Symphony No. 35 (Mozart)

The Symphony in D major Köchelverzeichnis 385, by Wolfgang Amadeus Mozart in 1782 in Vienna. After the Old Mozart Edition, the symphony bears the number 35 It is also called " Haffner Symphony" after their formation history.

Formation

On the occasion of the conferment of the title of nobility " Edler von Innbachhausen " Sigmund Haffner the Younger, son of the humanist and Salzburg's mayor Sigmund Haffner the Elder. , Was from an unknown person (possibly the father Sigmund Haffner ) by Leopold Mozart with Wolfgang Amadeus Mozart serenade commissioned. Mozart had already composed six years earlier, the " Haffner Serenade" ( Köchelverzeichnis 250) on the occasion of the wedding of the daughter of the mayor.

In letters Leopold Mozart made his son pressure, but at last to send the work to Salzburg. Wolfgang was, however, in addition to the work on the Serenade in C minor Köchelverzeichnis (KV) 388, inter alia, in the process of setting up his opera The Abduction from the Seraglio for wind instruments. In addition, his marriage to Constanze Weber stood before August 4, 1782. Piecewise he sent the apparently in a hurry composed works for his father. " My heart is restless, my head is confused ," Wolfgang wrote on July 27, 1782 in the letter, which already came with the first sentence.

A few months later asks Wolfgang 's father to return the factory of Salzburg, " and that if they find a oppurtunities, you want to have the goodness to send me the new Symphony I wrote them for the Hafner; if I only have certain until the fast, because I want it like to do in my Accademie " ( letter of 21 December, 1782).

Then can now Leopold time: Only on February 15, 1783 in a letter to Wolfgang receipt of the work and then says surprised that he had completely forgotten: " ... The New Haffner symphony has me quite surpreniert - then I knew not a word more of it; - Which must make certain good effect ... "

It is striking that Mozart called the work in the letters with "Symphony " instead of " Serenade", which suggests that the generic terms were not yet established. For the Vienna performance of Mozart added flutes and clarinets in the first and fourth set and started the march and one of the minuets away. In this symphonic form in which it has been handed down to this day, the work was performed on 23 March 1783 in Vienna at the sold out Burgtheater.

Alfred Einstein (1953 ) thinks that the symphony still have a serenade -like character: she was " in reality nothing more than a second Haffner Serenade". You do best when starting or ending piece of an academy. So it was at least partially also used: In the first performance ( in the form of the symphony ) on 23 March 1783, the first three movements of K. 385 formed the first part of the program, the fourth sentence of the final piece. The " fragmentation " of a symphony or other work at that time was permanent in the three to four hours " academies " quite common. This makes it clear that " the idea of ​​work as something a whole was not granted. ( ... ) The notion of the artwork as a uniform, sakrosanktem entity whose dignity must not be touched, did not exist. "

After the " Haffner Symphony" the publicist Raimund Pretzel chose his pseudonym in 1938, " Sebastian Haffner ". under which he was very well known.

About the Music

Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, two violins, viola, cello, double bass. Clarinets and flutes are used only in the first and fourth movements. In contemporary orchestras also a harpsichord was probably (if the orchestra present ) is used as continuo.

Performance time: approximately 20 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 385 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.

Mozart wrote in a letter to his father on August 7, 1782: " the first Allegro has to go right feuerig. - And is the latest [meaning the fourth set ] - as quickly as it is possible. "

First movement: Allegro con spirito

D major, 4/4-time ( alla breve ), 204 cycles

The set begins with the fanfare-like, powerful theme ( similar in KV 297 ), which has several features: It is fünftaktig ( not as usual most common symmetrical structure ), the energetic character is presented in Forte and unison, nor directly by a timpani roll is amplified at the beginning, and it contains large interval jumps ( octaves). In addition there occurs a second motif with dotted rhythms and trills. After a short general pause the strings play in the piano a little hesitant postscript.

In the first variant, then follows the main theme from bar 13 is followed by a section nachsatzartiger with runs in the violins, from bar 23 further close the course and tremolo as an overflow to the next appearance of the main theme. The second variant ( dominant in A major ) contrasted with piano and soft sound to the original figure at the beginning of a sentence. It first play the violin, then viola, cello and double bass the main theme, but " reduced" to an octave leap, accompanied by the current quaver figure in the bass or tremolo of the violins. From cycle 48 to 58 connects the third variant, where now the viola leads the voice against vote -like accompanied by the violins with a downwardly sequenced figure. Without interrupting follows from clock 58 to 65, the fourth variant: The issue is in the upper voices as a reversal (ie interval interval upwards downwards ) argued underlain by a border Bass movement. The section of bar 66 to the end of exposure in clock 94 can be viewed as a coda. It contains runs, tremolo, and 80 to 84 down to beat a new motif in the bass with a characterizing octave jump.

At the beginning of the implementation of the timbre changes with the polyphonic version 5 the first time in D minor after it is initially still remained over a eight-bar pedal point on A " undecided " in the piano. The stronger the contrast with the use of the main theme in F-sharp Major Forte acts in the first violin and bass, accompanied by the tremolo of the other strings or chords of the wind instruments ( " Bläserklang pillars" ). Particularly strong polyphonic section of clock 116-128 is held by the subject occurs offset a fifth apart. " The use tones of the theme subject do not agree with the fundamental tones of the sounds the underlying, but form from bar 119 is always the minor seventh of harmony, so that a chain of dominant matic seventh chords yields the heading from a great distance to the home key ( from T. 119:. Cis7 - Fis7 - H7 - E7 - A7) " as target harmony then acts the D major in measure 129 of onset, the main theme reprise.

The recapitulation corresponds largely to the exposure in their structure, but lacks the second variant. A (nother ) Coda of clock 198-204 with runs in the violins finished the sentence.

Alfred Einstein ( 1953) says, the head motif 've Wolfgang Gersthoferstrasse (2007) writes " something magnificent exemplary and fitting, it is as if it notes always itself on its availability and use. ": " Acts in all contrapuntal approaches and all combinatorial refinement ( ... ) KV 385 I never taught; naturally takes the motto of his way through the set. "

Second movement: Andante

G Major, 2/4-cycle, 84 cycles

The first topic is symmetrically constructed with four cycles antecedent and consequent. The first violin leads the melody, accompanied by the other strings and winds, wherein the continuous semiquaver movement is conspicuous in the staccato of the second violin. The antecedent remains in the tonic G major, while the postscript provided with suggestions and trills briefly changes to the subdominant of C major. It follows to clock 16 is a transition to the second theme, which is characterized by intermittent running figures in the violins and like clockwork, broken triad figures of the bassoon.

The second theme (bar 17-22 ) begins after a ganztaktigen sixteenths " tremolo " the first violin to A in measure 16, which then also the other four bars of the theme vigorously " ticking " repeats this tone, while the second violin and the Viola play a remote motif that something recalled the figure of the reconciliation. By the end of exposure in bar 35, the harmony moves on the D major - seventh chord, which changes from measure 31 through A- flat major to D major ( without seventh ). The bars 33-35 with own small design can be seen as a coda.

The center section first spreads a slightly melancholic sound carpet with syncope on D major and A major, which merges into a section from bar 42 with a new trill motif. The recapitulation at measure 50 is similarly structured exposure. Exposure and development and recapitulation are repeated.

Theodor Kroyer sees in this movement popular trains, " the serena Indian cheerfulness is revealed in the prancing violin figures that spin and carry on the melody as in clandestine dialogue." Alfred Einstein ( 1953 ) refers to the Andante as "very graceful " and " innocente " then that means but that it rather reserved as to the second sentence of the Paris Symphony" as a forward on the immortal - perfect Prague. " Kurt PAHLEN (1978 ) wants in the Andante " hear the beating of the heart in a deeply moving experience ", and Volker Scherliess (2005) sees itself by the appearance of different " motivic figures " on " the interplay of several people on the opera stage, " recalls.

Third movement: Menuetto

D major, 3/4-time, with Trio 52 cycles

The vigorous minuet begins forte throughout the orchestra with an upward-moving, backed by the timpani roll D- major triad, which is answered by a downward continuous piano figure on G Major, A Major, and finally again in D major. Fanfare or overture -like, it is also in the second part of the minuet further, with the main harmony moves only between the tonic D major and the dominant of A major.

The Trio in A Major contrasts with its soft timbre in the piano and the vocal melody in the strings to the main part. In some cases the use of chromaticism is striking, for example in stroke 44 where H ( bottom of the dominant E major ) on His by Cis (a third of the tonic A major ) being passed over.

Alfred Einstein ( 1953) said: " The most outstanding movement is the minuet, about already states in D major, which will later testify the minuet of the E-flat major Symphony: strength, festivity, masculinity in the main part, the finest grace in the trio. " Theodor Kroyer writes: " From the minuet, even more clearly from the trio, sings the Viennese song, a love quatrains, which could be inferior to the words easily. "

Fourth sentence: Presto

D major, 4/4-time, 264 cycles

The first theme with a symmetrical structure is first presented only by the strings in the piano. The antecedent has, inter alia, a characteristic Quart jump down the postscript on an unsteady quaver movement. The following FORTEL block contains Akkordmelodik, runs and timpani rolls. In bar 37 in E major is reached, the dominant table reconciles to the second theme in A major. This is again a symmetrical structure; it is repeated in a slightly different form (flute accompaniment, continuous quaver movement of the 2nd violin) from clock 46. By the end of the exposure cycle 70 followed by a final section with syncope, energetic tone repetition and Akkordmelodik.

The development begins as a transition section, which surprisingly leads to clock 80 in the first theme, so that the listener initially remains unclear whether this passage (bars 71-79 ) is already all been performing. Through a piano echoed in clock 90 and altered harmonies from bar 92, is then clear that the implementation is not yet over, and the previous use of the first theme was a sham recapitulation. In other harmonies now the happening of exposure expires again, for example, occurs at measure 110, the second theme in B minor Tonikaparallele on.

The actual recapitulation begins after recirculation ( clock 131 to 138 ) in 139 clock and provides a varied third run of the exposure point (eg, voice leading of the oboe in the repetition of the first theme clock 190 ff). Mozart closes the set again as a coda in which the first theme has its last appearance; after a " bend in the h" (measure 239) exit Akkordmelodik and timpani roll the sentence.

Several authors point out that this " fiery " set, has echoes of the Osmin 's aria " Ah, how I will triumph " from the " Abduction from the Seraglio ."

References, notes

Web links, notes

• Manuscript in the Morgan Library New York: Morgan Library New York: Haffner Symphony manuscript
• Symphony in D KV 385: Score and critical report in the New Mozart Edition
• 35th Symphony (Mozart): notes and audio files in the International Music Score Library Project.
• Wolfgang Amadeus Mozart: Symphony in D major KV 385 Haffner. No Philharmonia. 51 Universal Edition, Vienna / London undated, 52 pp. ( pocket score ).
• Wolfgang Amadeus Mozart: Symphony D major K.-V. No. 385 ( Haffner ). Edition Eulenburg no. 437, Ernst Eulenburg Ltd.. , London / Zurich undated, 72 pp. ( pocket score ).
• 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 385 for piano 2 hands )