Symphony No. 25 (Mozart)

The Symphony in G minor Köchelverzeichnis 183, by Wolfgang Amadeus Mozart in 1773 in Salzburg. He was 17 years old. After the Old Mozart Edition, the symphony has the number 25

General

In 1773 Mozart was archbishop concertmaster in Salzburg. He completed the symphony Köchelverzeichnis (KV ) 183 on 5 October in 1773. Thus it is natural to assume that the work was processed at least partially parallel to the Symphony in B flat major, K. 182, with KV 182 a very different character than KV has 183. For more general information see the emergence at 162 KV

The symphony contains some structures, which until then were for Mozart unusual and differ from the gallant, entertaining style of previous compositions: KV 183 is his first symphony in a minor key (apart from composed probably not from Mozart Symphony KV Anh 220 (16a ) in a minor and the Symphony / Overture to La Bethulia Liberata oratorio KV 118 in D minor ) and is unusually expressive ( use of numerous syncopation, dissonance, tremolo and unison passages, differentiated dynamics and rhythm ). These are typical features of the Sturm und Drang period, in whose context the work is also discussed by several authors. In the older literature is partly attempts to assign a life crisis KV 183 by Mozart:

" Moreover, the G minor Symphony (...) is very romantic, and it's amazing that a seventeen feel so painful and can express these feelings. (...) Press both works with almost identical means of the same painful sensations. But while Mozart in 1788, unfortunately before Musset could have said, "Nothing makes us so great as a big pain ," he had in 1773 still no reason to do so. So why he is suffering? (...) Intuition? Premonition? Is there a reason? We do not stand in front of the eternal wonder the inexplicable mystery " genius "? "

" It is quite possible that Mozart, even though, wrote in a gloomy hour of this self-confession that has more in common something neither of contemporary society art also the liberating air of Haydn's, let alone of Beethoven's finale knows, since it the consciousness of his claustrophobic situation overwhelmed in Salzburg, also possible that the Archbishop, whose music he could approve such a view leaving the "good decency " impossible made ​​then remonstrate. "

Wolfgang Hildesheimer rejects such interpretations from: ". Wrote" "Think you the error to the end, one would have to conclude that Goethe harbored thoughts of suicide, as he called the" Werther Hildesheimer points out that Mozart in a letter from Italy to his sister alludes to a passionate love making; maybe that is a reason for the 'crisis'? Perhaps Mozart has his listening impressions from your stay in Vienna processed with KV 183 in 1773. Michael Kontarsky called as a possible reference works symphonies of Joseph Haydn, whose Symphony No. 39 in particular, which is also in G minor and is staffed with four horns. It is also conceivable that this is simply a "Experimental Symphony" without external cause - similar to the first set of 1773 also composed Symphony KV 184

When Mozart symphonies for a series of concerts took in the 1780s, he was inspired by his father from Salzburg to send a collection of written around 1773 symphonies, including KV 183 Probably for this reason, he tried to erase the date in the autograph to the be able to represent work as a new composition ( cf. KV 162).

About the Music

Instrumentation: two oboes, four horns, two in B and two in G ( in the second set in Eb), two violins, viola, cello, double bass; the bassoon is only recorded in the Andante and the trio of the minuet separately, with the other sets, it should - be used with unausgeschrieben to reinforce the bass voice - as was customary. The same is probably true (if available in the orchestra ) for the harpsichord as a basso continuo instrument.

Performance time: approximately 25-30 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. 183 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 con brio

G Minor, 4/4-time, 214 cycles

The set begins with the unusual " rhythmically moving " first theme: the orchestra plays ( initially without the horns ) the sounds DG - It - Fis each one beat in unison and forte, where the syncopation in the violins and the viola a turbulent atmosphere arises. This figure comes in a unison movement of ascending chord Sechzehntelfloksel and the dominant D major closing phrase in dotted rhythm over ( " first subject " position 1 to 12). The topic header is repeated twice as a variation in contrasting tone: First, even in forte, but with separate bass accompaniment in border districts, then piano with vocal leader, " plaintive " oboe in ganztaktigen notes and quiet string accompaniment. The Fort spin -drying the oboe melody runs from pianissimo in D Major.

The Forte section from bar 29 includes the character at the head of the first topic: Characteristic is a four-bar motif that consists of upward octave leap in ganztaktigen notes and a phrase with a threefold repetition of tones. This motif occurs initially by Tremolo backed placed in the strings on. From bar 37 the Tonwiederholungsfloksel of viola and bass is led through different keys ( including by the B- flat major, C minor, A minor, D minor ), also play the violin puts the Synkopenrhythmus from beginning of block together with one on - and descending chord in tremolo. This tremolo chord dominated from bar 49 is guided, inter alia, by a minor and B flat minor, until he has reached in bar 58 in F major, which acts as a dominant in B flat major for the following second theme.

The second theme (bar 59-74, Tonikaparallele B flat major ), " sad and dance at the same time " is held in the piano and only for strings. In the first half of the four-bar vocal leading 1st violin decorated with the theme of numerous proposals, accompanied by syncope of the second violin and staccato quarters in the bass. The four-bar consequent phrase also is characterized by its even -eighth motif with four times repeated notes. From bar 66, the theme is repeated a version with brass forte. The final section (bars 74 ff ) adopt the exposure to up and down rolling semiquaver runs, the up and down continuous tremolo chords and Synkopenbegleitung.

The implementation ( clock 83-116 ) sets the tremolo movement from the end of the final group initially continued seamlessly, but enriched with chromaticism. From bar 87 occurs a new rhyhtmisches motif of four notes in C minor, the play puts the strings and is reminiscent of the beginning of the fourth set. In bar 97 carried an abrupt, contrasting switch to " resting phase ", the clock 17 ff is similar: The oboe plays with whole notes the head from the first issue, backed by quiet string accompaniment. This quiet passage is interrupted by dramatic interjections of the whole orchestra in unison tremolo.

The recapitulation ( from bar 117) is similar to the exposure structured. After the repetition of development and recapitulation Mozart finished the sentence with a coda. This begins first as imitative crafted version of the opening theme to, spins the motif with its syncopation but then continues and includes the phrase " grim and great " in the tremolo of the violins above the formulated g - minor triad in the bass.

Depending on the position also other set subdivisions are possible.

Second movement: Andante

E-flat major, 2/4-cycle, 72 bars, Strings with dampers

With its act - calm atmosphere, mostly in the piano, the Andante contrasts with the previous sentence. The first theme consists of a motif with three -eighths going down, the dialog between the upper voices ( violins) and Bass ( Bassoon, from bar 5 cello and double bass) occurs ( " sighing motif "). From bar 8, the sighing motif in F minor is spun out. After a short general pause closes in bar 15 the second "theme" in the dominant B flat major with contrasting timbre to: above the tremolo carpet the 2nd violin and accompanied by horn and oboe plays the first violin a Tonrepetitions motif simple in pendulum-like exchange of B flat major and F major. The final section (bars 20-24 ) attacks the dialogue- like structure from the beginning of the sentence as a variant.

The implementation (measure 25-39 ) processed material from the first issue and leading with much chromaticism of f - Moll E flat major to B major. With a crescendo and also the use of oboes and horns announces itself from bar 36 to the recapitulation, which is reached after a short solo insert the first violin with a derivative action on Ces.

The recapitulation (bars 39 ff ) is similar to the exposure structured, however, the part before the second "theme" extended and modified (eg uniform semiquaver figure in the 2nd violin ). Exposure and development and recapitulation are repeated.

With respect to the forward line to reprise praises Hermann Abert the " exciting introduction " and the " expressive cadence of the violins. " Georges Beck speaks at the final group, however, a " hingepfuschten circuit".

Third movement: Menuetto

G Minor, 3/4-time, 51 cycles

The minuet is characterized by the alternation of (usually four-bar ) sections of the whole orchestra in unison forte and piano passages in the strings. The first part is half as long as the second part with 24 bars with 12 bars. At the beginning of a sentence, the two horny couples sharing ( in B and G) voice leading on. The second part begins as Fort spin drying of the opening theme and ends thereof with a brief coda after revisiting.

The pastoral trio is in G major and is only for wind instruments ( oboe, bassoon, horns ) held in the piano. The first four bars of the second part of the trio have worked in imitation.

Fourth movement: Allegro

G Minor, 4/4-time ( alla breve ), 194 cycles

The first theme is presented by the strings in unison (as in the first and third movements ) and piano. It is characterized by the change of uniform motion quarter and dotted rhythms. The dotted rhythm is set for the further construction of meaning. From bar 9, the theme is repeated as a variant, now forte and with voice leading in the oboes, horns (which are " split " the melody ), the viola and bass, accompanied by syncope of the violins. The unison and syncope remember the first theme of the first movement. In bar 16, the first violin enters with a new, contrasting motif with tone repetition and chromaticism in E flat major piano. From bar 26 Mozart changes again in the whole orchestra with runs and the varied head from the first issue to Forte.

The second theme (bars 41-48, Tonikaparallele B flat major ) in the gently - swaying character is played by the strings, piano. Again, there is again the dotted rhythm of the sentence beginning. The theme is repeated a version with oboe accompaniment. A new section is in measure 49 with a head from the first theme in the horn, viola and bass, while the violins with syncope and thirty-second phrases accompany. From bar 53 then dominate the syncopation and dotted rhythms, plus stroke from 63 runs of the strings in contrary motion. The exposition ends as a solo - recitative passage of the first violin, as she also already similar in the introduction to the second theme (bar 37-40 ).

The implementation ( clock 77-107 ) begins as a staccato section in contrary motion. From bar 87 is followed by a new, chromatic upward continuous motif in A Major in 2nd violin, viola and bass, backed by the pedal point on A (G - horns as Liegeton, 1st violin: a tremolo ). After four cycles the subject goes into a stormy eighth run. In bar 94, the first violin moves in the tremolo of F # to G, then the entire motif in G major is repeated. After another quaver movement, syncope and " two tired sinking down clocking the first violins " is - again, with recitative character - the reprise reached in measure 108. This is similar to the exposure structured. Exposure and development and recapitulation are repeated. The movement ends with a coda (bars 187 ff ) with string figures falling in unison.

References, notes

Web links, notes

• Symphony in G KV 183 ( 173dB ): Score and critical report in the New Mozart Edition
• Symphony 25 (Mozart): notes and audio files in the International Music Score Library Project.
• W. A. Mozart: Symphony No. 25 K. 183 Sol Mineur. Heugel et Cie, PH 193, Paris 1952 ( pocket score, current expenditures are, for example, were published by Eulenburg or Philharmonia ).
• W. Meves: Symphonies de W. A. Mozart. Collection Litolff No. 168 Henry Litolff 's Verlag Braunschweig o.J. ( Output of about 1890, including a version of the symphony KV 183 for piano 2 hands ).