Symphony No. 27 (Mozart)

The Symphony in G major Köchelverzeichnis 199, by Wolfgang Amadeus Mozart in 1773 in Salzburg. He was 17 years old. After the Old Mozart Edition, the symphony has the number 27

General

On the origin of the "Salzburg Symphonies " Köchelverzeichnis (KV) 162-202 see in KV 162, Symphony, K. 199, dated 10 or April 16, 1773, is still created in three movements, but in character no opening piece, but a concert symphony, "conventional in form and musical language." The main sections of the sentences are repeated so that Finscher (1998) says, KV 199 is " if all repetitions are played ( and there is no reason not to do so ), a downright strange long piece, because the substance of its length hardly corresponds. " Volker Scherliess (2005) writes about the " substance " ," If it 's all about polyphonic working through, the objection is probably right, at least for the first two sets; but if motivic variation, organic replying and continuing a phrase is meant, he is unlikely to meet. However - as measured by Mozart's own standard, the G major works - Symphony not only conventional, but deliberately conservative ".

About the Music

Instrumentation: two flutes, two horns in G, two violins, viola, cello, double bass. 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 18-22 minutes (depending on adherence to the prescribed repetitions)

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. 199 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

G Major, 3/4-time, 146 cycles

The first theme (bars 1-19) consists of several components: After four opening chords, on G follows (as main component ) a passage in which a two-bar motif spun out or is " answered ". Initially, only the first violin vocal leader (the other strings supported a tremolo carpet), at the Fort spin drying then the flutes. The third block begins with an emerging unison figure and leads over tremolo to the dominant of D major. The whole issue is consistently in the Forte.

After a short break the second theme for strings ( D major, piano ) with dance- predominant figure in the vote leading violins begins. The theme is repeated forte with brass participation and then moves into the final group (bars 36 ff ) above, the echo-like repeats interrupted by pauses chord progression in piano and then the exposure as formulated cadence ( with virtuosic semiquaver run up the violin initiated ) ended.

The following section contains a character with überleitendem sequence of several smaller motifs: first in thirds and with trills, then loosened with dissonant syncopations and finally with sanglichem character and border bass line. The recapitulation (bars 87 ff ) is structured as the exposure (but is, for example, the final motif four times and in unison reinforced rather than repeated twice ). Exposure and development and recapitulation are repeated.

Second movement: Andante grazioso

D major, 2/4-cycle, 99 measures

The set, the "event" of the symphony begins in the first theme with a " delicate Terzengesang " the muted violins pizzicato in the lower strings. In the postscript the flutes come with added vocal leader. From bar 17 the second theme is immediately followed with his upbeat theme in the first violin with echo in the winds over trio Lenke tablets in the staccato of the second violin and bottoming accompaniment in the bass. From bar 22 the topic drifts abruptly into an exotic, floating " wall of sound " with sustained chords of the wind instruments, which begins as a diminished chord in the harmony remote F major and finally to the dominant changes in A major. The final group is unusually designed with the unanimous octave steps of violins.

In the middle section (bars 35-52 ) Mozart first presents a new six-bar thoughts in the strings with dialogical start -border movement in the bass, which is passed down. This idea begins (following the final group) with an octave and combines the dual tone repetition of the first theme with the triplet from the second issue. Is ended - now the bass - then a (somewhat reminiscent of the second theme ) dialogue between flute and violin 1, which in turn circuit group of like unanimous Oktavbewegung follows. In the recapitulation, the second theme is doubled in length, and the end of the movement is enhanced by a coda.

Overall, this set, which requires compliance with all repetitions in a lot of time (about 9-10 minutes), " something Dreamy, in itself Sunken ". The particular tone comes through the muted violins, the leisurely pace ( border bass pizzicato ), the restrained dynamics (usually piano) and the unanimous conclusion turns to conditions.

Third movement: Presto

G Major, 3/8-time, 323 cycles

The first theme is first presented by the two violins ( vocal leader 1st violin, vote against second violin), the head of the subject - one derived from the opening theme of the Allegro four-note motif - runs then displaced by the instruments and from bar 17 twice forte unison in the meantime reached A Major repeated.

The second theme (bar 25 ff, D major, strings only) begins with the same four-note motif as an antecedent, but then has another nachsatzartige Fort spin drying and gets from bar 33 waltz -like traits. The final section (bars 51 ff ) initially brings a bell -like Tonrepetitionsmotiv in the wind dialogue - Strings, followed by a chromatic spherical passage, a unison motif with tone repetition and a two -part playing the violins, which leads to the repetition of exposure or carry out.

The implementation sequenced this violin motif from the end of the final Group G major and A major to B major. In this vein, the movement died down, until finally only the first violin 's left and with a falling semitone in figure introduces the recapitulation. This is similar to the exposure established, however, as extended coda that ends the record with tremolo and the motif unison.

Volker Scherliess (2005 ) illustrates the finals of Ludwig Finscher (1998) mentioned discrepancy between the length and "substance" of the symphony ( see above ): "The difference between a finely wrought image and large-scale fresco painting arises: This symphonic movement might better fit into a serenade, whose aim is merely pleasant to talk to. " on the other hand, however, subtleties speak, for example, in the topics of leadership at the beginning of a sentence ( first two parts, then several voices, finally waltz -like): " such imperceptible transitions between the levels of style contact not only to the " lovers ", but in particular to the " experts ". Maybe Mozart had with this symphony a very special handset type on the senses and wanted to "serve" his taste. "

References, notes

Web links, notes

  • Symphony 27 (Mozart): Score and critical report in the New Mozart Edition
  • Wolfgang Amadeus Mozart: Sinfonia in sol, K. 199 PR 795 Ricordi publishing house, Milan, 1955 ( pocket score )
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