Symphony No. 32 (Mozart)

The Symphony in G major Köchelverzeichnis 318, by Wolfgang Amadeus Mozart in 1779 in Salzburg. After the Old Mozart Edition, the symphony has the number 32

General

Mozart wrote the symphony, which is dated April 26, 1779, shortly after his return from Paris in Salzburg. She is with her three merging sets in the style of an Italian overture, the last sentence is the reprise -like repetition of the first. These large cast with four instead of the usual two horns and some sound effects (eg, crescendo sounded colorful brass stabs, tremolo and short-term exchange of forte and piano ).

Whether the symphony was originally designed as an introduction to a ( own ) Opera, is unclear; possible candidates for this are Zaide Köchelverzeichnis (KV) 344 and Thamos, King of Egypt KV 345 Mozart used the work again in 1785 for a performance by Francesco Bianchi's " La villanella rapita ".

About the Music

Instrumentation: two flutes, two oboes, two bassoons, four horns, two trumpets, two violins, two violas, cello, double bass. A harpsichord used as continuo - Probably also was - if present in the orchestra. This also applies to the drums, which are not listed in the autograph. The " Advanced Orchestration " may be created later ( 1782 or 1783) in Vienna.

Performance time: about 8 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 only 318 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. Since the individual "parts" of the symphony as seamless as one could also speak of a sentence instead of three. Here is preserved because of the clarity, the tripartite division, the bar numbering is however continuously.

First movement: Allegro spiritoso

G Major, 4/4-time, 109 cycles

The sentence begins as a march-like fanfare forte unison, the individual phrases ( repeated notes with dotted rhythms and upbeat Zweiundreißigstel triplet followed by octave leap down) are separated by pauses. Contrasting answer the strings in the piano with a melodious figure that also begins with the upbeat triplet ( violas with a staggered application ). Fanfare and response are repeated. The section up to bar 11 can be viewed as the first topic in a broader sense.

The following Reconciliation section (bars 12-32 ) contains the tremolo guided Akkordmelodik, syncope, as well as the " kick-off design" of Anfangsfanfare, which now, however, occurs without interval jump and (also) is spun out as a semiquaver triplet. In addition, a small new motif ( 20-23 clock ) is turned on, also upbeat and with repeated notes. From bar 24, the triplets start motif occurs as a pendulum movement, this is then repeated again in eighths. From bar 28, a change from D and A major is on a " bass drum " on A place, which ends ( the double dominant to G major ) with a chord in A major; this chord acts dominant table to the next occurrence of the second theme in D major.

Initiated by ganztaktigen, signal-like unison D Forte, closes the second theme with periodic structure. In the antecedent only strings are involved up to the bassoon, in the postscript also the wind. Characteristic is the contrasting tone repetition in vocal leading first violin and a semitone in the bass; the character is " playfully, as if revolving on the spot ".

In bar 49 a Crescendoabschnitt starts from pianissimo to fortissimo. The above the bass drum aufschraubende melody line here is out in the tremolo, and contains, besides the octave jump from block start something chromaticism. The movement ends in a D Major - passage, with which about a character from broken chords, the fanfare motif placed in the violas and bass occurs. Final section from bar 65 includes Akkordmelodik. The exposition ends in bar 69 with three quarter-note beats in unison on D.

The performance opened with a überleitungsartigem section in the piano, which is ( not identical with the Anfangsfanfare ) characterized by its exchange of staccato and legato eighth run, and by fanfare-like interjections of brass. In bar 85 is a relatively long tremolo passage in Forte to, when the fanfare motif offset ( from the beginning of block) between second violin and the viola occurs while the dominant tremolo in the first violin moves cyclically minimal down. As a bass figure, in turn, occurs on the drum bass. After a G Major - seventh and two energetically repeated phrases, the implementation ends up as a unison passage, at the end, the upbeat Zweiundreißigstel triplet is repeated five times from the beginning of the block in the Forte.

However, instead of the expected recapitulation follows - separately for the listener by a general pause with pause - the second set.

Second movement: Andante

G Major, 3/8-time, clock 110-207

First, the strings carry the piano in front of the main theme with gently - swaying character, partly accompanied by the bassoons and flutes. It has periodic structure of each achttaktigem antecedent and consequent, which in turn can be structured in two-bar units. In bar 126 is followed by a four-bar motif in the strings with leading vocal 1st violin, 2nd violin and viola while in legato sixteenths accompany (bass and bassoon only play single notes at the beginning of the bar ). This motif is repeated changed and then spins the legato movement under continuous enrichment of chromaticism.

A contrasting throw is the (again ) fanfare-like passage for oboes and horns of clock 144 bis148 aimed harmony D major slipping to B minor short-term ( cycle 150). The following dotted movement of the strings leads to the unison presented, broken D Major - seventh chord that ends the first part.

The opening theme is repeated; However, from bar 63 follows a different Fort spin drying with stressed Provision, circuitous sixteenth-note figures in legato and a phrase with dotted rhythms, which may be thought derived from the subject in measure 126 et seq. The theme is then repeated a second time, with the consequent is held with voting leading brass. It immediately follows the Bläserfanfare analog clock 144 ff, which passes through a short cadenza without a break in the third set.

Third set: Primo tempo

G Major, 4/4-time, clock 208-274

The third set can be used as the lack of the first set Reprise be considered. However, this does not begin with the usual fanfare on, but with a pendulous, largely in unison recited motif in characterizing forte - piano - Jump. With the bass drum analog clock 28 and the subsequent second topic next set course then follows almost literally the Allegro, the harmonies are, however, now based on the tonic. Instead of the conclusion of the exposure Mozart has set a coda from bar 256, which takes up the first theme and the beginning of the line, but the second fanfare -like eruption of the first set einschiebt fortissimo. This occurred first and second theme mirror image of the exposure (ie, the first set ) on.

References, notes

Web links, notes

• Symphony in G major KV 318 D: Score and critical report in the New Mozart Edition
• W. Meves: Symphonies de W. A. Mozart. Collection Litolff No. 168 Henry Litolff 's Verlag, Braunschweig undated ( output of about 1890, including a version of the symphony KV 318 for piano 2 hands )