Symphony No. 9 (Mozart)
The Symphony in C major Köchelverzeichnis 73 Wolfgang Amadeus Mozart, probably in 1772. According to the Old Mozart Edition, the symphony has the number 9
General
The autograph of this symphony is in place, it recorded the year 1769, however, was probably added afterwards by the publisher Johann Anton André. Probably Mozart composed the symphony in 1772. It is unclear whether Mozart wrote the Symphony for a performance in Salzburg or for an Italian client.
About the Music
Instrumentation: Flute Two ( this only in the second set ), two oboes, two horns, two trumpets, timpani, two violins, viola, cello, double bass. In contemporary orchestras, it was also common, even without separate listing bassoon and harpsichord (if available in the orchestra ) to use to enhance the bass voice, or the basso continuo instrument.
Duration: about 12 minutes.
The use here terms based on the 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 Köchelverzeichnis (KV) can be transferred 73. For example. corresponds to set 1 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
C major, 4/4-time, 105 cycles
The set opened as Forte -Fanfare of the entire orchestra ( tutti ) based on the C Major - based chord. The horns play the skeleton, reinforced by the tremolo strings. Contrasting the strings respond in a calm, melodious, descending piano phrase with eighth run in the bass. This contrast theme " brings an entirely unitalienischen, reminiscent of the Mannheim style, but made worse mood envelope as to have him since Mozart's very first symphony no work had " and is repeated in a leading to the dominant G major variant with extended strings answer. The renewed tutti fanfare of G major from then leads to the double dominant D major, the achievement is accented with three chords,. The subsequent forte passage ( from bar 16) brings several motives: first, play viola and bass scale- like sequences of D major and G major under tremolo of the violins and sun shades to the wind, followed by a two-bar, cadential figure with syncope, the short C major touches. This six-bar unit is repeated and then goes into a figure with a counter-movement between the violins. The final section (bars 33 ff ) is characterized by its distinctive bass tremolo motif on the Violin / Viola and sustained wind chords. Here Mozart changes, inter alia, to the dominant parallels E minor and repeated passage like an echo in the piano. The exposition ends as energetic, tremolo unison figure of tutti chord with blows to G major.
The central part of the sentence ( clock 46 to 58 ) has transition character. He is consistently in the piano and organ by its point on G ( Horn: eighth - note repetition: sustained notes, viola and bass) in play on the violins and oboes a four-bar motif with trills.
The recapitulation (bars 59 ff ) is similar to the exposure structured, but the repetition of the first theme in the piano passage is altered chromatically. The energetic tremoloierende Unisonofigur the final group is repeatedly moved to gain upward. Overall, the rate through the long Forte and tremolo passages and the lack of repeated phrases has overture -like character.
Second movement: Andante
F Major, 2/4-cycle, 51 bars, flutes represent the oboe; Mention horns, trumpets and timpani
Vocal leader in this movement, which is held mainly in Mezzo Forte, the flutes and the mostly parallel run first violin. The second violin accompanied as continuous semiquavers, while Viola Bass and give eighths or quarters with the harmonic skeleton. Through the whole sentence is a characteristic motif pulls with dotted rhythms. The first theme (bars 1-8) is built periodically from antecedent and consequent, in turn from two-bar " question " and " answer" ( phrases). The "answer" in the trailer leads us to the dominant and ends on the double dominant G major. In the subsequent second theme ( in C major ) first violin and the flute playing a motif in the dialog. The final group is characterized by the motif trills and the motion in sixths.
The second part of the sentence initially attacks the head of the first theme in C major on, these short moves to G minor and then introduces a new motif with Provision in the subdominant B flat major. The " recapitulation " is in measure 31 a with the first theme, and as the first part of the sentence structure. Both phrases are repeated.
"Even the F major Andante of this symphony ( with flutes instead of oboes, which, although only simple gain of the two violins, lovely sound ) has, in almost immemorial Oddities of voice leading ( T. 28/29! ), Much Standalone (such as the short development section in such an apparently simple Dahinmelodisieren ), therefore, is one of the most interesting records of the young master. "
Third set Minuetto
C major, 3/4-time, 24 20 cycles
The vigorous minuet is decorated throughout in Forte and characterized by its border district movement. The trill in the opening motif is reminiscent of the Andante. As in the minuet of Symphony, K. 112, the viola has no voice here, but merely doubled the bass line, which may be related to the origin as an independent dance minuet.
The Trio in F major contrasts ( predominantly lyrical tone, soft melody line in thirds ) with his cast (strings only ), volume ( consistently piano) and the character of the minuet. In the first part of the trio, however, also occurs the trill phrase from the minuet.
Fourth movement Allegro molto
C major, 2/4-cycle, 176 cycles
This rapid movement is constructed as a rondo. The chorus is achttaktig and is based on the ascending C major - chord with short change to the subdominant F major. Vocal leader are the violins and oboes.
In the first couplet ( 17-40 clock, G major ) beginning the trill phrase falls similar to as in the Andante, followed by a forte passage with broken chords in the change from G major and D major. The second couplet ( 57-74 clock, C major ) picks up this change again and spins it with a new " answer " section. The third and longest couplet ( clock 89-136 ) in C minor is repeated three times by his " questioning " third Eb C marked. The winds accompany sustained, the Viola with broken chords and the bass with bottoming neighborhoods. The set is completed by a coda in which the trill motif occurs again.
Overall, for the set of the schema: ABACADA coda.
" Surprisingly, the brilliant finale (...), a beautiful, brisk piece that requires virtuoso playing to this day to be more of ravishing effect. "