Symphony No. 41 (Mozart)

The Symphony in C major Köchelverzeichnis 551, by Wolfgang Amadeus Mozart in the summer of 1788 in Vienna. After the Old Mozart Edition, the symphony has the number 41 It is Mozart's last symphony, which bears the title not derived from him Jupiter Symphony.

  • 2.1 First movement: Allegro vivace
  • 2.2 Second movement: Andante cantabile
  • 2.3 Third movement: Menuetto. Allegretto
  • 2.4 Fourth proposition: Molto allegro

General

Regarding the history of the symphonies Köchelverzeichnis (KV) 543, 550 and 551 see at 543 KV

On August 10, 1788 was the completion of Mozart K. 551 in his own work directory with the following words: " A symphony. - 2 violini, 1 flauto, 2 oboe, 2 fagotti, 2 Corni, 2 Clarini, Timpany, viole e bassi " After Mozart's death, the work was -. Especially the finale - as one of the most successful pieces of symphonic viewed and received partial title "Symphony with the final fugue ." In the " general musical newspaper" of 1808 states that the factory in Leipzig now " so declared favorite piece of local art friends [ is ] that we deny them any year. " Especially in London learned the work of special appreciation in 1810 printed as score and hailed as " the highest triumph of instrumental composition ".

As a last symphony Mozart defeated KV 551 partially a somewhat romantic interpretation in the sense that Mozart had in the knowledge that it was his last symphony, composed a kind of summary of what was at all to say in the symphonic possible, so to speak, a " final word. " On the other hand, it seems unlikely that Mozart is said to have 1788 foresaw his death in 1791 and wanted to pull 551 KV with a line.

Nickname, title

In addition to the nickname " Symphony with the final fugue ," which is hardly used today ( in the third. Edition of Köchelverzeichnis from 1937 but still as the main Subtitles), is esp. the title "Jupiter " or " Jupiter Symphony " common. In the diaries of the English publisher Vincent Novello and his wife Mary, who visited in 1829 Constanze Mozart in Salzburg, found on August 7, registration, after Mozart's son mentioned that the concert promoter Johann Peter Salomon 's work with the nickname " Jupiter" have referred. Kurt PAHLEN also refers to another " legend", according to which the epithet is to go back to the pianist Johann Baptist Cramer, to designate their " divine perfection ".

The title " Jupiter Symphony" first appeared in the program from the Edinburgh Music Festival on 20 October 1819, after which the program of the London Royal Philharmonic Orchestra on 26 March 1821 and in June 1822 writes the London correspondent of the general musical newspaper: " The third [ concert ] on the 25th of March ( ... ) began here so popular, and known as the Jupiter Symphony in C Major by Mozart. " 1822 processing of the symphony by Muzio Clementi for piano was published, the name in the title " carries Jupiter " and the god Jupiter represented enthroned on clouds and thunder and lightning in his hands. On the other hand, there is the Jupiter - association in the discussion of the performance of the symphony, K. 550, in the " general musical newspaper" from 1 May 1805.

Reviews (examples)

  • General musical newspaper from November 4, 1846: " The Symphony of Mozart with the final fugue, How pure and clear all the images in it! No more and no less, each, than it is to have its very nature. "
  • Bernhard Paumgartner: "Like a song of triumph power conscious glory stands out the C major symphony (...) as a radiant finale over all earthly suffering to clear heights. Happiness of being in bold playing Conquer the matter to noble spirit form is their sense. "
  • Kurt PAHLEN the finale: " Here we Mozart himself appear as a God who creates at will constellations in the infinity of space, assembles and directs. The magnificence of this set are missing any listener; but its full understanding is only revealed to the initiates, who can follow this consummate polyphonic braid, the voices and themes. "

More quotes see the fourth set.

About the Music

Instrumentation: flute, two oboes, two bassoons, two horns in C ( in the second movement in F), two trumpets in C, timpani, two violins, viola, cello, double bass. Possibly also a harpsichord to reinforce the bass voice was used in contemporary orchestras. Cello and Double Bass Mozart listed separately in the first sentence.

Performance time: 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 subject to restrictions on the Symphony K. 551 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 vivace

C major, 4/4-time, 313 cycles

The first theme (bars 1-8, depending on the perspective also to clock 55) is symmetrical from four measures each antecedent and consequent, which in turn consist of two contrasting phrases: Three chord strumming with grinder figure ( here: triplets) Forte ( phrase 1 ) and an ascending derivative action figure with dotted rhythm in the piano (Phrase 2). Some authors associate with one phrase " male" and Phrase 2 with " female". The structure of the subject corresponds to a standard introductory phrase for symphonies, the triplets Grinder figure can be found in similar form in Mozart eg KV 96, KV 338 and KV 504

From bar 9 is followed by a march-like Forte Passage with typical fanfare rhythm of the wind instruments, chords, and another grinder figure in the strings, here as Zweiundreißigstel descending sequence ( in sixteenths also in the fourth set ). After the fermata on the unison -G in measure 23, the first theme is repeated as a piano version with votes against like woodwinds and without bass. A further repetition follows from clock 37 forte in the dominant G major, the second phrase is now being spun -like sequence and merges back into the marsh passage from bar 49. This ends in measure 55 on the double dominant D major, followed by general pause.

The following section ( from bar 56) is mainly considered during Revers the passage referred to as " Dominant field with thematic echoes " and sees the actual second issue only from clock 101 as a second subject. The theme ( G major ) will be carried forward in the piano strings and consists of two motifs ( ascending three-note motif and dance figure with trills ), the three-note motif occurs displaced in the bass and accompanied the second violin with continuous quaver movement. The theme is repeated varies and then goes into a passage, in which the second phrase is combined from the first theme in the bass with a new motif of the first violin. The movement died down and listen "open harmoniously, like a question mark " in measure 80 with a further general pause.

Unexpectedly now follows in a Forte outbreak of the entire orchestra with tremolo, which moves from C minor on C major and F major turn to C major ( ascending broken chord ), and finally ends in G major. With the subsequent passage (similar from bar 39 with Fort spin drying the subject of Phrase 2 of the first theme ), the tension is built up again, however, breaks in bars 99/100 again is surprising as in the piano descending broken D major seventh chord of the 1st violin and a third grand pause completely.

The subsequent, folk - dance-like theme ( G major ), for example, that Peter lapel sees as " real " second theme is, otherwise referred to mostly as the final group beginning or as a third subject. It is based on the aria "Un bacio di mano " KV 541 ". The exhibition closes with tremolo and the grinder figures of the march section in clock 120 and is repeated.

The implementation can be divided into two parts: The first part ( clock 121-160 ) begins with a unison initiation of the blower according to E flat major and is based on the third topic, and in particular modulations of the final phrase in the alternation of Violins and Viola / Bass. From clock 133-138 also occur the fanfare rhythms added from the march section. - The second part ( clock 161-188 ) initially engages the first theme as apparent recapitulation on, but in the subdominant F major and the Piano. This is followed by progressions of the first phrase of the first theme over C major, D major and E major. From bar 171 also occurs, add the Zweiundreißigstel Grinder figure of the march section over a chromatic bass line. With the final phrase from the third theme, which is played offset from oboe and bassoon, followed by the transition to the recapitulation, which begins in measure 189.

The recapitulation differs in some aspects from the exposure that affect the timbre and instrumentation v. a.. For example. the second appearance of the first issue after the unison G is held with a fermata in minor, and the minor outbreak in Forte is extensive. Development and recapitulation are not repeated.

Second movement: Andante cantabile

F Major, 3/4-time 101 cycles, Strings with dampers

The first theme begins as upbeat, pause prevailed and rising in the dotted rhythm figure ( "Hiking motif of the classical age ", that is, similar motifs are often found in contemporaries of Mozart ). In cycle 2 and 4, the second quarter beat of the bar ( which is normally unstressed ) emphasized by the forte chord of the whole orchestra ( " metric annoying accents " ), whereby the triple meter is obscured. The thematic approach in clock 5 reached after striation of d- Moll the vocal and lyrical postscript the subject. Here oboe and flute then for the tone are particularly decisive. From bar 11, the theme is repeated as a variant, and in the "Hiking motif" the bass vocal leader, and the violins with their Zweiundreißigstel figure (from the trailer ) a vote against like motif complement.

From bar 19 follows an unexpected turn to C minor, who gets restless - excited character through syncopation, accents, dissonance and chromaticism. In part, this passage is interpreted in terms of a second theme. Contrast to them is the vocal, ascending motif from bar 28, which is interpreted differently: as a second subject or topic as the third or the beginning of the end group. It is underlain by running through the triplet 2nd violin. If necessary. as a postscript to this design, the passage is to be interpreted from bar 32, which is linked to the antecedent by the continued running through triplet and characterized by a Tonwiederholungsmotiv. This veiled by its two - meter triple time, like at the beginning of the sentence. Mozart then sets the subject in stretto of violin and flute and repeated after a chromatic compressed transition as a variant of the antecedent ( dialogue of violins and flute / oboe). The exposition ends at bar 44 and is repeated.

The implementation (measure 45-59 ) makes the subject stand out from the Synkopenabschnitt clock 19 ff on different harmonic levels (eg, D minor, E flat minor ). Some authors also use the term " middle part " because no processing of material of the exposition in the strict sense takes place. The return to the recapitulation is in measure 56 as chromatic brass dialogue based on a phrase from the third issue.

The recapitulation ( from bar 60) begins with the first theme in varied timbre similar to clock 11 The postscript but now omitted, it gets the Zweiundreißigstel figure more weight and increases in a Fort spin drying to Forte (cycle 65 ) and C - major fortissimo (cycle 71), accompanied by fanfare-like rhythms of the winds. The Synkopenabschnitt according to clock 19 ff is reduced to two bars and no longer acts here as a sharp drop. In the coda from bar 92 Mozart attacks again on the first topic and can exhale the sentence in pianissimo. The reappearance of the first theme has incorporated only later Mozart.

Development and recapitulation are not repeated. Overall, the event sounds by the attenuation of the violins "like from a distance, almost as if behind a veil ."

Third movement: Menuetto. Allegretto

C major, 3/4-time, with Trio 87 cycles

The theme of the minuet is first presented piano. It has a symmetrical structure of two four-bar halves ( from two-bar blocks). The main component is a descending chromatic line of violins, in its final twist also brass and timpani to occur. Then the whole orchestra takes up the descending line and expands the final turn out. At the beginning of the second part builds Mozart tension to by sequenced the descending line in the woodwinds over the continuously repeated G of the horns and after the forte unison signal to clock 26-28 also in imitation between the upper and lower voices processed (including ascending vote against with trills ). Also imitative and only for woodwinds also uses the recapitulation at bar 44 in the piano. The last eight bars are similarly structured in the first part.

The first part of the trio ( F Major, without trumpets and timpani) consists of the replacement of a derivative action of the winds phrase (reminiscent of closing phrases of sentences ) and a dance, falling staccato figure of first violin and first oboe. The second part begins contrasting forte: woodwinds and first violin playing a melody line of ganztaktigen notes whose initial quotes the theme of the fourth movement, accompanied by the other instruments in rhythmic unison repeated -E. From bar 80 is followed by the instrumental varied repetition of the beginning.

Fourth proposition: Molto allegro

C major, 2/2-Takt ( alla breve ), 423 cycles

There are numerous analyzes particular to this set. In principle, the scheme of a sonata movement similar ( exposition - development - recapitulation - coda ), also structured fugal sections ( fugal ) are installed. Five of the six themes / motifs of the set are compared in the coda at the same time to each other.

This combination of " learned " baroque fugue and " gallant " classical style already shows the topic sentence at the beginning: It is periodically applied four measures each antecedent and consequent. The antecedent is contested only by the violins: the first violin plays the baroque chorale-like motif CDFE in whole notes ('the motif A), but as galant classic moment backed by the eighth movement of the second violin. Instead of a baroque Fort spin -drying ( as it is found in measure 36 ff ) Mozart used for the postscript a dance motif (motif B ), in which the well-known from the first set grinder figure appears again. The second violin continues its eighth movement, bass and viola occur concomitantly added. A motif from the antecedent is based on the third line of the hymn Pange lingua Gregorian. It is also found in other composers (eg in the Gradus ad Parnassum by Johann Joseph Fux, and in the final movement of Joseph Haydn's Symphony No. 13); Mozart himself used it in the Symphonies KV 16, KV 45b and KV 319 and KV 192 fairs (there: in the Creed ) and KV 257 (there: in the Sanctus ). Motif B is not processed more coherent than one in another set course.

From bar 9 the theme is taken up in the Forte of the entire orchestra with varied and repeated postscript, the bass initially emphasize the grinder figure. Begins in measure 19 (similar to the first set ), a march-like passage, in which the signal or fanfare motif C ( dotted -eighth rhythm and run down) first appears. The march passage ends in bar 35 on the dominant G.

In bar 36 now uses a baroque -sounding fugal with motif A, which starting at measure 57 design D1 is added (ascending quarter sequence with trills ). This design still has a closing twist with large interval jumps ( subject D2). With the "rolling " eighths of motif C of the section ends on the off clock 64 establishing itself ends double dominant D.

The lyrical second theme ( from bar 74, motif E) is in G Major - Piano presented by the strings - in the same structure as the beginning of a sentence: voting leading 1st violin, 2nd violin with continuous quavers, viola and bass with individual, bottoming tones. These give the woodwinds added interjections of motif D2, D1 and C. The theme is repeated. The continuous quaver movement of the second violin is then taken up by the first violin and spun out over a pedal point on D, while flute and bassoon throw motif D1.

In bar 94, the tone will change with the addition Join the Brass: the just been vocally - gentle motif E is now mixed in Forte from the instruments spun out (initially only the motive head) and gets a bit heroic character. The "rolling " eighth runs down guided by motif E then to a homophonic passage with motif B. This ( clock 115 ff ) in turn has fanfares - march-like character, which is maintained even after bar 135, where the fanfare motif occurs C added - partly also in its reversal ( eighth run upwards instead of downwards ). About a throbbing pedal point on G, the exposition ends with the played by the oboe / bassoon motif C in bar 157, the exposure is repeated.

The development begins with the piano motif A in the strings on a turn throbbing pedal point on G, as a " postscript " Mozart used the fanfare motif C in oboe and bassoon. This sequence is now - after a " slipping " - repeated by E and goes into clock 172 in the actual implementation passage over. It is primarily based on motif C, the offset occurs in the instruments, including first in the circle of fifths down in major and is then sequenced up in the minor:

  • ( E major (bar 166) - ) in A major (bar 172) - D major (bar 176) - G major (bar 180) - C major (bar 183) - F major (bar 187)
  • F major (bar 187) - C minor (measure 191) - G minor (measure 196 ) - D minor (measure 202).

Characteristic are also the objections of the brass with the head of motif C. Sequencing upstream little chromatic piano passages in the woodwinds with motif A are switched on. With such a passage Mozart alternates clock 205 from D minor to a section, which oscillates between B major and E minor (bars 210-219 ), and finally reconciles with further chromaticism and motif C to the recapitulation.

In the recapitulation ( from bar 225) is esp. the section changed to the entrance of the second theme: in the repetition of the first theme, the grinder piece is extended in the bass / viola, motif A occurs at measure 243 as a variant in the bass on. The Baroque fugal according to clock 36-52 missing. From the second theme (bar 272 ff ) is the recapitulation similar exposure structured. The recapitulation ends in measure 356, is repeated together with the implementation, and then proceeds motif C that in its original form ( bass) and reverse (rest strings) on a C Major - seventh chord is played, in the coda.

This begins " mysterious, weightless and almost no comprehensible metric movement " ( clock 360 ff ) in the Piano with motif A in its reversal and goes to clock 372 into a fugal, in which the five motifs A, C, D1, D2 and e displaced migrate through the instruments. Specifically, this section is highlighted by many authors:

  • "Here is Jupiter ruler of the world and worlds, creator of absolute beauty, symbol of symmetry and perfection. "
  • " With this material, Mozart now opens the floodgates of multiple counterpoint; beat in ever new intertwining the familiar thoughts of the ear of the listener, and he can only marvel at the wonderful ease with which penetrates to the utmost this increased life energy on him. "
  • "This will affect users in their gestures and voice leading as a lively ensemble of the various characters and persons of an opera buffa: a klass [ ic ] dramatization of instrumental music. "

With change of clock 401 to 402 beats " this highest complexity almost vermittelungslos in almost naive homophony " with the " march - Passage" (motif B), which was omitted in the recapitulation. The movement ends with C Major - fanfare. Overall, the conclusion of this sentence " almost note for note the same as the end of the first lift of the Magic Flute ."

References, notes

Web links, notes

  • Symphony in C, K. 551: Score and critical report in the New Mozart Edition
  • Symphony 41 (Mozart): notes and audio files in the International Music Score Library Project.
  • Wolfgang Amadeus Mozart: Symphony in C major KV 551 "Jupiter Symphony"; Pocket score. Introduction and analysis of Manfred Wagner. Goldmann, Mainz and Schott, Munich 1979, ISBN 3-442-33016-5.
  • Wolfgang Amadeus Mozart: Symphony No. 41 in C Major Jupiter KV 551 No Philharmonia. 6th Revised edition, Vienna 1960, 84 pp.
  • W. Meves: Symphonies de W. A. Mozart. Collection Litolff No. 168 Henry Litolff 's Verlag, Braunschweig undated ( c.1890, including a version of the symphony KV 551 for piano two hands )
  • Thread of the symphony, K. 551 with the focus of discussions at different recordings
  • The New York Philharmonic under Leonard Bernstein playing the third movement of the Jupiter Symphony (Audio Video )

Further reading

  • Stephan Kunze: Mozart: Symphony in C major, K. 551 Jupiter Symphony. Series: Masterpieces of Music, No. 50 William Finck Verlag, Munich 1988 ( the book was not evaluated for this article ).
9221
de