Symphony No. 28 (Mozart)

The Symphony in C major Köchelverzeichnis 200 Wolfgang Amadeus Mozart composed in 1773 or 1774 in Salzburg. After the Old Mozart Edition, the symphony has the number 28

General

At the Salzburg symphonies Köchelverzeichnis (KV) 162-202 generally see at KV 162 The Mozart on the autograph defaced dates could only be partially reconstructed with modern technology. While more than a month ( November ) and day ( probably 17, maybe even 12 ) There is agreement, the year is unclear: Suspected in older literature, including the New Mozart Edition and, by extension, with Wolfgang Gersthoferstrasse (2007 ) is assumed in 1773 (since it of style, composed for the 1773 Symphony KV 201 passe and be the November 1774 busy to work on the opera La finta giardiniera ), while Cliff is iron ( 1991) " 1774 (1773? ) " and Volker Scherliess (2005) " 1774 (instead of the first read year 1773) " at. Symphony even after the D Major - - If the latter is true, the C major Symphony, K. 202 Composed and thus the last of the Salzburg Symphony Group.

The outer movements and the Andante have a coda. Alfred Einstein ( 1953) raises 200 out along with K. 183 and K. 201 the special significance of KV and compares this " triad " with Mozart's last three symphonies. Mozart KV 200 used in both " scholarly " and " gallant " forms, such as the imitation at the beginning of the sentence from the Allegro spiritoso one hand, the Lombard rhythm in the same sentence and in the Andante other.

Despite the treat that suggest key and occupation, " surprised the work in many places with chamber music redeemed attitude " what esp. in the contrast between string and wind sound manifests itself, for example, in the second theme of the first movement, in Andante "with its muted violins and woodwind colors sparingly used " or in the trio of the minuet.

About the Music

Instrumentation: two oboes, two horns, two trumpets, 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. A handwritten ( now lost ) copy that was used by Mozart himself, contained a bassoon part, also existed an autograph Timpani Part, which is sold in October 1929 in Berlin and since then also lost. Maybe Mozart later performed in Vienna the symphony with a larger orchestra.

Performance time: approximately 25 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 200 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 spirituoso

C major, 3/4-time, 173 cycles

The first theme consists of two contrasting parts: two bars of a disassembled by " stress breaks " C Major - triad forte unison followed by four piano - bars in the violins with an imitative, descending eighth-note trill figure of for the rest of the record layout it is significant, also forming the main motive of the Presto. Through the two-bar antecedent and the consequent four-bar Mozart, thus deviating from the usual symmetric scheme (2 2 or 4 4 bars ); This design means it also engages in Presto again. The theme is repeated with the roles reversed in the violins. There then follows a fairly long forte passage (bars 13-32 ) with ascending melody line, tremolo and emerging result of the trill figure.

In the second theme (bar 33-47, dominant G major ) with a lilting character of the strings play in dialogue with the oboes. The eight-bar theme is repeated varies. The final section brings another tremolo, a motif with tone repetition and chromaticism, a proposal at the end of a phrase and unison eighth run in staccato. The exposition is repeated.

The development begins unexpectedly not in the dominant G major, but with chords, trills on the subject again in the tonic C major, but with pointing to the subdominant F major seventh, and then also modulated rapidly in this key. The trill motif is now combined in a dance piano passage with throbbing tone repetition and results from measure 83 with the Lombard rhythm in G major back to the recapitulation (measure 91). This is similar to the exposure structured. However, there Finally, the decomposed triad of the sentence beginning on again. However, the corresponding trill figure from the postscript of the first theme extends Mozart only after repetition of development and recapitulation in a coda after.

Second movement: Andante

F Major, 2/4-cycle, mention 91 cycles, trumpets and timpani

The strings open the movement (voice leading violins with mutes ) as sanglichee, somewhat melancholy solemn melody in a wide arc, which also contains the trill motive from Allegro next tone repetition. Before the theme is repeated with altered Fort spin drying, follows - almost as a final twist - a falling somewhat lyre- like figure of the whole orchestra in Forte ( " lyre motif "), which with a broken F Major - triad at the end of the tonic F major reaffirmed. The Fort spin drying of the subject leads to the dominant C major, in which is also the second theme. This ( from bar 21) is characterized in the antecedent by an imitative played trill motif, in the postscript by dotted rhythms ( Lombard rhythm). Like the first issue, it is terminated by the now -circuit- group -like lyre motif, but were then soars again in order to reconcile the beginning of the exposure or in the implementation.

The development begins as held chord in the wind on A, the dominant table to the next D Minor - affects the occurrence of the lyre motif. This will be done in the alternation of piano and forte to B - flat major and G minor before it returns to F major. The recapitulation ( from bar 48) is similar to the exposure structured. Mozart finished the sentence with a coda, which contains an exhaustive, chromatic turn next to the trill motive.

Alfred Einstein ( 1953) suggests that " the slow movement, in its solemnity, (...) already on the way to Adagio" is.

Third movement: Minuetto. Allegretto

C major, 3/4-time, 42 20 cycles

In the first part of the minuet two contrasting parts are presented: at first a strong forte of the entire orchestra with a falling melody line and some chromaticism, to which after an echo in the Horn a string passage in the piano with two upbeat motifs follows. The second part begins in the tonic C major (though the first part was closed in G major, similar to the beginning of the implementation of the first set, as in the Presto) initially identical to the first part, but the material spins then proceeded differently. When picking up the first part ( from bar 25) Scene 1 of the string passage is varied and repeated motif 2 as a final twist an octave higher in the Forte of the entire orchestra.

The trio ( F major, strings only) with chamber music character begins in the eighth imitative motive in the violins, which merges into a motif of 2 is reminiscent of the minuet proposal - phrase. The second part first brings a contrasting chromatic unison passage in Forte before the final turn of the first part is taken up and expanded.

Fourth sentence: Presto

C major, 4/4-time ( alla breve ), 190 cycles

The virtuoso set will be opened by the two violins concertante game, with the vote leading first violin plays a three-bar, descending sequence of the trill motif from the Allegro, while the second violin accompanied by continuous, flowing quaver movement (also mainly in the rest of sentence ). These three cycles with the descending line is offset by a clock with four ascending staccato quarters, so that a "conventional " four-bar theme arises. The three-bar trill passage is repeated, but now followed by a signal-like motif Quart forte tutti, which expands the theme to " asymmetric " five bars with its two bars. The whole section is repeated (bars 11-18) and then leads into a passage that addresses the continuous quaver movement of the second violin and established, inter alia, with virtuoso runs, the dominant G major.

After a short general pause sets in measure 33, a second subject. It shows - in contrast to the first theme - a symmetrical structure and is characterized by its memorable and singable melody. In the postscript the wind comes concomitantly transformed and enhanced with sustained chords. The final section (bars 48-71 ) is repeated an accent - echo-like motif in the piano, picks up the motif Quart on ( clock 60 ff ) and terminates the exposure to a to aufschaubenden Tonrepetitions motif ( again with accents ), which, after repeating the exposure seamlessly into the implementation.

This begins (as in the first and third movements ) unexpectedly turn in the tonic C major with the first theme that is then passed to F major, D minor and G major. The fourth motif Mozart alternates clock 90 on G major to C major, achieved with the accent motif F major (bar 99 ff ) and forwards with the trill motif in G major - played by the oboe - the Reprise back.

The recapitulation (bars 106 ff ) is initially similar to the exposure structured, however, the first topic is not repeated. In the coda, Mozart makes you once the trill sequence from the first issue before - first as in the beginning in the violins, then in the tutti. Subsequently, the previously especially played by the second violin, flowing quaver movement becomes independent in a massive crescendo with offset use of the instruments as well as a narrowing series of four, three and two-stroke groups that finished the sentence with the fourth motif fortissimo.

" The finale is finally a milestone in Mozart's development: he would have Presto, with its dialogue between soloists ( two violins) and tutti, with his great orchestral crescendo at the end, even as an overture for his" can do abduction " would be the invention not too Italian buffo. "