a vocal, aria -like Fort spin drying. The third part is no longer viertaktig but achttaktig and opens first fallacy like the Dominant parallel B minor ( bar 31 ), in the subsequent repetition then to the dominant key of D major.
Below is a brief reconciliation section with accented Provision, which leads to the almost verbatim repetition of previous material from bar 44. The oboe melody is now, however, in the tonic G major. The reconciliation with the passage emphasized Provision switches to D major and ends without a break in the third set.
Third movement: Presto assai
D major, 2/4-cycle, 166 cycles
The set is constructed as Rondo:
- Introducing the main theme A ( chorus ) in D major, clock 1-16. It has by its dotted rhythm on a march-like character. Antecedent and consequent are each achttaktig.
- The first couplet ( A Major, clock 17-40 ) consists of three eight-bar also units, which is characterized by a trill phrase, the medium by Forte - unison chords in the march - like dotted rhythm first and last.
- Chorus (D -Dur, clock 41-56 ).
- The second couplet ( D minor, clock 57-80 ) is applied in turn made up of three eight-bar units. The first two correspond to each other as antecedent and consequent, are only kept for the violins and characterized by a stepped quaver movement and the trill phrase from the first couplet. The last unit has a falling, remote figure in the oboe / viola and a horn pedal on ( the violins are silent ), it is again gliederbar in two four-bar subunits.
- Chorus (D -Dur, clock 81-96 ).
- The third couplet (D -Dur, clock 97-120 ) is a variant of the second.
- Chorus (D -Dur, clock 121-136 ).
- Coda in D major, clock 137-166: Again the main topic, but antecedent in piano, from bar 152 more Dreiklangsmelodik march with character.
Striking is beside the long march character of the main theme of the symmetrical structure of both the main theme and the intermediate parts of small-scale units.