Symphony No. 40 (Mozart)

The Symphony in G minor Köchelverzeichnis 550, by Wolfgang Amadeus Mozart in July 1788 in Vienna. After the Old Mozart Edition bears the symphony, his penultimate, the number 40

General

Regarding genesis and composition occasion see introduction at the Symphony Köchelverzeichnis (KV) 543 Mozart Symphony KV 550 probably completed on 25 July 1788 because he Incipit einfügte her that day in his catalog. It was still listed in Mozart's lifetime: In a letter dated 19 July 1802 the Leipzig publisher Ambrosius Kühnel Prague musician Johann Wenzel reports on the performance of the symphony in Mozart's presence at Baron Gottfried van Swieten, but failed so badly that the composer who preferred to leave the room. In the subsequent insertion of a Clarinet ( commonly: " Second version " compared to the "first version " without clarinets) see more authors an indication of a concert held on 16 and 17 April 1791 as part of the Musicians' law firm headed by Antonio Salieri held in Vienna and attended by the fellow with Mozart clarinetist Anton Stadler and John were involved; first " A great symphony of the invention of Mr. Mozart" was played.

Sometimes KV 550 is referred to as the " Great G minor symphony ," which also standing in G Minor Symphony, K. 183 as "Little G minor symphony". Thus, George Beck ( 1952) on several for similarities (see at 183 KV ); while Ronald Woodham (1983 ) summarizes: " These parallels and the two symphonies own expressiveness are noteworthy, but the differences jump far more striking than the similarities ... "

About the Music

Instrumentation: flute, two oboes, two clarinets, two bassoons, two horns: one in G, one in B; two violins, viola, cello, double bass. In contemporary orchestras also a harpsichord was probably (if available in the orchestra ) as a basso continuo instrument.

Performance time: approximately 30-35 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 550 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: Molto Allegro ( Allegro assai orig. )

G Minor, 4/4-time ( alla breve ), 299 cycles

The sentence begins as a carpet-like quaver accompaniment of divided violas with bottoming bass neighborhoods over which on the fourth beat of the first measure uses the upbeat melody in octaves in parallel violins. Characteristic of the melody, the bound is half step down with repetition of Zieltons the rhythm of two eighth - quarter ( this figure is first repeated three times ) and the sixth upwards. The sighing motif of the bound half step down with note repetition is for the further development of the set of importance.

The first theme consists of a sequence of two-bar pairs like question and answer related to each other. However, there is no self-contained melody, but a " structural context of heterogeneous structures ". An interruption takes place from 14-20 clock with a forte tutti and stressed Provision in D Major. The issue ends in bar 27 and modulates at its end to Tonikaparallelen B flat major. The length of the kick-off event is discussed differently: Starts the issue with the first beat in measure 2 or until bar 3 with the sixth upwards (ie the first two bars are upbeat )? In the recapitulation (bars 164-166 ff ) the repeated acts Halbtonschrittfigur upbeat, as the tonic in the bass and the accompaniment of the violins start only at the beginning of the sixth, while the accompaniment at the beginning of the block occurs before the Halbtonschrittfigur. This ambiguity contributes to the " floating " nature of the record. The topic header has similarities to the aria of Cherobino " Non so piu cosa son cosa faccio " from the Figaro.

The following Forte Passage ( from bar 28) begins in the entire orchestra with a motif of ascending triad figure and tremoloartigem bass in cyclically descending, broken thirds. Running figures, which act as emphatic derivative (change from C and D flat), lead to the second theme over that begins after a general pause in measure 43. The second eight-bar theme (bar 44-57, Tonikaparallele B flat major ), with its heavily chromatic colored melody contrasted by the quiet character to the previous action for strings ( and wind throw ). It is repeated (cycle 52 ff ), but now with the roles reversed between winds and strings.

The subsequent section (bars 58-72 ) brings a four times repeated derivative action figure on it ( subdominant of B) and a tremolo crescendo. The final section (bars 72 ff ) takes up the half step - motif of the first theme and applies it to offset by the instruments. From the fragments of a four-bar closed unit arises from bar 77 there. The section from bar 72 is repeated with the roles reversed bass and violins. The exposition ends after unison runs and Akkordmelodik ( exchange of B and F major ) at bar 100 as "open" dominant and is repeated.

In the implementation ( clock 101-165 ), the material is processed by the first topic. It begins as a continuation of the conclusion of the exposure as reduced chord that announces a breakout from the previous harmonic framework. About A Major Mozart modulated with the first theme to F - minor (bars 105 f ) and then chromatically descending. In bar 114 B major is reached, from here it's the circle of fifths downward over E minor, A minor, D minor, G minor, C major, F major, B major, C minor and g minor to A major. Here, the main motif appears in dialogue on offset between the violins and other strings with bassoon, while each of the other group plays a pounding contrapuntal contrary motion in staccato quavers. From bar 126 the violins take the melody and spin them down sequenced continued. The movement then runs with a change from D minor and A major from ( clock 134 ff ), but the main idea remains fragmentary exist ( clock 138 ff: 1st violin, flute and clarinet) and rises to a dramatic Forte ( clock 152 ff ), which leads over a chromatic run down wind passage to the recapitulation.

This starts according to the rating of the opener in stroke 165 or 166 (see above). It differs from the exposure, including through the extension of the line section by the subject with the ascending triad is modulated by management like and migrates between the instruments. A coda (bars 286 ff ) with the main motive finished the sentence.

Second movement: Andante

E-flat major, 6/8-measure, 123 cycles

As in Molto Allegro, the first subject in a relatively "open" form. It consists of several motifs, one of which is upbeat character with repeated notes ( Scene 1) the beginning makes (cycle 1-3). First, in the viola, agree cyclically shifted one the second and then the first violin, with the kick-off interval extends from the fourth through the fifth through to sixth. In cycle 4, the design is finished with a final flourish. The first notes of the repeated notes are there, f and AS. By also played g in bar 4 is thus the same character as the beginning of the fourth movement of the symphony, K. 551 available, which some authors, among other factors, a possible indicator for a togetherness (in the sense a cycle ) of the last three symphonies of Mozart values. Peter Gülke (2007) sees this relationship and the bass in bars 20-23, where Mozart " at the beginning of the imitative discrete piled four-note motif ( it -f -as- g, now bc -es- d) heraushämmert strongly in the bass. "

This motif 1 is highlighted in measure 3 of a chromatic bass response ( Motif 2, " rotary motive "). After another motif with stressed Provision measure 5 /6 ( Scene 3), underlain by tone repetition of the horns, follows in bar 7 a sigh figure ( Zweiundreißigstel accented derivative, motif 4), which ended as a chromatically falling semiquaver line the antecedent. The postscript is initially similar to the antecedent structured, but with a different instrumentation and ascending melody line in the 1st Violin ( Scene 5). From bar 16 the Zweiundreißigstel - phrase of motif 4 to dance, echo-like - invigorating figure ( Scene 6), on the clock in 17/18 a singable melody (motif 7) become independent of this occurs in the woodwinds. The section of the first theme ends in bar 19 on it.

The following section begins with a vigorous phrase octave jump on the dominant B flat and takes up the tone repetition of motif 1 and the Zweiundreißigstel - phrase of motif 6 again. From bar 28 Mozart replaced with motif 1 (with prelude ) under the phrase of motif 6 ( now only in a downward motion and in the woodwinds ) over D flat major, A flat major, E flat minor and B flat minor for ambiguous, fallacy -like chord on It in clock 33 this is where the whole orchestra forte, then returns through further Ges- and B- flat major to F major.

The motif from bar 37 (motif 8, B- flat major ), depending on your view be interpreted as a second subject in the sense of sonata form, but has this " issue " not as usual is a closed, but an open, non- periodic structure and total built up rather like motif, in particular the triple repetition of the sixth strikes down. It is also noteworthy that the bass does not occur until the varied repetition from cycle 41.

After a chord on the basis of E flat minor, followed by a " chordal labile initial structure, which triggers a series of dramatic and progressive, harmonic and contrapuntal anchored passage sounds ". The final group ( from bar 48) takes on a variant motif 1 and ends the exposure with a closing phrase. The exposition is repeated.

The development begins with the well-known motif of one tone repetition on Ces in Streicherunisono, said upbeat B forms a characteristic half-step to Ces. In bar 55, the Ces first drops back to B back, but with the second attempt at measure 56 begins with the same Ces a long-span modulation section with the tone repetition of motif 1 and the Zweiundreißigstel - phrase of motif 6 at. Violin / Viola as well as the wind plays both motifs in the dialog. From bar 64, G- Dur stabilized, and so far only downward movement guided by motif 5 is offset by upward phrases.

In bar 69 is the first theme as apparent recapitulation in C major ( the tonic of G major), then breaks but again and via chromatic turns of " turning on your subject" ( Scene 2) to the recapitulation, which is reached in measure 74 and with the first theme begins in E-flat major. The trailer contains the " rotary design" and modulates to C major, which acts dominant table incipient in F minor passage analog clock 20. In this passage, the rotary design and the formulation of clock 26/27 is also integrated (the latter now appears in bar 97 /98). The rest of the recapitulation is structured similarly to the exposure. Development and recapitulation are repeated.

Neal Zaslaw (1989 ) points out that Joseph Haydn quoted in the oratorio The Seasons the beginning of the sentence in the aria No. 38 " Behold here bethörter man."

" An Arcadian world opens up. The sentence in every bar filled with movement, but free from any hustle and bustle - everything breathes in great tranquility. The occupation is not reduced, but remains transparent and allows the instrument groups soon chorus, soon resound in soloistic line game. "

"It's the rapturously - sensitive E-flat major, which is often encountered in Siciliano arias in the andante tempo and 6/8-measure. Therefore, the entire set is imbued with lyricism, leaving the sound of delicate blooming sensation and happier grace only in the central part [ ... ] and at special points in the first part [ ... ]. "

Third movement: Menuetto. Allegretto

G Minor, 3/4-time, with Trio 84 cycles

The Minuet stands out with his little dance character and polyphonic design. The start can be regarded as two-stroke or dreitaktig structured by the hemiolischen structure depending on your view. This irritating effect at the beginning of the second part further enhanced by the introduction of the sometimes dissonant dissenting vote in the violins and bassoon; the polyphonic character is continued from 28-34 clock by offset leadership of the eighth subject from the main thoughts. The main part ends after a chromatically falling, expiring figure in the piano (previously throughout Forte ) in the clarinets and bassoons under the main theme in the flute.

The Trio in G major, however, is kept rather homophonic and is determined by a quiet neighborhood movement. Woodwind ( without clarinets), strings and horns are "like choruses in a melodious antiphonal opposite. "

Neal Zaslaw (1989 ) points out similarities of the minuet with the 5th Symphony by Franz Schubert and argues that Schubert had made ​​a copy of the minuet.

Fourth movement: Allegro assai

G Minor, 4/4-time ( alla breve ), 308 cycles

The first theme begins upbeat as an ascending broken triad ( "Mannheim rocket" ) in the piano, followed by a self-aligning design from eighths in Forte. This dominant table -ending four-bar antecedent follows the similarly structured trailer with Tonikaschluss. After repeating this eight-bar period is followed by a second eight-bar, which consists of a rhythmically distinctive design with repeated notes and trills, as well as the consequent of the first period. This second eight-bar is repeated and then flows seamlessly into the transfer section from bar 32. Through the upbeats and the rhythmic structure, a simple dance effect.

The type of the ascending triad as the (main) motif has been used in many works, for example, in the first movement of Mozart's Symphony KV 183 In this type also the beginning, for example, of Beethoven's First Piano Sonata in F minor, Op goes 2 No. 1 or the beginning of the Scherzo from Symphony No. 5 in C Minor back. The latter agreement sparked controversy about the comparability of the musical idea. The string parts of a passage from the implementation of KV 550 ( clock 146-174 ) Beethoven had in a sketchbook to Scherzo written off. Stefan Kunze therefore considers that it is not primarily arrived Beethoven on the melodic ideas, but on Mozart implementing technology (see below).

The section to the second topic covered by its unusual length (measure 32-70 ). It is based on the pendulum motif, which partially became independent in longer, virtuoso quaver movement, and to which dazugesellt of clock 49-55 a knock motif from neighborhoods. The harmony is initially in the range of G minor and turns until clock 46 in the direction of B flat major.

The second theme ( from bar 71) is expected to run in parallel key of B - flat major and contrasted with piano and soft sound to the first theme. It is achttaktig, some chromatic and is repeated varies twice. After a passage with chromatically descending line and held wind chords the final group, which is again based on the pendulum motif and tremolo -like repetitions follows. The exposition ends at bar 124 and is repeated.

During the exposure, the pendulum motif played the lead role, it is in the implementation of the broken ascending chord from the beginning of the first theme (ascent motif), which is first heard in the forte unison. Instead of actually following pendulum motif but join only set off by pauses in unison district. Here Mozart used all notes of the chromatic scale except the root g In the following passage, the modulation ascent motif occurs at intervals of two cycles between horns and violins. In this case, inter alia, in A major, D minor, D, G, and C major and F minor (measure 147 ) can be achieved. From bar 150 eighth run is hung on the subject, as well as the eighth, another pass (eg clock 158 in the bass ) has proven as a means of " contrapuntal interweaving " ( narrowing from bar 153). From bar 161 the ascent motif reappears without eighth run and passes puts the strings on held chords of the wind instruments. They take over until bar 175 ff under the tremolo of the violins Gis voice guidance, dialogue with the string bass. In bar 187 C-sharp minor is achieved as a fallacy harmony, followed three quarters beats a " meaningful silence". The new approach with the rise design, starting in C sharp major, no longer dissolves, but breaks after two stressed provision and a dissonant chord in a long general pause of six quarter-note beats from.

Out of the silence, the recapitulation (208 ff clock ) begins again with the first theme in the piano. It is broadly consistent with the exposure (also second issue is now in the tonic G minor ), but the final group with the pendulum motif extended (deviation from bar 294 ).

Volker Scherliess (2005 ) points out that the character of the movement ( threatening to comedic ) depends essentially on the style of play ( fast or slow tempo).

Reception

The Symphony, K. 550 is one of the most famous works of Mozart. Early as 1800, it was highly appreciated by the audience, which was also expressed in a variety of arrangements. To date, there exists a variety of meetings and interpretations (reviewed in Zaslaw ), these vary:

  • Robert Schumann speaks of " Greek -floating grace ".
  • Donald Francis Tovey sees similarities with the Italian opera buffa and Rossini's Overture to the Barber of Seville.
  • Hermann Abert describes the character with words like tragedy, grief, lamentation, suffering, and despair.
  • Volker Scherliess (2005) summarizes: "On no other work there are so many divergent judgments as of this symphony. " This also applies to current discussions about, for example, Peter Gülke (2007) and reverse (2007) on the one hand and Volker Scherliess (2005 ) on the other.
  • In the general musical newspaper said in a report to a concert on April 8, 1805 in Vienna, was listed in the K.550 ( Mozart and the then 13 - year-old son Franz Xaver Wolfgang appeared in public for the first time as a piano player and composer ): " the concert opened with the magnificent Mozart's Symphony in G minor, this immortal work of the great composer, who with the utmost grandeur combines the greatest beauty, and yet never strays into the Wild and Abentheuerliche. It is a colossal image, but from the most beautiful and fair; a Jupiter of Phidias, who inspires both awe and love. Just a pity that the performance of this masterpiece did not correspond to his values ​​. The violins and basses were too sparse, and in general the whole orchestra the size of the theater not appropriate. "
  • Excerpt from the meeting with Bernhard Paumgartner (1957 ): " Tragically pessimism exudes in all sets of this symphony [ ... ] completely to the last breath in the blazing conflagration of the finale. Even from the melancholy of the Andante is lit the same flame, damped only to darker twilight to milder sorrow. [ ... ] But now you opened up the master, on the late work of Joseph Haydn's away, the gates of a bright future, competed at the threshold Beethoven and Schubert as a herald of another time, yet related Ghost, and the divine heritage. "
  • Dietmar Holland (1987 ) speaks of " Mozart's unique musical discretion, even from his repellent unity, which does not allow us to interpret the musical attitude of the G minor Symphony as an expression of personal needs of the composer ( as it still happens ). [ ..] It is aesthetically untenable to confuse his biographical circumstances with the character of his music. They are simply too little subjective. What, however, comes to the musical language that are the affects of anxiety, suit or despair as musical characters, which are all to himself. Of course, there are also, as always with Mozart, immanent - dramatic, anthropomorphic musical figures who act as otherwise people on Mozart's opera stage. So it is hardly surprising that the first sentence of the type of aria agitata used, as it exemplifies the aria Non più cosa son cosa sò faccio of Cherubino in Le Nozze di Figaro represents. "
  • In the pop multiple parts of the G minor Symphony were adapted and edited. The first sentence as a pop version of Waldo de los Ríos to a hit single in the UK and Germany 1971.
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