19th Symphony (Mozart)

The symphony in E flat major Köchelverzeichnis 132 was composed by Wolfgang Amadeus Mozart in Salzburg in 1772. According to the Old Mozart Edition, the symphony bears the number 19.

General

Painting by Mozart by Saverio dalla Rosa, January 1770

The work, like the other symphonies written in the immediate vicinity (Köchel catalog (KV) 128-130 and KV 132-134, details in KV 130 ) served to entertain the Archbishop of Salzburg, Colloredo . Not only Mozart but also Michael Haydn regularly delivered symphonies for the concerts at the archbishop's residence. Perhaps Mozart was stimulated by Michael Haydn's preference for unusual instrumental compositions in KV 132 (as well as KV 130), because four instead of the usual two horns are provided, two of them in E flat alto - the highest pitch of a horn in the 18th century. Neal Zaslaw (1989) suspects that the required pitch could have been achieved by a converted contemporary horn.

To the music

Instrumentation: two oboes , four horns (two in E flat alto, two in E flat basso), 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. 20 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 132 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

E flat major, 4/4 time, 148 bars

The movement opens as a contrasting theme with a fanfare-like triad trill motif in the forte (reminiscent of the beginning of the piano concerto KV 482 ) and the strings' piano response in dotted rhythm. This sequence (“first topic”) is repeated. In the forte section from bar 11, bass and winds throw a broken triad figure to each other like a dialogue, accompanied by the tremolo of the strings. While Mozart changes to the dominant in B flat major, two more small motifs follow with Schleifer phrases and syncopation , the second with its three-note melody has a fan-like character again. The section ends with a virtuoso sixteenth run over two octaves and chords on the dominant B flat major.

The second theme hovers from bar 29 on a "rolled out carpet" ( organ point of the low horns and the viola on F; this is held a total of 13 bars) in the piano and is based on a figure of the two violins in thirds and a one-bar interlude of the oboes. The harmony alternates between the ( double dominant ) F major and B major. Wolfgang Gersthofer (2007) refers to the similarities of the theme with the second theme from the first movement of Johann Christian Bach's Symphony Opus 3 No. 1. The final group (bars 42 ff.) In the again “noisy” character with tremolo brings a bass motif separated by pauses with a characteristic octave jump downwards and ends the exposition with a cadenced figure.

The implementation (measure 60-89) begins, surprisingly, as of sustained G-major chord with the third in the bass. The harmony then changes abruptly to C minor with a new, trill-like motif. This structure is repeated, but now with a forte chord in F major and a subsequent trill motif in B major (bars 69 ff.). From bar 77, the triad bass motif follows from bar 11 ff., Initially in B flat minor, then Mozart changes to F major and, with a fanfare-like tremolo passage, reaches the tonic in E flat major, in which also in bar 90 the recapitulation begins. This is structurally similar to the exposition.

The whole set goes through without repetitions; with its fanfares and tremolo it takes on an overture-like character.

Second movement: Andante grazioso / Andante

Mozart composed two slow movements for the symphony (both without horns in E flat alto): an andante and an andantino grazioso. According to Neal Zaslaw (1989), the Andante is the first version that Mozart finally rejected in favor of the shorter Andantio grazioso because of its length. Since all sheets of the symphony are written on the same type of paper, all movements would probably be composed in quick succession.

Andante : B flat major, 3/8 time, 151 measures

The first theme consists of a sound carpet with a long sustained F in the 1st violin, while the 2nd violin and viola accompany with evenly floating sixteenth-note repetition and the bass with single notes. In the forte, the epilogue contrasts with a loop-like run up an octave, triplets and trill phrases. It leads from the dominant E flat major, in which the antecedent ended, back to the tonic B flat major. The octave upward recurs in the course of the movement and forms a characteristic element.

After a short transition, a chromatic, falling Forte motif begins in bar 21 in F major , which is repeated echo-like in the piano (can be interpreted as a second theme depending on your point of view). After a further short transition section, a motif follows in bar 37 that is initially similar to the preceding one, but is then continued differently (can be interpreted as the beginning of the final group or as a third theme). The section up to the end of the exposition in measure 58 is marked by a steady sixteenth-note movement. The end is remarkable: the already familiar loop-like run upwards followed by a trill, performed only by the violins in the forte.

The development begins with the first theme in the dominant F major. From bar 71 new elements are introduced and the harmony changes to C minor. The recapitulation beginning in bar 91 is announced with a four-tone knocking signal from the wind instruments on the F major seventh chord. It opens with the first theme in the tonic in B flat major, but the antecedent is then set in sequence from different levels. From bar 113 the structure again resembles that of the exposition. At the end, the loop-like run upwards is emphasized again in forte unison. The exposition, development and recapitulation are repeated.

In the Andante, Alfred Einstein (1953) speaks of “personal unrest of the soul and idiosyncrasy”, which has something downright “expressionistic” about it. Wolfgang Plath (1974) points out that Mozart (as in the trio of the minuet) processed echoes of church music and works out quotations from Gregorian melodies and even the Christmas carol Resonet in laudibus ( Joseph, dear Joseph mein ).

Andante grazioso : B flat major, 2/4 time, 56 bars

There are no pronounced melodic themes in this movement with its rather warm timbre, instead working with smaller motifs dominates. The “first theme” consists of a superimposition of empty phrases from the instruments with a steady sixteenth note movement of the 2nd violin, from which the 1st violin emerges as the leading part at the end of bar 2. After a transition passage with a lead, the “second theme” begins in bar 11 as a dialogue between oboes and violins. The final group is marked by triplets in staccato .

In the implementation part (bars 20-32) the dialogue from the second theme is processed (change of key, motifs in reverse). The structure of the recapitulation corresponds to the exposition. In contrast to the exposition, development and recapitulation are not repeated.

Third movement: Menuetto

E flat major, 3/4 time, with trio 68 bars

Polyphonic passages characterize the original third movement of this symphony. The two violins begin, offset by three quarter beats, with the main motif emphasizing the upbeat, before the other strings with the same motif and from bar 8 also the winds join in in bar 5 (composed crescendo ). At the end of the first part and in the second part, the motif also appears in reverse.

The trio (C minor, strings only) also begins with the main motif played in a staggered manner, but then goes on to a passage with an exotic, two-dimensional timbre. The middle section, which contrasts with stronger movement and forte, contains a new, dance-like motif, which is first performed in C major, then surprisingly shortly after B major. Several authors emphasize the special timbre of the trio. According to Wolfgang Plath (1974), who rates the trio as “by far the most interesting movement of the whole work”, Mozart uses a “church tonal” harmonics here as in the Andante; Neal Zaslaw (1989) speaks of a psalm-like atmosphere.

Fourth movement: Allegro

E flat major, 2/2 time (Alla breve), 139 measures

The movement is structured as a rondo with the main theme ( refrain ) and three couplets . The winds are only involved in the chorus. The couplets consist of two passages, each repeated once.

• Presentation of the memorable, two-part main theme (refrain), bars 1-16. Both parts are repeated. Alfred Einstein (1953) speaks of a "shirt-sleeved" melody. Neal Zaslaw (1989) interprets this as a parody of the French music that Mozart did not appreciate at the time.
• 1st couplet, bars 17-38, B flat major, second passage with chromatics.
• Refrain, bars 39-54
• 2. Couplet, bars 55-77, C minor, with chromatics.
• Refrain, bars 89-94
• 3. Couplet, bars 95-110, A flat major
• Refrain, bars 110-126
• Coda , bars 126-139 in the forte with full orchestra.

Individual references, comments

1. ↑ ^{a b c d e} Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989, 617 pp.
2. ^ 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 3-8900-7461-8 , pp. 15-27.
3. ↑ The repetitions of the parts of the sentence are not observed in some recordings.
4. ^ ^{A b} Alfred Einstein: Mozart - His character, his work. Pan-Verlag, Zurich / Stuttgart 1953, 553 pp.
5. ↑ ^{a b} Wolfgang Plath: A “spiritual” symphony movement by Mozart. The Music Research Volume 27 (1974): 93-95, JSTOR 41117583 . Quoted by Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6
6. ↑ See also the overview in Neal Zaslaw (1989).
7. ^ Hermann Abert: WA Mozart. Revised and expanded edition of Otto Jahn's Mozart. First part 1756-1782. 7th expanded edition, VEB Breitkopf & Härtel, Leipzig 1955, 848 pp.

Web links, notes

• Symphony KV 132 : Score and critical report in the New Mozart Edition
• Symphony No. 19 : Sheet music and audio files in the International Music Score Library Project
• Wolfgang Amadeus Mozart: Sinfonia in mi bem, K. 132. PR 789, Ricordi-Verlag, Milan 1955 (pocket score).

See also

• List of symphonies by Wolfgang Amadeus Mozart