30th Symphony (Mozart)

The Symphony in D major Köchelverzeichnis 202 was composed by Wolfgang Amadeus Mozart in Salzburg in spring 1774. According to the Old Mozart Edition, the symphony bears the number 30.

General

Mozart in 1777

For the history of the origins and the occasion for the composition of the “Salzburg Symphonies”, see KV 162 . The symphony Köchelverzeichnis (KV) 202 is dated May 5, 1774. The work is sometimes rated as "retrograde" in the literature:

“Because it is not a final symphony, the last movement is little more than a“ sweep ”, the only strange thing about which is that it is thematically related to the first; the “Andantino con moto”, only for the strings, could also be in one of the Viennese quartets à la Haydn , the minuet is not very characteristic, and the first, most heavily weighted movement only applies to the G minor and A major symphony on a somewhat disparate material. As in those quartets, in this Symphony Mozart, Joseph Haydn has shifted the concept: there are also cases in Mozart in which the receptive soul is not strong enough to fully process a powerful impression. "

According to Arnold Werner-Jensen, KV 202 would probably be valued somewhat higher if the work were “not in the shadow of the previous important sisters.” Nevertheless, the symphony means “a step backwards into convention, or rather: into the 'normality' of the symphonies of spring 1773 ", because her sentences are kept" more impersonal "and the previously newly gained weight of the final sentence is here again significantly reduced.

As with some of the other symphonies composed in Salzburg in 1773/74, Mozart also obscured the date in the autograph of KV 202 ; probably in order to hide from the copyists later in Vienna (1783) that it is an older work.

To the music

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

Performance duration: approx. 22 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 202 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: Molto Allegro

D major, 3/4 time, 207 bars

The movement opens as a fanfare in the forte, which is given an energetic march-like character through its dotted rhythm and the pauses. The following four measures are more fluid, but also appear a bit march-like due to the accents at the beginning and the sixteenth- unison roller at the end. The repetition of the epilogue an octave lower and without a roller is followed by a forte section with tremolo and sustained wind chords, while 1st violin and bass play broken triad figures like a dialogue. These are then spun between the two violins and bass, but now alternating between forte and piano and almost "tangled up" in the process. Arrived in the double dominant E major, the passage ends with a unison trill motif (bars 25/26: trill with octave jump down), which occurs several times in the further course of the movement.

The second theme (bar 27 ff.) In the dominant A major with a swaying character is initially only performed by the strings piano, during the repetition the oboes accompany with sustained notes. The unison trill motif is interposed. From bar 44, a suggested figure taken from the topic becomes independent.

“The design of the page set also proves to be highly individual, not to say: idiosyncratic and radical. An originally thematic suggestion figure contracts from the octave to the third and breaks - first in half, then in quarter notes - the previous three-meter meter. The melody then evaporates and seems to disappear into a "nothing" (...). "

In the final group (from bar 51) the 1st violin plays a melody (“third theme”), in the first movement again with dotted rhythm. This is accompanied by oboes and the other strings, each offset with the trill motif from bars 25/26. Before the exposition in bar 78 with tremolo and tone repetition on A is ended, the echo-like reverberation of the ending in the piano with organ point on A follows from bars 62–70 . The exposition is repeated.

The implementation (clock 78-112) begins with the sequencing (A-major, D major, G major, D major) of a new subject, wherein the dotted rhythm reminiscent of the motives of the exposure. From bar 93 onwards, the whole orchestra intensifies, with the instruments throwing the motif head at each other. Then abruptly in bar 101 the timbre changes again to a more reserved passage for strings in the piano.

A soaring figure of the 1st violin forms the transition to the recapitulation (bars 113 ff.). This is largely structured similar to the exposure. In the coda (bars 198 ff.) The motif of the development appears again.

Second movement: Andantino con moto

A major, 2/4 time, 74 bars, strings only

The movement begins with the imitation of an ascending phrase (1st violin, 2nd violin, viola / bass), which is unusual for a slow movement in the forte. From bar 5, the second violin, viola and bass, which are now running in parallel, continue the motif like a follow-up, while the first violin plays an octave jump motif. This “main theme” then closes in bars 9/10 as a short cadenza to the tonic in A major. Then several small motifs are lined up next to each other (including a “bell” motif, bars 21 ff.), Whereby the often abrupt dynamic changes are noticeable. From bar 16 the dominant E major is established, in which the first part of the movement also ends.

After a short transition passage with minor cloudiness, the “recapitulation” of the first part already follows in bar 38. Both parts of the sentence are repeated. The movement closes as a coda (bars 67 ff.), In which the follow-up to the main theme appears again.

Third movement: Menuetto

D major, 3/4 time, 40 + 20 bars

In the first part of the pomöpsen minuet with its striding quarter movement, a short echo passage is noticeable, the second part changes at the beginning from A minor to G minor, whereby the previously striding rhythm is loosened up by syncopation in the accompaniment.

The contrasting, chamber music trio (strings only) in G major is polyphonic in the first part (each instrument has its own voice, e.g. 1st violin with falling syncope motif). The second part begins again as a contrasting unison twist with dotted rhythm of the whole orchestra, before the first part is taken up again.

Fourth movement: Presto

D major, 2/4 time, 219 bars

The movement opens as a signal-like triad motif in forte unison, which with its dotted rhythm is reminiscent of the march-like beginning of the first movement. The dotted rhythm is always upbeat and characteristic of the entire movement. A staccato eighth note movement of the violins follows in contrast in the piano. This antecedent with its two opposing phrases is juxtaposed with a corresponding subsequent clause, both together form the periodically structured first theme (“contrast theme”).

Already in the transition passage (bars 16–31), which changes to the dominant A major, the dotted rhythm is dominant. The second theme (bar 33 ff.) With its chromatic rocking figure is again built up periodically, but not from such contradicting building blocks as the first theme. Initially performed only by the strings, the winds join in with accompanying chords during the repetition.

With the dotted rhythm, tremolo and long sustained chords of the wind instruments with an ascending melody line, the final group initially builds up a tension which is released with the dotted rhythm in the bass over further tremolo / sustained wind chords. At the end of the exposition, the signal motif from the beginning appears again - but now piano instead of forte.

The dotted rhythm also plays a key role in the development (bars 80–125). First it appears as a dissonant, diminished chord in fortissimo, alternating with a new, contrasting string motif in the piano, to which the signal motif from the beginning of the movement is appended. Mozart modulates over E minor and B minor and then changes to a passage, which is characterized by abrupt contrasts between forte and piano (bar 109 ff.), To A major, which is dominant at the beginning of the recapitulation (bar 126 ff .) in D major.

The recapitulation is structured similarly to the exposition. Development and recapitulation are repeated. The movement is concluded by a coda, in which the signal motif first sounds in fortissimo, then after a general pause (similar to the first movement) the string motif from the development. With this motif, the movement ends over a long held D of the wind instruments in the piano.

Individual references, comments

1. ↑ ^{a b} Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter, Kassel 2005, p. 286 ff.
2. ↑ Alfred Einstein: Mozart - His character, his work. Pan-Verlag, Zurich and Stuttgart 1953.
3. ^ Arnold Werner-Jensen: Reclam's music guide. Wolfgang Amadeus Mozart. Volume 1: Instrumental Music. Philipp Reclam jun., Stuttgart 1989, p. 178.
4. ^ Neal Zaslaw: Mozart's Symphonies: Context, Performance Practice, Reception. Clarendon Press, Oxford 1989.
5. ↑ The English Concert with Trevor Pinnock offers an example of a recording with bassoon, harpsichord and timpani
6. ^ ^{A b} Michael 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 3-8900-7461-8 , pp. 28-43.
7. ↑ ^{a b} The repetitions of the parts of the sentence are not kept in some recordings.

See also

• List of symphonies by Wolfgang Amadeus Mozart

literature

• Wolfgang Amadeus Mozart: Sinfonia in right, K. 202 PR 796, Ricordi-Verlag, Milan (pocket score).

Web links

• Symphony in D major KV 202 : Score and critical report in the New Mozart Edition