33rd Symphony (Mozart)
The symphony in B flat major Köchelverzeichnis 319 was composed by Wolfgang Amadeus Mozart in Salzburg in 1779. According to the Old Mozart Edition, the symphony bears the number 33.
General
The autograph of the Köchelverzeichnis symphony (KV) 319 is dated July 9, 1779 and was written in Salzburg. In keeping with Salzburg's taste, Mozart originally planned only three movements and later composed (the figures vary between 1782 and 1785) a minuet for performances in Vienna.
In 1785 Mozart printed the work together with the symphony (originally a serenade), K. 385, which had been shortened to four movements, at the Artaria publishing house in Vienna; thus KV 319 is one of the few symphonies that were published during Mozart's lifetime. However, this did not prevent Mozart from offering the work together with the symphonies KV 338, KV 385 and KV 425 to Prince Fürstenberg in Donaueschingen (letter of August 8, 1786): “Da S (ein): D (urchlaucht ): If you have an orchestra, you could own pieces that I have composed for your court alone, which, according to my poor understanding, would be very pleasant. "
Despite being limited to a “small” orchestra, the symphony unfolds an abundance of timbres and has an “almost chamber music”, “playful” character or “something light as a feather” - especially in comparison to the Symphony in C major, K. 338 . It is possible that Mozart wanted the small cast to make the work attractive to aristocrats who could not afford large orchestras.
A common feature of sentences 1, 2 and 4 is that in their middle parts new motifs appear, which are processed in several voices.
To the music
Instrumentation: two oboes , two bassoons , two horns , two violins , two violas , cello , double bass . In addition, a harpsichord was probably used - if available in the orchestra - to amplify the bass voice. A special feature of KV 319 is the divided violas.
Performance time: approx. 23 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 319 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
B flat major, 3/4 time, 370 bars
The first theme consists of contrasting elements: "polite bow" in the descending triad (bar 1), alternation of staccato movements of the strings in the piano with pauses and short forte interjections by the whole orchestra (bars 2 to 9), eight-bar phrase with pendulum figure in the violins (Bars 10 to 17), repeat the phrase one octave lower (bars 18 to 24).
In the following forte block (from bar 25), Mozart first emphasizes the tonic in B flat major with an unscrewing accent figure and broken unison chords, and then in a slightly chromatic dialogue of scales between oboes / bassoons and violins / viola above the sustained F to switch to the dominant F major in bass. In this “scale dialogue” oboes and bassoons play in countermovement, the violins / viola play a parallel descending line, which is decorated as an eighth figure in the 1st violin, while in the 2nd violin / viola the dotted rhythm is noticeable at the beginning. The dominant F is now emphasized with broken triads and chord strokes, and after a short caesura the second theme begins. This is in turn "prepared" by a further dialogue between violins and oboes / bassoons (bars 57 to 61) on the double dominant C major, with the wind players taking up the pendulum motif. In bar 61, the strings are followed by a paused, dance-like piano figure with an upbeat double-strike trill in F major, which gradually develops into a sweeping legato gesture.
In the following forte section from bar 80, Mozart uses several of the previously introduced motifs: First, the double-stroke trill figure becomes independent from the second theme with energetic tone repetition. From bar 96 the pendulum motif is combined with the figure of 2nd violin / viola from the “scale dialogue” in countermovement (there: descending line, now: ascending line), from bar 108 upper and lower voices swap motifs. The final group from bar 117 brings, in addition to “triplet whirring” and energetic syncopation , the broken chord figures as before the second theme and then ends the exposition with eight chord strokes on F. The exposition is not repeated.
If the exposition was characterized by unusually strong thematic work, the implementation of two new motifs is contested (therefore, depending on your point of view, this section can also be referred to as the middle section). The dance motif 1 consists of trills and thirds or triad figures, the vocal motif 2 consists of four full-bar tones (four-tone motif), is underlaid with an opposing voice and was also used by Mozart (and other composers) in other compositions (best known in Final movement of the symphony KV 551 , also in the Mass KV 192 and (probably unconsciously?) In the symphonies KV 16 and KV Appendix 214 ). The passage from measure 178 onwards brings a special timbre with the trill motif in the bass under the triplet tremolo of the violins. Mozart changes from E flat major to C minor to A flat major.
The recapitulation from bar 208 is structured similarly to the exposition. For example, the section before the second theme is extended by syncopation and minor tints, and in the final section there is a contrasting chromatic passage in the piano (bars 350 to 355). At the end of the movement, the tonic in B flat major is strongly emphasized by the sequence of nine chord hits on B flat (taking into account previous chord breaks from bar 358, a total of fifteen B flat major chords result).
Second movement: Andante moderato
E flat major, 2/4 time, 96 bars
The first theme (bars 1 to 18) in full string sound is symmetrical and characterized by dotted rhythms and leads. The trailer is extended over the antecedent to two bars. After a short caesura, the transition to the second theme begins, which is based on a one-bar motif with throbbing accompaniment in staccato . Mozart changes from the parallel tonic in C minor to the dominant B flat major, in which the second theme that can be derived from the transition motif begins in bar 27. The winds - so far only used briefly at the end of the first theme - accompany here with sustained chords. The top of the topic is then sequenced downwards and leads to the final motif with a triple tone repetition.
As in the first sentence, the exposure is not repeated. The following section (to be referred to as development or middle section depending on your point of view) deals with a new motif in several voices: initially in the strings, then in the winds.
The recapitulation begins in bar 55 with the phrase from the first theme; the rest of the sentence then corresponds structurally to the exposition until in bar 80 - where the listener actually expects the end of the sentence - the left out part of the first topic is "handed in". The movement ends with the final motif corresponding to the exposition and closes in pianissimo.
Third movement: Menuetto
B flat major, 3/4 time, 32 + 16 bars
In the post-composed minuet (see above), the first half of the theme in the forte contrasts with accentuated downward beats and triple tone repetition to the second half in the piano with an ascending melody line. The second part initially continues the opening motif with its octave jump in rhythmic shifting of the accents. In the return to revisiting the opening section, “four strange-looking chromatic transition bars” stand out.
The trio is also in B flat major and has a rural character. The horns are silent, but the woodwinds (oboes and bassoons) lead the part next to the 1st violin, while the 2nd violin accompanies the melody in a continuous eighth note movement. At the end, the first violin plays a short voice against the melody in the woodwinds.
Fourth movement: Allegro assai
B flat major, 2/4 time, 374 bars
Almost the entire movement is characterized by a hasty, flowing triplet movement, which has led some authors to compare them with the finale of Beethoven's Symphony No. 8 . The triplets can already be found as the main component of the first theme. This is made up of three parts and opens as an alternation of forte chord and piano triplet repetition in a question-and-answer structure. The second part is based on a slightly more vocal motif with a dotted rhythm, in which the triplets have an accompanying effect. After repeating these two parts, the tonic in B flat major is emphasized again with a forte unison passage in dotted rhythm.
The following passage from bar 41 contains a loose sequence of motifs, the first being almost theme-like. The swaying melody of the second theme in the dominant F major (from bar 83) is first introduced by the strings (1st violin leading the voice, accompaniment in eighth staccato), then with sustained chords of the bassoons and condensed triplet accompaniment in 2nd violin / Viola repeated. After the section from bar 114 with the melody line in a triplet tremolo, a third theme follows from bar 130 with “jumping thirds and teasing trills”. At the end of the exposition the triplet movement dominates again, with characteristic fifths appearing in half notes in the wind instruments . The exposition ends in measure 161 and is repeated.
As in movements 1 and 2, Mozart introduces new material in the development section (therefore the development can also be referred to as the "middle section") and processes it in several voices. The theme used here is conspicuous by its opening fourth downwards (reminiscent of the fifths of the wind instruments at the end of the exposition). For processing, the head of the topic is then connected to the (accompanying) triplet movement from the exposition and appears dominantly towards the end in forte unison with continued spinning.
The recapitulation (from bar 214) is structured similarly to the exposition. At the end the third part of the first theme appears again like a coda , in which the triplets and the tonic in B flat major are emphasized in unison.
Alfred Einstein (1953) thinks that in this sentence there is a new "connection of the Buffonesque, march-like, pastoral - a unification through spirit".
Individual references, comments
- ↑ a b c Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 , pp. 305-312.
- ^ A b c Michael Kontarsky: The late Salzburg symphonies KV 318, KV 319 and KV 338. 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. 62-68.
- ^ Howard Chandler Robbins Landon: Mozart - The Viennese Years 1781–1791. Droemersche Verlagsanstalt, Munich 1990, p. 16.
- ^ Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989, ISBN 0-19-315240-1 .
- ↑ Arnold Werner-Jensen (1989) thinks of this motif that " it seems to have its role models in the figures of baroque rhetoric of suffering (...)."
- ^ A b Arnold Werner-Jensen: Reclam's music guide. Wolfgang Amadeus Mozart. Volume 1: Instrumental Music. Philipp Reclam jun., Stuttgart 1989, pp. 181-182.
- ^ A b Alfred Einstein: Mozart - His character, his work. Pan-Verlag, Zurich / Stuttgart 1953, OCLC 312397718 .
See also
Web links, notes
- 33rd Symphony : Sheet Music and Audio Files in the International Music Score Library Project
- Symphony in Bb KV 319 : Score and critical report in the New Mozart Edition
- Wolfgang Amadeus Mozart: Sinfonia in si bem, K. 319. PR 798, Ricordi-Verlag, Milan (pocket score).
- W. Meves: Symphonies de WA Mozart. Collection Litolff No. 168. Henry Litolff's Verlag, Braunschweig without a year (edition from approx. 1890 including a version of the symphony KV 319 for piano for two hands)