Symphony No. 24 (Mozart)

The Symphony in B flat major Köchelverzeichnis 182, by Wolfgang Amadeus Mozart in 1773 in Salzburg. After the Old Mozart Edition, the symphony has the number 24

General

The autograph is dated 3 October in 1773. Mozart composed the symphony shortly after returning from his trip to Vienna (July to September 1773). A few days later, on October 5, 1773, he completed the work on the symphony Köchelverzeichnis (KV ) 183. Regarding genesis and composition occasion see at 162 KV

From the three-movement form Bring the portion corresponding to the Italian Symphony type, the sets not like KV 181, KV 184 and KV 318 merge into each other, but stand separately.

About the Music

Instrumentation: two flutes (only in the second set ), two oboes, two horns in B, two violins, viola, 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).

Running 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 182 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

B flat major, 4/4-time, 146 cycles

The set opened as a contrast theme from two-bar motifs: signal -like - decreasing in B flat major - triad in Forte of the entire orchestra, ascending trill phrases in the violins ( piano), border B flat major - triad figure in viola and bass with syncope of violins ( forte), string figure in remote movement ( piano). The following Forte block is marked next to areal tremolo by two motifs: motif 1 ( bar 17 ff ) with unison eighth row up and down and motif 2 (cycle 26 ff ) with border district movement, the first violin in turn syncope accompanied. Motif 2 is repeated twice ( the first time like an echo in the piano ). The section ends as cadential chord progression in the dominant F major. The second theme ( from bar 37, F major ) with its Lombard rhythm in the violins, the walking figure in the bass and the Vorhaltsfloksel will be carried by the strings piano.

The following section up to bar 75 can be viewed as a miniature implementation: Picture 1 offset occurs in the strings (2nd violin - bass - viola) on overlaid tremolo 1 / 2 violin. Here Mozart modulated shortly after G minor, D minor and A major, followed by a based on these same harmonies chromatic passage. About fanfare- like Dreiklangsmelodik with march -like - dotted rhythm, the conduction occurs to the recapitulation. This is in clock 76 with the first theme and is mostly similar to the exposure up. The Forte - block before the second theme, however, is extended and touches with a new bass motif short G major and C minor. The beginning of the development section with motif 2 is taken up again, then leads to an abrupt end to a coda with the beginning of the first theme (bar 137 ff.)

The set as a whole by " by a highly compressed scarcity ( ... ), which puts him near a Baroque prelude to a suite or divertimento ", also. Due to the bass motif over tremolo in the violins

Second movement: Andantino grazioso

E-flat major, 2/4-cycle, 60 cycles, flutes instead of oboes, horns in Eb, violins with mutes

By replacing the oboes by flutes, the attenuation of the violins and the leadership of the bass pizzicato, a kind of pastoral idyll, as is typical for some middle movements of Italian opera symphonies.

The rate is based on two themes in particular in the longer motif -like second theme sounded colorful effects through dialogue between strings and winds arise.

  • A section (bars 1-8): presentation of the main theme ( chorus ), which is composed of one four-bar antecedent and consequent. The first two bars of antecedent and consequent are based on the ascending E flat major triad, the following two measures on a downward continuous, remote sixteenth-note motion. Vocal leader are the flutes and the first violin. The section is repeated.
  • B section (bars 9-18 ): based on a motif with four-fold repetition of tones and its Fort spin drying, the offset between the strings and from bar 15 also occurs in dialogue with the flutes.
  • A section (bars 19-26 ): As the beginning of a sentence.
  • 'B' section (bars 27-44 ): The Tonwiederholungsmotiv occurs in different forms and timbres. The section ends as a solo for flutes and horns.
  • A section (bars 45-51 ): As the beginning of a sentence.
  • C- section ( clock 52-60 ): Codaartiger end to change from ascending forte unison passage and descending response in the piano.

Third movement: Allegro

B flat major, 3/8-time, 132 cycles

This rather short sentence in Rondo - structure is kept in character then typical for final movements " Clean Sweep ". Characteristic of the memorable main theme is the two-bar structure downstream of chords, and jump interval that is lined up in the echo -like alternation of forte and piano. The section with the main theme ( chorus clock 1-16) is repeated.

In contrast, only a couplet is (similar to the second set ), which consists of three symmetrically constructed motifs:

  • B1: remote, dancing figure from two to four clocks, piano;
  • B2: downhill run and trill phrase, viertaktig and repeated forte;
  • B3: based on continuous downward phrase of three notes, achttaktig, is repeated with oboe accompaniment.

After a short transition (cycle 50 ff ) follows again the main theme, which connects to the slightly varied B section. The set ends with a codaartigen final section (bars 107 ff ) with tremolo, virtuosic semiquaver runs and a variant of the main theme ( the two-bar structure passes through a complete B- major triad ) in Forte unison. The section from measure 17 to the end is repeated.

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