22nd Symphony (Mozart)

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The Symphony in C major Köchelverzeichnis 162 was composed by Wolfgang Amadeus Mozart in Salzburg in 1773. He was then 17 years old. According to the Old Mozart Edition, the symphony bears the number 22.

General

Between March 1773 and November 1774 Mozart wrote the nine symphonies in Salzburg, KV 184 : March 1773 (possibly until autumn 1773), KV 162: March or April 1773, KV 199 : April 1773, KV 181 : May 1773, KV 182 : October 1773, KV 183 : October 1773, KV 201 : April 1774,  KV 202 : May 1774 and KV 200 : November 1773 or 1774.

For whom or for what occasion Mozart composed the works is unknown. It is possible that he intended it for Italian patrons or that he wanted to present himself with the group with a view to employment. Mozart apparently particularly valued some of the works, since he performed them again in 1783 at his Viennese academies. However, since it was unusual to present old compositions to the audience, he had to publish them as new symphonies. Perhaps that is the reason why Mozart made the dates on the autographs illegible by shaving and blackening them with ink (the dates could be partially reconstructed with modern technology, uncertainties remain with KV 162 and KV 200).

The symphonies KV 162, KV 181, KV 182, KV 184 and KV 199 are in three movements and, with the exception of KV 199, have overture-like features (Italian opera symphony), while KV 183, KV 200, KV 201 and KV 202 represent four-movement concert symphonies with a minuet. The symphony KV 162, dated 19 or 29 March or April 1773, shows typical features of the opera symphony / overture: A three-movement, quite short work with a continuous first movement, a pastoral middle section and a “sweep” as the finale. Further characteristics are fanfares, chord melodies and forte piano contrasts. Works of this kind were z. B. listed at the beginning of academies (concerts).

To the music

Instrumentation: two oboes , two horns in C, two trumpets in C ("trombe lunghe" = long trumpets), two violins , viola , cello , double bass . It was also at that time usual, to reinforce the bass bassoon and as basso -instrument harpsichord use, the same applies to the often used in parallel with trumpets timpani (each provided in the orchestra available).

Performance time: approx. 8 to 9 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 162 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 assai

C major, 4/4 time, 135 bars

\ new StaffGroup << \ new Staff \ with {instrumentName = # "Cors"} \ relative c '' {\ version "2.18.2" \ key c \ major \ time 4/4 \ tempo "Allegro assai" \ tempo 4 = 130 <cc,> 4 \ f <ee,> <gg,> <ee,> | <cc,> 4 <ee,> <gg,> <ee,> | <cc,> 4 r <ce,> 8 r <dg,> r | <e c> 8 r <f d> r <g e> r <e c> r | } \ new Staff \ with {instrumentName = # "V"} \ relative c '{\ key c \ major \ set Staff.midiMinimumVolume = # 0.2 \ set Staff.midiMaximumVolume = # 0.5 \ time 4/4 \ repeat unfold 16 { <e 'c'> 16 <e c '>} <e c'> 4 r4 r2 r1} >>

The movement begins as a fanfare in the forte of the entire orchestra ( tutti ) with a characteristic bass figure consisting of a broken C major triad over tremolo and sustained chords of the wind instruments (bars 1–2), followed by an ascending movement in oboe, horn, interspersed with eighth breaks and viola. This four-bar pattern is repeated in the dominant G major and then again in the tonic C major (“first theme”, bars 1 to 12). In bar 13 ff. A forte section follows, which contains adornment phrases, unison movement underlaid by tremolo and again fanfare-like chord melodies on the dominant G major. The now consolidated G major is emphasized at the end of this passage by three powerful quarter-beats.

The second theme (bars 32 ff.) Consists of three motifs. The first motif in the G major piano contrasts with the previous movement: The 2nd violin begins here with a "ticking", downward eighth note movement, followed by the 1st violin. This figure ends in D major chords ( double dominant ). The second motif brings an ornamental phrase in G major forte, the third a descending movement with accents. Motif 2 and 3 are repeated together.

The movement continues according to this pattern of motifs that are repeated once: bar 48 ff. Brings a triad figure with tremolo in the forte tutti alternating between G major and D major, bar 52 ff. Another motif with dotted rhythm . From bar 60 the first theme starts again as the final group, but now in G major. The theme ends “openly” as a chord without a bass note, followed by a general pause with a fermata .

The short implementation (bar 68 ff.) Begins with a unison E, which is followed by the beginning of the second theme is connected. This combination is then sequenced down through unison-D and unison-C . In bar 80, the transition section begins in the subdominant F major corresponding to bar 13 ff. Depending on the perspective, the recapitulation can be set either here or at the beginning of the second theme in bar 99 , the further course of which is designed according to the exposition. In accordance with its overture-like character, the exposition, development and recapitulation are not repeated.

Overall, the movement is somewhat reminiscent of “baroque-tinged festival music” , especially when playing with timpani.

Second movement: Andantino grazioso

F major, 2/4 time, 70 bars, trumpets and timpani are silent

\ relative c '{\ version "2.18.2" \ key f \ major \ time 2/4 \ tempo "Andantino grazioso" \ tempo 4 = 50 \ partial 4 \ partial 8 \ partial 16 c'16 \ p-! f8-! G-! a-! bes-! \ grace d32 (c16) \ f bes32 a a4 r16 c, 16 -! \ p e8-! f-! G-! a-! \ grace c32 (bes16) \ f a32 g g4 r16}

The movement consists of a sequence of motifs that are repeated once (varied) and can be divided into two main parts.

The first part consists of five motifs:

  • Motif 1 (bars 1–4): two-bar, vocal motif with an ascending line in the strings, closing phrase with winds;
  • Transition (bars 4–8): detached movement with falling line, change to C major;
  • Motif 2 (bars 9–12): One-bar motif with trills and tone repetition, repeated twice going downwards;
  • Motif 3 (bars 13-16): Fanfare-like motif in the oboes and horns with an ascending line;
  • Motif 4 (bars 17–20): “Answer” of the strings to motif 3, also with trills and tone repetition, but different from motif 2;
  • Repeat bars 21–28 Motif 3 and 4;
  • Scene 5 (bar 28-32): two-bar motif with Staccato - triplets in the strings, in the repetition in legato with brass participation;
  • Measure 32–35: run out with separate triplet movement and trills; End of the first part on the dominant C major.

The second part represents a repetition of the first part, but from bar 43 (corresponds to bar 9 ff.) The harmony is related to the tonic. While slow movements are otherwise often kept in reduced instrumentation, oboes and horns stand out clearly here and create the special timbre.

“From a formal point of view, the Andantio brings two (almost) identical musical sequences that are placed one behind the other as blocks without really developing. But the way Mozart uses his oboes and horns against the strings - and the associated refinement of the compositional technique - are no longer 'baroque' - static. "

Third movement: Presto assai

C major, 6/8 time, 116 bars

\ relative c '{\ version "2.18.2" \ key c \ major \ time 6/8 \ tempo "Presto assai" \ tempo 4 = 160 <ge' c '> 4 \ f e''8 g4 e8 c4 e8 g4 e8 c4 e8 \ p e-! f-! G-! g (ag) e-! f-! G-! g (ag) e-! f-! G-! g (ag) f-! e-! d-! }

As in other symphonies of this time (e.g. KV 199, KV 202; also e.g.  KV 96 and KV 112 ), Mozart uses the first theme from the first movement for the final movement: The C major - Dreiklang now sounds in unison forte, but the rhythm is changed (alternation of quarters and eighth notes). This antecedent is contrasted with a follow-up of the parallel violins in the piano with a characteristic alternation of staccato and legato. After the repetition of the theme, a passage begins in bar 13 in which accented leads and a thirty-second suggestion figure appear in the upper parts via a continuous eighth note movement in the bass.

The second theme (bars 26–34) in the piano has a dance-like swaying character. In the aftermath, in addition to the violins, the oboes also lead the part. The forte tutti is followed by a four-bar trill passage, which is repeated an octave lower piano (bars 38–42). The final group (bars 42-45) contains descending, broken G major chords in the forte.

The middle section (bars 46-65), separated by a general pause, brings three new motifs / phrases:

  • Question-answer - motif alternating between piano and forte;
  • cadenza-like passage with trills supported by chords;
  • Darkly chromatic falling line is repeated with wind participation.

The structure of the recapitulation (bars 66 ff.) Corresponds to that of the exposition. As in the first sentence, no parts of the sentence are repeated.

See also

Web links, notes

Individual references, comments

  1. ↑ a b Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 , pp. 286-293.
  2. ^ A b Matthias Kontarsky: The "Salzburg" Symphonies KV 162-202. In: Joachim Brügge, Claudia Maria Knispel (Ed.): The Mozart Handbook, Volume 1: Mozart's orchestral works and concerts. Laaber-Verlag, Laaber 2007, ISBN 3-89007-461-8 , pp. 28-43.
  3. ^ Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989, 617 pp.
  4. ↑ An example of a recording without timpani can be found with the Berliner Philharmoniker with Karl Böhm, a recording with timpani with the Amsterdam Baroque Orchestra with Ton Koopman
  5. ^ Quote from Matthias Kontarsky (2007), the last half-sentence refers to the first sentence.