Symphony No. 6 (Mozart)
The Symphony in F major Köchelverzeichnis 43 composed by Wolfgang Amadeus Mozart in 1767. According to the Old Mozart Edition, the symphony performs the number 6
General
The autograph of the Symphony Köchelverzeichnis (KV) 43 is entitled:. Sinfonia di Wolfgango Mozart à Vienne 1767 over the year is the later smeared remark à Olmutz. In Olomouc ( Moravia ), the Mozart held only once between 26 October and 23 December 1767, when they had to flee from the smallpox infested Vienna abruptly, the disease of both children but could not prevent. On the run from Vienna they did in Brno station, and Leopold Mozart postponed because of illness a planned concert at the time of return. On January 10, 1768 Mozart returned to Vienna. Probably KV 43 was composed in Vienna between 15 September and 23 October 1767 written in Olomouc while Wolfgang's recovery from the smallpox and (possibly) listed on December 30th in Brno.
About the Music
Instrumentation: two flutes (these only in the second set ), two oboes, two horns in F, two violins, two violas, cello, double bass. In contemporary orchestras, it was also common, even without special notation bassoon and harpsichord (if available in the orchestra ) to reinforce the bass line or use as continuo. As a special feature, the divided violas are emphasized in KV 43. Performance time: approximately 16 minutes.
In the terms used here based on the sonata form is considered that this scheme was designed in the first half of the 19th century (see below) and therefore can be transferred only with restrictions on 43 KV. Sentences 1, 2 and 4 correspond more the two-part form, in which the second part of the sentence is considered as a modified run of the first ( " exposure "). - 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
F Major, 4/4-time, 101 cycles
The sentence begins forte throughout the orchestra ( tutti ) as unison fanfare of F Major - triad, which is carried forward in the march - like dotted rhythm. This is followed by a crescendo - section with ascending melody line in the violins, which leads to the dominant C major and this reached in bar 13 with three strong chord strokes. Presumably, Mozart oriented in this opening sentence to Johann Christian Bach Symphony in G major, Op 6 No 1 of 1764.
In bar 13 by a section that modulates the fanfare motif in the bass over tremolo strings and held wind chords from C major to double dominant G major, which also briefly in A minor, C minor and D major are striped. The second theme (bars 23-31 ) is expected to be in the dominant key of C major and is played by the violins and violas ( without bass ) piano. Characteristic of the gently - predominant melody is in the antecedent one of sustained tone of voting leading 1st violin, respond transferred to the rest of the string after a quaver rest, in the postscript chromatic movement.
In the following passage ( from bar 32) several small motives are behind the other set: First, both violins added to each their own, one-bar phrase. The voltage have built up comes off as a cadenza-like figure, which are followed by two additional motifs with Akkordmelodik. A characteristic feature is especially the last, which consists of presented in staccato unison broken triads.
The second part of the sentence begins with a block -like trespassing Forte tutti passages with the fanfare motif in the bass and tremolo darübergelegtem analog clock 13 ff one hand and a legato quarter movement of the strings in the piano on the other hand ( "Implementation "). Surprisingly, the section begins in tonally remote A major and then changes the circle of fifths down on D minor and G major to C major. The transition to the " Reprise" in bar 69 ff is designed with the trill phrase analog clock 10/11. This is followed, however, does not preclude, as in the passage of exposure with the fanfares motif in the bass at, but the second theme ( Takt73 et seq.) The recapitulation is in the course structured according to the " exposure". Both phrases are repeated.
Second movement: Andante
C major, 2/4-cycle, 67 cycles
The timbre changes compared to the previous sentence: In the new key of C major are now entering flutes replace the oboes, the vote leading first violin plays muted, the second violin and the bass pizzicato, " mumble " in sixteenths the shared listed Violas. The whole movement is characterized by its pastoral character and singable melody line. It consists of a sequence of mostly two-stroke, repeated motifs.
The motifs in tact 1-8 or 13-20 are the first and second theme interpretable (each with a symmetrical structure ). Suspensions are characteristic for both subjects, for the Reconciliation section (bars 9-11), a chromatic melody line. On the second issue followed by a cadential trill descending section with phrase, in the final section (bars 27-30) merges with remote movement.
In bar 31 ff initially follows the antecedent of the first issue as a variant, the music swings but then in bar 35 in a Fort spin drying of material of the second theme has to offer. The " recapitulation " is in measure 54 with the consequent phrase of the second theme. Both phrases are repeated.
The Andante is a reworking of a duet from the comedy Apollo et Hyacinthus, K. 38 It occurs in the opera only at the end after the end of the actual plot: Two supporting roles abstract philosophizing about God's wrath and mercy loss.
" The eleven-year old child prodigy has perhaps drawn inspiration from the text and seems to have dubbed the situation whereby a set of almost sublime serenity was more. "
Third movement: Minuetto e Trio
F Major, 3/4-time, with Trio 36 cycles
The galant minuet is characterized by its upbeat triplets that down in the first part, be conducted in the second part up. Also, the Trio for Strings in B flat major is characterized by ascending, upbeat triplets. Here, in the first part of the violins, stim leader at the beginning of the second part of the bass. As a loosening of this scheme occurs at the end of the trio on a chromatic unison passage with syncope.
First and second half of the minuet are each eight bars of equal length, the Trio the second half with twelve bars is slightly longer than the first with eight bars.
Fourth movement: Allegro
F Major, 6/8-measure, 110 cycles
The set is characterized by its largely continuous, partly almost pounding eighth notes and kept in the character of a gigue or with elements of hunting motifs. The first theme (bars 1-8) includes a question and answer - Hive. After a short transition sets in measure 17, the second theme in C major in a piano. It consists of fractured, partly diminished triads of violins, backed by three or more sounds of the viola. Then ( measure 25 ff ) follow several smaller ( two-to viertaktiger ) motives; the exposition ends in measure 47 with Akkordmelodik to C major.
The second part of the sentence begins accordingly in C major with the first theme, but then brings new material with accented provision and pounding eighth notes in forte unison in a Fort spin drying. In addition, the second theme in D minor occurs. The material according to clock 25 follows from the first sentence. Both phrases are repeated.