17th Symphony (Mozart)

The Symphony in G major Köchelverzeichnis 129 was composed by Wolfgang Amadeus Mozart in Salzburg in 1772. He was then 16 years old. According to the Old Mozart Edition, the symphony is number 17.

General

Painting by Mozart by Saverio dalla Rosa, January 1770

Mozart composed the symphony Köchelverzeichnis (KV) 129 in May 1772 as part of a six-part symphony group (see KV 130 ). Within this group, it forms a pair of works with the symphony KV 128 insofar as both - in addition to the same “small” instrumentation - are three-movement symphonies without a minuet. In addition, the character of the final sentences is similar. On the other hand, z. For example, the first sentences are rather contradicting (but also form a counterpart to each other): KV 128 I with the "more rhythmically emphasized spelling" or "large-scale, to a certain extent stable" , KV 129 I, on the other hand, with an "Italian-influenced (n ) fluid-elegant (n) diction ” or “ flexible, graceful, always changing ” and (as well as parts of the first movement of the symphony KV 132) pointing towards Johann Christian Bach (in the early summer of 1772 Mozart had three sonatas from opus V arranged as piano concertos by Johann Christian Bach: KV 107). Alfred Einstein (1953) therefore describes the first sentence as a “relapse”, which “could have been written in London or Hague under Johann Christian's influence” , but praises the other sentences that “already breathe Haydn's spirit”. Howard Chandler Robbins Landon (1991) describes KV 129 as “an enchantingly fresh work to be performed in the open air”.

To the music

Instrumentation: two oboes , two horns , two violins , viola , cello , double bass . In contemporary orchestras it was also customary, even without separate listing bassoon and harpsichord (if available in the orchestra) to reinforce the bass part or as a basso use -instrument.

Performance time : approx. 12 minutes.

With the terms of the sonata form used here, it should be noted that this scheme was designed in the first half of the 19th century (see there) and can therefore only be transferred to the Symphony KV 129 with restrictions. - The description and structure of the sentences given here is to be understood as a suggestion. Depending on the point of view, other delimitations and interpretations are also possible.

First movement: Allegro maestoso

G major, 4/4 time, 114 bars

The symphony begins as a strong, broad G major chord in the forte. The G is also sustained for the following eight bars as an organ point in the horn or emphasized with the "drum bass" of the low strings, while the violins play a dancing, jumping figure with trills and Lombard rhythms . The transition to the second theme (bars 9–17) changes in a “brilliant” passage with chord melodies, tremolo and virtuoso runs of the violins from the tonic in G major to the dominant in D major. The second theme (bar 18 ff., D major) begins with the staggered use of the instruments: at first only the "priming" (sustained A of the horns and tone repetition of the violin on A), then the 1st violin, 2nd violin and Bass with the "hopping motif" from the first topic, each time with a new motif as the opposing voice. From bar 26, another section follows, which begins as a crescendo from pianissimo to forte and then again brings virtuoso runs and smaller, “brilliant” motifs for the violins leading the voice. The final group (bar 47 ff.) Has a contrasting character: no longer flowing quickly, but striding, interrupted by pauses.

In the implementation (FF clock. 47), the "Hüpfmotiv" processed by the second topic: First presents Mozart the subject in D major with his vote against before, modulated but then the alternation of forte unison and piano "answer" to trill to E minor, in which this passage also ends with a short tremolo cadence . The subsequent detached movement leads to D major, which prepares the recapitulation in measure 68. The recapitulation is structured similarly to the exposition. The exposition, development and recapitulation are repeated.

Second movement: Andante

C major, 2/4 time, 73 bars

The vocal, song-like main theme with a striding bass line is first introduced piano by the strings, then repeated by the whole orchestra forte. The dominant G major is followed by a third motif and - to conclude the first part - a motif with a tapping tone repetition.

In the short development (bars 31–38), Mozart lets a new, one-bar motif wander through the stringed instruments. The recapitulation (bars 39 ff.) Is structured in a similar way to the exposition, but the third passage is extended with forte-piano changes. The sentence ends with a phrase that can be thought of as derived from the main theme. The exposition, development and recapitulation are repeated.

Bernhard Paumgartner (1957) feels reminded of Joseph Haydn at the beginning of the “pretty” Andante , especially the slow movement of Symphony No. 100 .

Third movement: Allegro

G major, 3/8 time, 192 bars

The first theme is reminiscent of the hunting theme with its forte-unison line, in particular the upbeat three-tone melody at the beginning, and has similarities with the final movement of the piano sonata K. 576. After the short interlude of the violins / viola (bars 9–24), the head of the theme is repeated in the dominant D major, but with a different continuation that establishes the dominant. The second theme (bars 45 ff.) Contrasts with its restrained, floating character at the opening of the movement. Only the strings are involved, with the 1st violin initially playing a falling figure with hold on the first, accentuated beat, which is then continued as a variant in dialogue with the 2nd violin. After a “noisy” tremolo passage, the final group (bars 71 ff.) Ends the exposition with its piano-forte motif, which is reminiscent of the theme of the beginning of the movement, as a “humorous, abrupt end” .

The development begins like the exposition with the first theme, now in D major. After a passage of tremolo modulation, Mozart finally reaches the tonic parallel in E minor. This is followed by three appearances by the head from the first subject, the last two noticeable due to their characteristic dissonance. The recapitulation begins in bar 128 with the interlude analogous to bar 9 ff. And is structured in a similar way to the exposition. The exposition, development and recapitulation are repeated.

Individual references, comments

1. ↑ ^{a b c} Wolfgang Gersthofer: Symphonies KV 16-134. In: Joachim Brügge, Claudia Maria Knispel (Ed.): The Mozart Handbook, Volume 1: Mozart's orchestral works and concerts. Laaber-Verlag, Laaber 2007, ISBN 978-3-89007-461-0 , pp. 15-27.
2. ↑ ^{a b} Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 , p. 283.
3. ↑ Alfred Einstein: Mozart - His character, his work. Pan-Verlag, Zurich and Stuttgart 1953.
4. ^ Howard Chandler Robbins Landon: KV 129 in G major. Text contribution to: Mozart Symphonies Nos 17, 18, 19, 22, 32. Translation: Byword. The Amsterdam Baroque Orchestra , Ton Koopman; Erato Disques SA 1991.
5. ^ Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989.
6. ↑ ^{a b c} The repetitions of the parts of the sentence are not kept in some recordings.
7. ↑ ^{a b} Bernhard Paumgartner: Mozart. Atlantis-Verlag, Zurich and Freiburg i. Br. 1957, p. 155.

Web links, notes

• 17th Symphony (Mozart) : Score and critical report in the New Mozart Edition
• Wolfgang Amadeus Mozart: Sinfonia in sol, K. 129 PR 630, Ricordi-Verlag, Milan 1955 (pocket score).

See also

• List of symphonies by Wolfgang Amadeus Mozart