Symphony No. 39 (Mozart)

The Symphony in E flat major Köchelverzeichnis 543, by Wolfgang Amadeus Mozart in the summer of 1788 in Vienna. After the Old Mozart Edition, the symphony has the number 39

General information about the symphonies K. 543, K. 550 and K. 551

After Mozart's " Verzeichnüß all my works " that originated the last three symphonies Köchelverzeichnis (KV) 543, K. 550 and K. 551 within a few weeks in the summer of 1788. Entries come from 26 June 25 July and 10 August, which probably the end of the composition work is meant. Mozart wrote the works in a crisis, which was characterized by money worries and depression ( letter of 27 June 1788 Michael Puchberg ):

"Come to me, and yet you see me; I am always at home; - I have that I live here longer worked in the 10 days than in other Logis in 2 month, and did not come to me so often black thoughts ( which I have to turn down only by force ) it would me better go from Equip ... ""

Since secure documents for specific performances of the works of the composer's lifetime are not present, participated in earlier authors that Mozart 's symphonies without hope composed on a performance, that is, only for himself or " for eternity ". This corresponded to the romantic conception of art of the 19th century by the poor, unworldly and misunderstood genius. From today's perspective, however, it seems unlikely that such comprehensive scores Mozart is said to have written without the prospect of a performance. Regarding the composition event different interpretations are:

• But planning for a performance of concerts in the summer of 1788. Among these was apparently held only the first, while the others were canceled due to lack of interest.
• Planning for a publication: it was customary to issue three large or six smaller works as an opus. This could be done by Mozart in 1787 by Joseph Haydn Symphonies No. 82 post, have been influenced 83 and 84, which are in the same keys: C major, G minor, E-flat major.
• Planning for a trip to England in 1788, but then did not take place.

Despite the absence of reliable evidence, several authors believe that the three symphonies could possibly have been yet performed in Mozart's lifetime. In the following question traditional events occur ( in each case is not clear which Mozart symphony was performed ):

• At the concert of Mozart at the Dresden Court on 14 April 1789 were probably played symphonies.
• At the concert on October 15, 1790 in Frankfurt a Mozart symphony was played.
• At the concert on 16 and 17 April 1791 Musicians law firm headed by Antonio Salieri " A great symphony of the invention of Mr. Mozart" with the participation of the friend of Mozart clarinetist Anton Stadler and Johann was played.

The question of similarities between the works in terms of a " triad " is judged differently. Peter Gülke (1997) sees in the introduction to K. 543 an introduction and the finale of K. 551, the financial statements for the three symphonies as a whole, but also points to the Spekulativität of considerations. Issue similar Bernhard Paumgartner (1957 ) and Peter Revers (2007 ), while other authors are more skeptical. So, for example, raises Volker Scherliess (2005) show the differences in instrumentation and says: " Considering the symphonies, so rather than what unites the individual falls on. (...) If one were to regard them as a cohesive working group, it would be - paradoxically - a moment of togetherness already be seen in how different they are designed in detail (...) " However, a common aspect lies in their history: they are inside. been composed a short time.

About the Music

The work is dated June 26, 1788 and was the first of the resultant in the summer of 1788, three symphonies. She has numerous experienced in the (early) Romance from today's perspective, some cheesy acting interpretations and underlays, which extend as far into the 20th century:

• A. Apel (1806 ) Symphony highlighted text and writes, for example, a minuet: "(...) Whirling entwined in the dance, the pairs / to rejoice youth verrauschender years / bey and the intimate, firm embrace / is the Girls of the youth familiar. (...). "
• Ernst Theodor Amadeus Hoffmann ( 1810): "In the depths of the realm of spirits Mozart leads us. Fear surrounds us: but without pain, it is more idea of the infinite. Love and melancholy sound in lovely voices, the night of the spirit world goes on in a purple glow, and with unspeakable longing, we move towards them, the friendly wave to us in their ranks, fly in the eternal spheres punch through the clouds (eg Mozart's Symphony, under the name of the swan song known in E-flat major ). "
• Hermann Abert (1955 ): The symphony is an expression of "healthy, increased up to the high spirits joy of existence ."
• Theodor Kroyer (1933 ): "The heroic and elegiac features of the symphony, the F minor theme of the Andante, particularly in the Adagio, the violent Zweiunddreißgstel and the heart - sigh just before the curled atmosphere dissolves in smiling serenity, are real experiences, is where not to doubt. Thus, inasmuch as it provides the major symphony no obstacles for the explainer. Harder to interpret them as a whole, precisely because of their inner contradiction. " Kroyer also sees several parallels between the E-flat major Symphony and Beethoven's 3rd Symphony, claiming, for example, for the first set that " certain sections readily could be exchanged between the two symphonies - just one example, the page set of Mozart, clock 97-106 might just as well for reconciliation with Beethoven, clock 57 et sqq "In addition, he still sees relationships for 4th, 7th and 9th. Symphony of Beethoven.
• Kurzt PAHLEN (1966 ): " A happy atmosphere prevails in this work, a bright light, a paired with tenderness kindness. "

The Symphony KV 543 received in the early 19th century the sobriquet " swan song ". Cause may be that the work in several chamber music edits this time printed in last place " and therefore with the old mythological idea of ​​the" swan song " was connected as the last statement of an artist. "

Instrumentation: flute, two clarinets in B, two bassoons, two horns in Eb, two trumpets in it, timpani, two violins, viola, cello, double bass. It is striking that no oboe used. In contemporary orchestras possibly a harpsichord (if available in the orchestra ) was used as a basso continuo instrument.

Performance time: approximately 30 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 543 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: Adagio - Allegro

Adagio: E flat major, 4/4-time ( alla breve ), clock 1-25

The Adagio begins as a change of chords, in dotted rhythm ( forte) and descending scale runs in the violins ( piano). From bar 9 Mozart makes a great sound area: over a pedal point on B in the bass (including timpani, cello and double bass in dotted rhythm ) plays the vote leading flute break through continued, ascending chord figures to enter the violins with their descending scale runs. With change to forte in measure 14, the instruments exchange their roles: the bass plays the gamut runs ( now high), while above the dotted rhythm developed as the dominant figure. It also dissonances occur (cycle 15: Second B- As and clock 18: Des -C). The conclusion of the Introduction contrasts with its behavior - hesitant movement and the offset between treble and bass onset chromatic line to the previous events.

" We enter the symphonic construction as if through a portal - a slow introduction, remember the dotted rhythms of the Baroque overture rhythm. Alternating between forte and piano, tension and resolution, brilliant chord and shadowy echo of distinctive emphases, floating scale figurations and ausgesungener melodic line, the listener is drawn into a world of its own. "

Slow introduction to Mozart symphonies used also in KV 425 and KV 504 for a symphony by Michael Haydn wrote the separate introduction KV 444

Allegro: E flat major, 3/4-time, clock 26-309

The first theme has a lyricism and piano is played by strings and woodwinds. It is divided into two halves 14taktige, which in turn consist of sub-units. In the first half of the 1st violin vocal leader, in the second half of the bass. Offset echo -like give the woodwinds to characterizing objections.

At Forte block from bar 54 of broken -flat major triad reminiscent bit at the beginning of the main theme from the first movement of Beethoven's Symphony No. 3. This is followed by a sequence of guided in the tremolo melody line of violins, repeated notes closes in connection with violent leaps interval (greater than two octaves ) and virtuoso semiquaver runs downhill, with the latter reminiscent of the scale runs from the introduction. The passage ends with a repeated, moving - bouncing unison motif, which is responsible for the further course of the movement of meaning ( " gallop " motif ).

The second theme (bars 98-118 ) is in the dominant B flat major and, like the first theme played on the piano strings and woodwinds. It can be divided into several motifs

• Motif A ( clock 98-105 ): Dialogue between downward continuous quaver figure in the violins and response of the wind, to " drum bass " on B,
• Motif B ( clock 106-109 ): descending cadence phrase the woodwinds with striations of C minor,
• Motif C ( clock 110-114): vocal melody in the violins / viola; border bass accompaniment in broken by pauses continuous eighths,
• Motif D ( clock 115-118 ): Final turn of woodwinds and strings with staccato.

The subsequent Forte block from bar 119 is similar to the section from bar 54 designed with the ascending in the tremolo melody line (eg cycle 125 f 64 f similar clock ) and has an equally energetic character. The exposition ends with an ascending unison running and the " galloping motif" in B flat major, they will be repeated.

The implementation ( clock 143-183 ) processed in particular the " gallop motive ", the first in the piano strings in G minor, then surprisingly occurs in unison Forte on D flat major. After an interlude of motif A and B of the second theme in A flat major (bars 147-159 ), the galloping motif is placed between first violin and bass to C minor, B flat major, F major and A flat major modulated. The subsequent passage from bar 168 is similar to clock 119 ff structured and ends "open", as in measure 180 instead of the expected circuit on the Tonikaparallelen C minor uses a general pause. This is followed by the woodwinds with a three-bar, hesitant - chromatic figure, the reminiscent structurally to the end of the introduction. Here, however, it forms the end of the implementation and derives from this the reprise on that works in clock 184 and mostly similar to the exposure is made ​​. The section from bar 293 is compared to the exposure to virtuosic semiquaver runs which are reminiscent of the introduction, enhanced and can be regarded as a coda. Development and recapitulation are not repeated.

Presumably, the beginning of a symphony Michael Haydn, who had this composed in August 1783, where some suggestions for the composition of the Allegro of Mozart.

Second movement: Andante con moto

A flat major, 2/4-cycle, 161 cycles

With respect to the shape of the set there is provided a two-part structure:

First section (bars 1-95 )

Second section (bars 68-161 )

Third movement: Menuetto. Allegretto

E-flat major, 3/4-time, with Trio 68 cycles

The character of the minuet is played in the literature in some cases slightly rough with descriptions such as " stomping German dance " or " wine happy aufstampfende ( s ) Tanzmenuett ". The set begins with his powerful main theme in question-answer - structure, on Akkordmelodik with the basic harmonies ( tonic B- flat major E flat major, the subdominant: A flat major, dominant) is based. Contrast to them respond to the strings in the piano with a soft - soft twist that ends the first part. The second part continues the melody of the sentence beginning on the dominant B flat major and repeated reprise like from bar 25 the first part.

The trio is also in E flat major and has a ländler -like type. In the first part of the first clarinet is voiced leader, while the strings and the 2nd clarinet accompany (the latter with a continuous eighth notes ). The flute brings echo -like repetition of the Clarinet. In the first half of the second part, the roles of the clarinet is transferred to the violins (ie 1st violin vocal leader, 2nd violin in eighth movement time). The second half of the first part is repeated, i.e., the structure corresponds to that of minuets. Bernhard Paumgartner (1945 ) speaks of an " immortal Clarinet Idyll".

Fourth proposition: Finale. allegro

E-flat major, 2/4-cycle, 264 cycles

The stormy movement recalls a perpetual motion machine. The first theme is a dance that is initially presented only by the two violins piano with vocal leading first violin. Essential for the further set here is the opening motif: Sixteenth - kick movement upward, downward semiquaver figure, two quarter- up and subsequent interval jump down. This " swirl motif" complete or incomplete occurs in the course of the movement (only the sixteenth-note phrase ). The total eight-bar theme is repeated from bar 9 in Forte of the entire orchestra, but already goes from bar 15 without a break in a new section on.

This section is included consistently in Forte and contains esp. Akkordmelodik ( E-flat major, F minor, B flat major ), runs and stressed octave leaps in the bass. From bar 37 to F major stabilized, which acts double dominant table for the second, varied appearance of the first theme in B flat major ( from bar 42, instead of the usual, the first theme contrasting second theme ): Total sechstaktig, is the antecedent of 1. violin and woodwind divided dialogue, the trailer contains a proposal on this figure down. After repetition of the variant, a passage (bars 54-61 ) closes in on the reduced C sharp chord, in which to throw the incomplete vortex motif over a Synkopenmotiv in the 1st violin flute and bassoon.

By the end of exposure in stroke 104 then follow minor fanfare-like motifs and phrases ( runs, trills like semiquaver figures, tone repetition ) and the incomplete vortex mixed motive in the woodwinds and violins. Theodor Kroyer (1933 ) describes the passage from bar 85 as " Dutch fairground scene " with a " bagpipe à la Musette ". The exposition is repeated.

The implementation ( clock 105-152 ) is essentially based on the eddy motif: first, it appears twice in G major forte unison in order to use the main topic on flat major after a general pause in the form of the first half. The harmonic shift in the woodwinds ( clock 113/114 ) leads to a modulation of the passage complete spinal motif that begins in E major, leading, inter alia, on G major and C minor. From bar 124 is condensed Done by violins and bass / viola no longer throw the incomplete swirl motif in dialogue but also enables to play side by side. This also takes place a downward sequencing, which ends in clock 135 to G major. The swirl motif is then played twice in forte unison, that is the main part of the bushing ends as it began. The passage of clock 138 ff can be viewed as a return to the recapitulation. It represents a chromatic downward trend in the piano, in the wind chords held next turn, the eddy motive plays the leading role.

The recapitulation (bars 153 ff ) is similar to the exposure structured. The final group ( 251 stroke ff ) is expanded, however. Noteworthy is the end of a sentence: the two -fold repetition of the (incomplete) vortex motif in E flat unison Forte followed by general pause. This " snapping off " was ( critically partly ) lifted already by HG Naegeli (1826 ) and also by other authors: "To the end of the finale is (...) in the last bars Zwey so styllos unschließend so abschnappend that the unprejudiced listener does not know what hit him. "the end of the symphony is therefore in contrast to her majestic beginning with the slow introduction.