36th Symphony (Mozart)

The Symphony in C major Köchelverzeichnis 425 ("Linz Symphony") was composed by Wolfgang Amadeus Mozart in November 1783 in Linz .

General

Mozart bust in the Mozarthaus in Linz

So that father, sister and friends could get to know his newly wedded wife Constanze, Mozart took a trip to Salzburg in autumn 1783 . The father remained unmoved, however, and Constanze, like Wolfgang, was evidently very sad about the frosty reception. On the way back, he and his wife stopped in Linz and were literally intercepted there by Johann Joseph Anton Count Thun , an old patron of Mozart. They then spent a few days with him, and the Count invited Mozart to give a concert. Mozart wrote in a letter to his father dated October 31:

“Tuesday November 4th I will give here in the theater academie. - and because I have not a single symphony with me, I am writing about the neck and neck on a new one, which must be finished by then. "

He had time from Thursday, October 30th, to the following Tuesday (November 3rd). The world premiere took place on November 4th in the Ballhaus in Linz. Mozart then took the symphony with him from Linz to Vienna, where another performance took place on April 1, 1784 as part of an academy he organized.

It is possible that Mozart composed the introduction to a symphony by Michael Haydn for his stay in Linz (Köchelverzeichnis 444 ), which was previously incorrectly attributed to Mozart as “Symphony No. 37”. T. was called the "Linz Symphony". However, Neal Zaslaw is of the opinion that this work was only created after returning from the trip in Vienna.

The symphony Köchelverzeichnis (KV) 425 is Mozart's first symphony with a slow introduction. However, he had introductions to some of the serenades . In some cases they were also referred to or rewritten as a symphony (e.g. KV 203, KV 320).

Some authors believe that in KV 425 they noticed a strong influence from Joseph Haydn . Alfred Einstein (1953) refers to a sketch sheet (KV 387d) where Mozart noted the beginnings of three of Haydn's symphonies, including that of No. 75 in D major with a slow introduction, which Haydn had composed in 1782. Volker Scherliess (2005) also refers to Haydn's 75th Symphony.

In the first and third movements in particular, sections with dotted rhythms (also) in timpani and trumpets appear several times, creating a march-like impression.

To the music

Instrumentation: two oboes , two bassoons , two horns , two trumpets , timpani , two violins , two violas , cello , double bass . In contemporary orchestras, a harpsichord (if available in the respective orchestra) was probably used as a figured bass instrument.

Performance time: approx. 32 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 425 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: Adagio - Allegro spiritoso

First movement, Tsumugi Orchestra, conductor Takashi Inoue (2013)

Adagio: C major, 3/4 time, bars 1–19

The introduction begins as a “heroic beginning” in a slow, fanfare-like figure with dotted rhythm in unison of the whole orchestra. This is followed by a somewhat slow dialogue in the violins, the melody figure of which is enriched with chromatics by oboes and bassoon and then continued by the bass and modulated to F minor and D flat major . As the violins continue to spin, C minor is reached. After a few "chromatic sighs" the introduction ends on the fortissimo chord of the dominant G major.

Allegro spiritoso: C major, 4/4 time, bars 20–287

The strings first introduce the first theme piano with the leading violin (bars 20-29). It has a vocal character and consists of a four-bar ascending front and a six-bar descending trailer. Then the theme is taken up as a variant by the entire orchestra forte, whereby the extension in the antecedent with the chord strokes between the tonic in C major and the subdominant in F major is particularly noticeable and creates a festive effect.

In the following forte block from bar 42, several new motifs appear: First, a three-bar phrase with motifs 1 (dotted march-like rhythm), 2 (downward interval from half notes) and 3 ( cadenced closing phrase ). Motifs 1 and 2 are then sequenced downwards before motif 4 appears with its tone repetitions. From bar 64 follows - introduced by motif 2 - a piano passage, the structure and rhythm of which is somewhat reminiscent of the first theme.

The second theme (from bar 71) begins unusually forte and is in the dominant parallel in E minor. The front and end of the movement are four bars and have a solemn, solemn character, especially when the wind blows in at the beginning of the end. The subsequent sentence is in the piano and thus contrasts with the preceding sentence. The fifth up at the beginning of the antecedent could be thought of as derived from motif 2. From bar 79 the material is spun on, first piano, then by the whole orchestra, and finally merges into motif 5, which unscrews in thirds, followed by motif 6 with trills and tone repetition (reminiscent of motif 4). Via the chromatic motif 7 (bar 105 ff.), Which occurs offset in the instruments, the final group in the dominant G major (bar 111 ff.) Is reached with a characteristic upward movement. The exposition ends in bar 122 as a variant of motif 5 (unscrewing figure with semitone steps) and is repeated.

The implementation (123-162 clock) begins with the passage corresponding to clock 64 and then sequenced the figure of the end of the exposure dialogue between oboe / bassoon, violins and bass. After a fortissimo fanfare in marching rhythm, a hesitant, floating section in the piano with some chromaticism follows, which is replaced by an energetic chord progression between C and G just as in contrast.

The recapitulation (measure 163) is structured according to the exposition. Mozart ends the movement as a coda based on the figure from the end of the exposition. The development and recapitulation are not repeated.

Second movement: Andante

F major, 6/8 time, 104 bars; "Andante" (New Mozart Edition), "Poco adagio" (Old Mozart Edition)

Second movement, Tsumugi Orchestra, conductor Takashi Inoue (2013)

The first theme is singing. The first part of the theme (bars 1 to 4) is only intended for strings and is somewhat reminiscent of a Siciliano due to its dotted rhythm in the top of the theme and the trill figures interspersed with pauses . The second part (bars 5 to 8) contains a repeated, sweeping gesture with accents and pizzicato accompaniment in the bass. The third part (bars 9 to 12) takes up the theme with a dotted rhythm, increases to the forte and closes as a cadenced twist in F major. Wolfgang Gersthofer points out the "hidden upbeatness" of the topic beginning:

“(...) the swaying cdc motif (as a disguised“ prelude ”) to the subsequent upswing in the sexes (as actually a“ discontinuous ”phrase). To a certain extent, to confirm this fact, the second four-stroke brings exactly that motif (quarter plus four descending 32nd notes), now in the “correct” place at the beginning of bar 5 (with the two eighth notes of the horns from bar 4 as the “start”). "

The following section (bars 13-21, "secondary theme") in the dominant C major initially takes up the closing phrase of the first theme, then turns into a pause-interspersed triplet movement and ends as an extended question-and-answer formulation (forwards introduced by upbeat knocking) Question in dotted rhythm, piano answer as staccato scale runs). The immediately following second theme in C minor (or, depending on your point of view, the third theme, bars 22-24) is in turn announced by an upbeat knocking figure from the wind instruments and timpani. The serene, short legato melody is played in the strings with the exception of the 2nd violin, which accompanies in triplets (horns, trumpets and timpani continue to accompany in their evenly knocking eighth notes). Then Mozart repeats the question-and-answer formulation, the second part being varied. Accentuated leads with chromaticism lead to the final group (bars 32 ff.), Which takes up the knocking eighth repetitions in the bassoon, horns, trumpets and timpani, adds a cadenced twist and repeats the whole phrase echo-like on the piano.

After the exposition has been repeated, the development (bars 37-66) begins with the first theme in C major, from which an upbeat figure becomes independent and increases to the forte - again in combination with the knocking eighth notes. Then the bassoon and bass introduce a new motif consisting of upward scales and octave leaps. The violins modulate the motif in A flat major and B flat major before the basses bring it back to the original C minor with a countermovement in the violins. A pendulum movement leads over to the recapitulation.

The recapitulation (from bar 67) is structured in a similar way to the exposition, but shows some chromatic coloring. Implementation and recapitulation are not repeated.

For the first time, Mozart also uses timpani and trumpets in a slow symphony movement. This gives the “pastoral” character an additional, solemn note and “restrained shine”.

Third movement: Menuetto

C major, 3/4 time, with trio 56 bars

Third movement, Tsumugi Orchestra, conductor Takashi Inoue (2013)

The theme of the festive minuet is characterized by the alternation of ascending and descending intervals, whereby the first accented note of the interval acts like a lead. In the first part, descending intervals dominate, at the beginning of the second part ascending intervals. In addition, the dotted marching rhythms in tone repetition characterize the overall impression. At the end of the minuet, the head of the topic is taken up again piano as in the appendix.

The country-like trio is also in C major and is kept piano throughout. In the first part the oboe and first violin play a swaying melody. At the beginning of the second part, the oboe is replaced by the bassoon, after which the three voice-leading instruments play partly in parallel, partly in dialogue.

Fourth movement: Presto

C major, 2/4 time, 416 bars

Fourth movement, Tsumugi Orchestra, conductor Takashi Inoue (2013)

The first topic consists of four blocks of four bars each (bars 1 to 12). The first and last two blocks form a unit (phrase). The second phrase (bar 9 ff.) Is characterized by the contrast between forte and piano, since the first block is performed in forte unison, while the second block, like the entire first phrase, is held for strings in the piano. The second phrase is repeated.

The following forte section (from bar 28) begins as a signal-like descending C major triad ("signal motif"), which is reminiscent of the head of the first theme and merges into tremolo, followed by a theme-like, slightly chromatic motif in the string piano (G -Major). The second theme (from bar 58, G major) is first played by the strings, then repeated with wind accompaniment. Similarities to the first theme result from the basic harmony, which is initially four bars long (bars 1–4: C; bars 58–62: G) and the beginning of the melody in half notes.

The pendulous eighth note movement at the end of the second theme then creates a new four-bar motif, in which the eighth note movement that now follows acts as a counterpart-like accompanying figure to a cantus firmus-like three-note motif in the upper parts. Mozart leads this motif three more times piano through the strings, then changes from bar 89 to forte and four bars later adds another, energetic violin motif that is sequenced downwards in the further course. This gradually creates a polyphony. From bar 104, the polyphony with the three note motif and the eighth note movement gradually fades away, enriched with chromaticism. Starting from the pianissimo, Mozart then builds up an arc of tension in the crescendo of the violins. A repeated “running motif” of the violins leads to the final group (from bar 148), which fortissimo takes up the head of the first theme as a variant. The exposition ends in measure 163 and is repeated.

In the development (bars 164–231) Mozart processes the signal motif from bar 28 (which is related to the head of the first theme) by leading it through different keys (e.g. A minor, D minor) and between the violins and throws the bass back and forth. By taking back the wind instruments and switching to the piano, a different timbre is created from bar 200, whereby the motif continues to wander through the instruments.

The recapitulation (from bar 232) is structured similar to the exposition. The coda (bar 392) is based on a variant of the head of the first theme (thus continues the theme of the final group) and ends the movement in fortissimo with a marching rhythm.

Individual references, comments

1. ↑ ^{a b} Theodor Kroyer: Mozart, Symphony in C major (Köchel Directory No. 425). Ernst Eulenburg Ltd. No. 502., London / Zurich without a year (preface from 1931)
2. ↑ ^{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.
3. ↑ ^{a b} Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989, 617 pp.
4. ↑ ^{a b c} Alfred Einstein: Mozart - His character, his work. Pan-Verlag, Zurich / Stuttgart 1953, 553 pp.
5. ^ ^{A b c d} Jean Witold: W. - A. Mozart: Symphony No. 36 in C major "Linzer" K. 425. Supplement (musical analysis) to the pocket score published by Heugel et Cie, PH 116, Paris 1952.
6. ^ ^{A b c} Wolfgang Gersthofer: Symphony in C major, KV 425 ("Linzer"). 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. 74-77.

Web links, notes

• Symphony in C KV 425 : Score and critical report in the New Mozart Edition
• 36th Symphony (Mozart) : Sheet music and audio files in the International Music Score Library Project
• Wolfgang Amadeus Mozart: Symphony No. 36 “Linz” K. 425 Ut Majeur. Heugel et Cie, PH 116, Paris 1952, 65 p. (Pocket score).
• Wolfgang Amadeus Mozart: Symphony No. 36 in C major (Linz Symphony) Köch. No. 425. Philharmonia No. 49, Wiener Philharmonischer Verlag, Vienna without a year (pocket score).
• Wolfgang Amadeus Mozart: Symphony C Major (Linz) Köchel No. 425. Ernst Eulenburg Ltd. No. 502., London / Zurich without year, 62 pp. (Pocket score).
• W. Meves: Symphonies de WA Mozart. Collection Litolff No. 168, Henry Litolff's Verlag, Braunschweig, no year (edition from approx. 1890, including a version of the symphony KV 425 for two-handed piano)

See also

• List of symphonies by Wolfgang Amadeus Mozart