Symphony No. 33 (Mozart)
The Symphony in B flat major Köchelverzeichnis 319, by Wolfgang Amadeus Mozart in 1779 in Salzburg. After the Old Mozart Edition, the symphony has the number 33
General
The autograph of the Symphony Köchelverzeichnis (KV ) 319 is dated July 9, 1779 and originated in Salzburg. Only three sets according to the Salzburger Mozart had originally intended taste and composed later ( the figures vary 1782-1785 ) a minuet for performances in Vienna.
In 1785, Mozart was the work with the shortened to four sets symphony ( originally Serenade ), K. 385 at the Viennese publisher Artaria in pressure; so that K. 319 is one of the few symphonies that were published in Mozart's lifetime. This did not stop them from Mozart but, a year later offer the work with the symphonies K. 338, K. 385 and K. 425 Prince Fürstenberg at Donaueschingen ( letter of 8 August 1786): " Since S ( a ): D ( urchlaucht ): have a Orchestre so could standalone only for their court besizen alone I set pieces, which would be-ing very comfortable in my small insight high same ".
The symphony unfolds despite the restriction to a "small" orchestra a wealth of tone colors and has an overall " almost chamber-music ", " playful " character or " something light as a feather " - especially compared to the Symphony in C major KV 338 Possibly wanted Mozart do with the small cast the plant also attractive for nobles, the great orchestra could not afford.
One common feature of sentences 1, 2 and 4 is that new motifs occur in their middle parts that are processed more consistent.
About the Music
Instrumentation: two oboes, two bassoons, two horns, two violins, two violas, cello, double bass. A harpsichord to reinforce the bass voice used - probably also was - if present in the orchestra. As a special feature of K. 319, the divided violas are emphasized.
Performance time: approximately 23 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. 319 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 assai
B flat major, 3/4-time, 370 cycles
The first theme consists of contrasting elements: " polite bow " in the descending triad (cycle 1), change of break interspersed Staccatobewegung the strings in the piano and short Forte interjections of the entire orchestra (bars 2-9 ), eight-bar phrase with pendulum figure in the violins (cycle 10 to 17), repeating the phrase an octave lower (cycle 18 to 24 ).
In the subsequent Forte block ( from bar 25 ) Mozart emphasizes first with an up screwing- accent character and broken unison chords, the tonic B flat major, then in slightly chromatic dialogue of scales between oboes / bassoons and violins / viola on the sustained F to change the bass to the dominant F major. In this " scale dialogue " play oboes and bassoons in contrary motion, the Violin / Viola play parallel to a descending line, which is decorated in the first violin as a quaver figure, while the dotted rhythm strikes in 2 violin / viola at the beginning. With broken triads and chords, now the dominant F is stressed, and after a short break begins the second theme. This in turn is "prepared" by a further dialogue between violins and oboes / bassoons (cycle 57 to 61 ) on the double dominant C major, where the winds pick up the pendulum motif. In bar 61 is then followed by a break in the strings prevailed, dancing piano figure with auftaktigem Double Punch trill in F major, which gradually develops into a sweeping legato gesture.
In the now following Forte section from bar 80 Mozart processed more of the previously placed motives: first, the double shock - trill figure from the second theme becomes independent with energetic tone repetition. From bar 96 is the pendulum motif with the figure of 2 violin / viola from the " scale dialogue " combined in contrary motion (in that descending line, now: ascending line ), from clock 108 swap upper and lower voices motives. Final section from bar 117 brings next to " Triolenflirren " and energetic syncopation turn the broken chord figures as the second theme and then terminates the exposure with eight chords, on F. The exposure is not repeated.
War marked the exposure of unusually strong thematic work, the implementation of two new motifs is contested ( thus you can designate this section depending on your view as a central part ). The dance-like motif 1 consists of trills and third - or three- tone figures, the vocal motif 2 consists of four ganztaktigen tones ( four-note motif ), is underlaid with one dissenting vote and was of Mozart ( and other composers ) used in other compositions ( best known in the final movement of the symphony, K. 551, also for example in the Mass, K. 192, and ( perhaps unconsciously? ) in the symphonies K. 16 and K. App 214). A special timbre brings the passage from bar 178 with the trill motive in the bass under triplet tremolo of the violins. Mozart changes from E-flat over C minor to A flat major.
The recapitulation at measure 208 is similar to the exposure structured, but for example, the section in front of the second theme by syncope and minor colorations is widened, and in the final section takes a contrasting chromatic passage in the piano (bars 350-355 ) on. At the end of the block the tonic B flat major by the sequence of nine chords, to B ( taking into account previous chords from bar 358 to a total of fifteen B- major chords result ) strongly emphasized.
Second movement: Andante moderato
E-flat major, 2/4-cycle, 96 cycles
The first theme ( bars 1 to 18) in the full string sound is symmetrical and characterized by dotted rhythms and suspensions. The postscript is compared with the antecedent extended by two clocks. After a short break the reconciliation section to the second theme begins, based on a one-bar motif with throbbing accompaniment staccato. Mozart changes from the Tonikaparallele C minor to the dominant B flat major, in the then derivable from the Reconciliation Scene second theme begins in measure 27. The winds - so far only briefly used at the end of the first topic - accompany here with sustained chords. The subject head is then sequenced down and leads to the conclusion motif with triple tone repetition.
As in the first set, the exposure is not repeated. The subsequent section (to be referred depending on the position as implementation or middle part ) processed a new theme more coherent: the first in the strings, then in the winds.
The recapitulation begins in measure 55 with the Endfloskel from the first issue; the further course of the movement corresponds then first structurally exposure, up to 80 clock - where the listener actually expected the end of the block - the exuberant part of the first subject of " later" is. The set ends with the final design according to the exposure and closes pianissimo.
Third movement: Menuetto
B flat major, 3/4-time, 32 16 bars
In nachkomponierten Minuet (see above) contrasts the first half of subjects in Forte with accented upbeats down and treble tone repetition the second half of the piano with an ascending melody line. The second part is the beginning of the opening motif continued with its octave leap in rhythmic displacement of accents. In return for revisiting the initial part of fall " four strange-looking chromatic transition bars " on.
The trio is also in B flat major and has a ländler -like character. The horns are silent, but the woodwinds ( oboes and bassoons ) are eligible to vote, to set aside the first violin, while the second violin accompanies the melody in a continuous eighth notes. Finally, the first violin plays a brief dissenting voice to the melody in the woodwinds.
Fourth movement: Allegro assai
B flat major, 2/4-cycle, 374 cycles
Almost the whole movement is characterized by a hastily - mellifluous triplet, prompting some authors to compare with the finale of Beethoven's Symphony No. 8. The triplets are already found as the main component of the first theme. This is divided into three parts and opened as a change from forte chord and piano Triolenrepetition in question-answer structure. The second part is based on a slightly gesanglicheren motif in dotted rhythm in which the triplets act concomitantly. After repeating these two parts of the tonic B flat major is recalled with a forte unison passage in dotted rhythm.
The subsequent passage from bar 41 includes a loose series of designs, the first almost topics like character. The predominant melody of the second theme in the dominant F major ( from bar 83 ) is first by the strings ( 1st violin vocal leader, accompanied by the staccato eighth-note ) is presented, then with sustained chords in the bassoons and compressed triplet accompaniment in second violin / Viola repeated. After the section from bar 114 with led in the triplet tremolo melody line follows from clock 130 is a third issue with " bouncing thirds and playful trills ". At the end of exposure, in turn, dominates the triplet, which also occur in the winds characteristic fifths in half notes. The exposition ends at bar 161 and is repeated.
As in sentences 1 and 2, Mozart is in the development section of new material before (hence the implementation can also be referred to as the "middle part " ) and processes it more coherent. The theme used here falls by its initial fourth down on (reminiscent of the fifths for the wind from the end of the exposure). For processing then the subjects head with the ( accompanying ) triplet from the exposure is connected and occurs towards the end dominant forte unison with Fort spin drying up.
The recapitulation ( from bar 214) is similar to the exposure structured. Finally codaartig occurs again, the third part of the first subject on where the triplets and the tonic B flat major to be stressed in unison.
Alfred Einstein ( 1953) says that in this kit includes a new " connection of the buffo, march -like, pastoral - a unification of mind " rule.