20th Symphony (Mozart)

The symphony in D major Köchelverzeichnis 133 was composed by Wolfgang Amadeus Mozart in July 1772 in Salzburg. He was then 16 years old. According to the Old Mozart Edition, the symphony bears the number 20.

General

Painting by Mozart by Saverio dalla Rosa, January 1770

Compared to the other Salzburg symphonies created in the same creative period ( KV 128 , KV 129 , KV 130 , KV 132 , KV 134 ), the Köchelverzeichnis (KV) 133 symphony is characterized by a splendid, pompous character, especially in recordings with timpani. For information on how it was created see KV 130

To the music

Instrumentation: transverse flute (only in the second movement), two oboes , two horns in D, two trumpets in D, two violins , viola , cello , double bass . It was also at that time usual, to reinforce the bass part, a bassoon and a basso -instrument a harpsichord use, the same applies to the often used in parallel with trumpets timpani (if the orchestra available).

Performance duration: approx. 25 minutes.

With the terms of the sonata form used here, it should be noted that this scheme was drafted in the first half of the 19th century (see there) and can therefore only be transferred to the Symphony KV 133 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

D major, 4/4 time, 182 bars

Three strong quarter-beats open the sentence like a signal before the actual first topic begins. This is - unusual for a first theme - of a rather reserved character: piano, only strings, lightly swaying. The theme is based on a two-bar motif and is structured periodically, with the postscript repeated. From bar 14 a long transition section follows with a lot of tremolo , semiquaver runs and chords. A motif with dotted rhythm and trills is important for the further structure of the sentence (e.g. in bar 14, = motif B, if the main motif of the first topic is referred to as motif A) and one with a sixteenth-note run followed by a large interval jump (Motif C, e.g. bar 20 ff.). In measure 34, the timbre of the tremolo section surprisingly changes from E major to minor, where the listener actually expects the second theme. This begins in measure 42 and, like the first theme, is cautious, but with a more dotted rhythm. It is repeated with oboe accompaniment. From bar 52 there is another section with fanfares, runs, tremolo and syncopation . Before the actual final group begins in bar 73 with chords and motif B as a variant, the strings give an interlude in the piano with many trills.

The implementation (or midsection, clock 79-125) starts by taking the variant of motif B from the final group of the exposure on by strings and winds this motif in the piano throw themselves displaced. From bar 94 the whole orchestra resumes with a fanfare-like section in which motifs B and C appear.

The recapitulation (bars 125 ff.) Does not begin with the first, but with the second theme in the piano (also in the first movement of KV 134 ) and then proceeds in a similar way to the exposition. Instead of the expected final chords, the first theme is "handed in" from bar 160: first piano, then in the second run forte and played by the whole orchestra. The movement ends with the variant of motif B, accompanied by chord melodies. The exposition, development and recapitulation are repeated.

Strings and winds often appear in a dialogue in the movement. Cliff Eisen (1996) compares the first movement of KV 133 with that of Michael Haydn's Symphony Perger-Directory 9. This symphony from 1766 was originally in three movements, but Michael Haydn added another movement on June 15, 1772 (i.e. only one month before Mozart composed KV 133). Eisen sees similarities in the fact that both movements have a calm, lyrical main theme that is not repeated at the beginning of the recapitulation but only at the end of the movement - in both cases in the forte with full orchestral performance.

Second movement: Andante

A major, 2/4 time, 102 bars, strings with solo flute; Violins with mutes

In the movement, the solo flute and the 1st violin usually lead the melody (the flute doubles the 1st violin an octave higher), while the viola with a "mumbling" sixteenth note movement, while the cello and double bass accompany with pizzicato sounds.

The first theme is upbeat and, like the entire movement, is characterized by triplets . It is repeated before a new motif ("second theme") begins in bar 16 with a dotted rhythm, which then takes up the triplet movement again very quickly (from bar 20). Further smaller motifs with triplets and trills follow until the end of the exposition in bar 45.

The middle section is kept quite short (bars 47–55), takes up the two main motifs and changes to minor for three bars. The structure of the recapitulation is similar to the exposition. It is repeated with the development as well as the exposition and then turns into a short coda (bars 98-102).

Mozart may have based this movement on the Andante from Michael Haydn's Symphony No. 30.

Third movement: Minuetto

D major, 3/4 time, with trio 58 bars

The minuet, which begins with a fanfare-like sixteenth-note run over an octave, with its magnificent character follows on from the timbre of the first movement. The harmony is rather conventional; a tutti turn is repeated echo-like by the strings in the piano. Wolfgang Fischer (1956) points out the striking similarity to the minuet from the D major symphony by Matthias Georg Monn from 1740 and sees this as a strong aftereffect of the old Viennese minuet:

“The same structure type: four bars of a glamorous court menu, two bars of genuine Länders, repeated echo-like in the lower octave, two or four bars of festive finale. And similar in the second part - the whole thing, if you want, a concentrated symbol of Viennese music in general. "

The trio in G major for strings and oboe, which is consistently held in piano, is remarkable. It does not have a clear melody, but rather develops a "faded" soundscape through offset motifs as well as numerous overhangs and syncopations:

"In the trio of the minuet, Mozart rhythmically plays hide-and-seek by leading the upper part in what appears to be a two-meter meter against the three-time beat of the other instruments."

Fourth movement: (Allegro)

(No tempo given by Mozart, due to the structure of the movement, probably the Allegro usual for final movements.) D major, 12/8 time, 101 bars

A vibrating triplet movement dominates the whole movement, e.g. Sometimes with haunting tone repetition, "like a consistent 12/8 study in its radical rhythmic one-sidedness." The material is not very melodic (many runs and triad melodies) and the harmonic structure is quite simple, which gives the movement a dance- like , gigantic character. The "terrace dynamic change between forte and piano" is also striking .

The four-bar first theme is first introduced by the violins and viola piano and then repeated by the whole orchestra forte. A transition section (bars 9-17) brings new motifs before the second motif-like “theme” begins in bar 17 with its seven energetically repeated notes. A new section follows from bar 27, which contains tremolo passages in addition to the constant triplet movement. At the end of the exposition, the triplets have a particularly energetic effect thanks to their four-fold tone repetition in unison .

The middle section is now followed by a section up to the recapitulation in measure 60, which is characterized by its fourth motif . In the piano, played only by the violins and the viola, a slightly eerie atmosphere is created at times. The recapitulation is structured similarly to the exposition. Both parts of the sentence (exposition as well as middle part and recapitulation) are repeated.

Volker Scherliess (2005) suspects that the movement is based on models from the oeuvre of Joseph Haydn , such as his finale from Symphony No. 41 from 1770.

Individual references, comments

1. ↑ ^{a b} Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989, 617 pp.
2. ↑ ^{a b c} The repetitions of the parts of the sentence are not kept in some recordings.
3. ^ Cliff Eisen: The Salzburg symphonies: a biographical interpretation. In Stanley Sadie (Ed.): Wolfgang Amadé Mozart: Essays on his Life and his Music. Oxford University Press, Oxford 1996, pp. 191 f.
4. ↑ ^{a b} Wolfgang Fischer: Foreword to: New Mozart Edition, Series IV: Orchestra Works, Work Group 11: Symphonies, Volume 3. Bärenreiter-Verlag Kassel / Basel 1956.
5. ^ ^{A b} Arnold Werner-Jensen: Reclam's music guide. Wolfgang Amadeus Mozart. Volume 1: Instrumental Music. Philipp Reclam jun., Stuttgart 1989, p. 173.
6. ↑ ^{a b} Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6

Web links, notes

• Symphony in D major KV 133 : Score and critical report in the New Mozart Edition
• Symphony in D major KV 133 : Sheet music and audio files in the International Music Score Library Project
• Wolfgang Amadeus Mozart: Sinfonia in right, K. 133 PR 790, Ricordi-Verlag, Milan 1955 (pocket score).

See also

List of symphonies by Wolfgang Amadeus Mozart