Analysis of Mozart symphony no. 39 in E-flat

Johann Christian Bah settled in London in 1762 as an Italian-trained musician. He became quite friendly with Mozart during the latter's London visit in 1764-65. Even though Mozart was a lad of only ten years of age, he studied Johann Christian Bach's symphonies and was influenced by them. His early Salzburg symphonies strongly indicate this. Johann Christian Bach had been a student of Martini and Sammartini. They wrote in the typical Italian "Sinfonia" style which he imitated.

ANALYSrS OF: MOZART SYMPHO o.39 in -flat by,· William Billeter A thesis submitted to the faculty of the University of Utah in partial fulfillment of the requirements for the degree of Master of Arts Department of Music Approved: Chairman The s Committee University of Utah 1955 ACKNOWLEDGMENTS The writer of this thesis wishes to express his gratitude to Dr. Leroy Robertson for his helpful suggestions and careful examination of this manus­ oript in its preparatory and final stages. II Table of Contents Page Development of Mozart's Symphonies to the three composed in the year 1788 The E-flat 1 6 Symphony x.54:; Instrumentation of the Symphony Form and Analysis of Graphic Analysis of the the Symphony Symphony IDI- 10 24 THE DEVELOPMENT OF MOZART'S SYMPHONIES TO THE THREE OF THE YEAR 1788 Johann Christian Bach settled Italian-trained musiciano an with Mozart Even he during He in London in 1762 became was a lad of indicate this. of Martini His early them. and Sammartini. in one concerts The themes in the wrote movement with in was and for the opening were not developedo themes closing of depths, A favorite forte a and device of his used follow; to Bach's no brilliant Geniuses assimilate achieve to first very over­ and was a used programo grace and ami­ never on a plumbed the the surfaceo contrast tones it of his of works, frequently. After 1765 Bach went did not was piano within the device Mozart Bach did he remain wholly but neither an music distinguishes Italian masters. of his student typical reality only contrasting of Johann Christian Bach's from that a style which he imitated. According to Einstein, the enchanting ability in­ was Salzburg symphonies strongly They The Italian "Sinfonia" in symphonies and Johann Christian Bach had been Italian "Sinfonia" ture in 1764-65. only ten years of age, studied Johann Christian Bach's fluenced by quite friendly the latter's London visit though Mozart as through a development Mozart early symphony of Mozart's Symphonies only what for Double is congenial lJNIVERSiTY Of- Ul AH LlBRARIEt 00 rresponds Orchestra. to themo 2 In Mozart's slow-fast works, took precedence grave-fast-grave. opened some French style and their symphonies with of The the over However, Mozart tion of which the example. Italian system of fast­ the eventually slow introduc­ a in E-flat Ko543 symphony Germans others of is a good introduced the minuet to the symphony in 1760; Mozart followed this example. In 1766 at the age ten Mozart wrote of phony K.76 which shows breadth medium hitherto unknown. and phony two oboes, two bassoons, isi in symphonies in These etc. were horns, sym­ and a at seven of the this and eight or court time one movements for feasts, family parties, called be esteemed highly in suites, Salzburg. already finds the addition episodes to his concluding rondoso In 1768 Mozart went by the hearty style enced to Vienna where he was result an style. future Italian intluenoe However, instrumental one style influ­ Haydn. ot In the years 1770-71 Mozart visited Italy. ian div­ cassations, i.eo cassations, which might popular very However, of 1767 Mozart wrote many embellishment the in this the violaso During little two sym­ in this power He employs a was added to his also begins of to the mastero As a Salzburg­ recognize the 3 The symphony boldness, finale, tender and romantic delicacy, strength and power in the year 1772. the ments spirit already breathe In 1773 Mozart contact with interest Haydn in fugues Haydn's in the works "Gallant" move­ Haydn. further reawaken­ a a use wind section of of Mozart a super­ influenced by was style created for amusement expressivenesso orchestra, in Mozart made became use clar­ impressed by and was the woodwinds of which he with the acquainted The wood­ general. the Mannheim orchestra well known virtuosi. Ital­ influenced by the was in his music. in the Mannheim of 1778 third in him created In 1777-78 Mozart became instrument second and of seems year style which often produced style from 1775-79, extended same a just finished several quartets ending rather than emotional the major returned to Austria where However, Haydn ficial effect C polyphony. had 0 ian-French inet The design. The first movement of influenced by Bach, while this in the in Mozart's major symphony K.129 composed the ed bizzarrerie, whirlwind force itself manifest of the symphony an shows "Sturm und Drang" period whi.ch swept the continent made G in E-flat K.132 consisted of of the clarinet, fond, in his symphony commissioned by Le Gros of Paris. The precision 4 and of Le discipline young especially composer, the Cannabich, Gros' orchestra it when impressed the conducted was by director of the Mannheim orchestrao In Mannheim he also became of the aware of use ex­ pressive dynamie shadings, which, however, both he and Haydn adopted Mozart slowly. very fluenced by the Mannheim style of also in­ was the wood­ blending winds and stringso In 1781 for Mozart. expression the with first a counterpoint of the solemn became important form of an The Linz symphony of 1783 is truly Viennese symphonies. Haydenish introduction. Vienna symphony K.425 composed in 1783 in G is in C major. major Ko444 It begins The;second The reveals third, also a Haydn in­ :fluence. In 1786 he wrote symphony without longer the language we might Perhap, a The contrapuntal imitation the "Zaubertloete". symphony) speaks this have met Saint no in his former composi­ get the impression that this language is entirely his who we to (in "Mozart here Foix says: tions; minueto overture the foreshadows a "Prague" symphony Ko504, the own have if we creation, been able were and we to reveal foreed to Clementi would again present know of no musician its elements to him. choose one, itself most the name readily to of our 5 mindonl The lacerating rhythms suggest struggle energy rather than According 1772 were to and happiness& Einstein, Mozart's symphonies largely ceremonial, buffo, Italian. up to With him the symphony gradually advanced from the decorative to the expressive, mere the external to the ceremonial to spiritual avowalo 1773-74 K.183, K.200, K.201 thematic ial from material, character and shadowing A a new new considerable advancement in Mozart with in 1787. In this The Andante the agitation finer development of in place of ceremon­ fore­ three great 'ones of 17880 the fact which a from symphonies of articulation in structure, notioable a show The internal, might of the in depth advent year Mozarts same have helped the E-flat and design is of "Don Giovanni" third child to mature him died, spiritually. symphony Ko543 foreshadows intensively soulful, beautifully meditative slow movement of the A major Clarinet Concerto Ko622 whioh he wrote 1 - The in one of his most Symphonies of trying yearso Mozart, Saint-Fox Ch. Xll Po 99 6 QUALITIES OF THE E-FLAT SYMPHONY K.543 Of a the E-flat major symphony Jahn triumph of euphony. and their union with duces that full, mellow tone which is gives it clearness and important so The addition of light, and an a trumpets endow It will suffice to and freshmesso brilliancy is the horns and bassoons pro­ element in the modern orchestra. it with it Mozart has employed clarinets here, flute that says remind the reader of the beautiful passage in the An­ the wind instruments enter in imitation, dante, or the of where theccharming trio in the minuet, importance of the choice o tone-colouring in giv­ The ing characteristic expression. the to make manifest consciousness introduction of expresses purest pleasure, active exeitement. but the Andante, relief the mild itself and serve serenity of a eomposureo in frolicsome shadows they only rejoices last movement Some :-now a to on the more preceding movements. surprises are throw mind that in but The joy, allegro now into stronger communes with ito The more fre­ it dees not lose refined and elevated tone Startling harmonic amd of the rhythmical evidento Alfred Einstein sees in the in true, in mocking joviality quent with Haydn than with Mozart, its hold price is it appear, in the peace which fills is full of of through the magnificent of power shines noble, dignified feeling unusual song-theme of 7 the Allegro (1st movement) izes Freemasonryo a brotherhood that symbol­ He further states that is is im­ possible to interpret the Andante in A-flat (2nd ment) in the addressed to that best of sense the letter of Leopold. and April 4, 1787, This letter refers to death, truest friend of man, of which the thought was but indeed very soothing and consolingo was not only longer terrifying to Mozart, no cheerfulness of the last movement reminds what of ardour of Wagner the us some­ expressiveness and symphony with Beethovents seventho "'The E flat symphony ... illustrate the difference to formance compares the E-flat Saint Foix says: of the symphony by indifferent interpretations, giving The Haydno Richard choice move­ the an Wagnert was between the inspired artist colorless and impression of soulless music, s per­ and the lifeless, that we are offeredo"l The Finale first movement. of those seems He to him sees quite in it a as very important as the eloquent example allegros wherein the figuration outweigns the melodyo 1 - The Symphonies of Mozart by Saint-Foix ChoXIV,P.l28 8 Quoting Wagner, rhythm t the Finale of Mozart's In Symphony. from his memoirs, read the following: one of symphony with that ' •• of dissonances. He of the threeo symphonies an orgy of pure 'Wagner a.pply as to tb. at the most 0 We had, of Beethoven t the s Abend", as lovely Seventh sereneo He symphonic style primarily attributed to his in such genfus "Mozart is t he only musician who had - "The 2 - "Life G musical monuments of the 18th centuryo ini 1 the considers thes'e be; as symphony symphony charmirg, years must genius ,1 0 "Don Juan" overture in its bold Jupiter So much growth in Mozarts says: we Introduction of the E-flat the E-tlat the s marming passages among other and Beethoven t much to as considers it the most rommntic Jahn considers three is entitled "Ein Glueckliche;r Saint-Foix compares the minor passionate, of E-flat, things, Mozart'l s E-flat famous 'It adds, These famous words 0 Seventh he a Ross­ , as few much knowledgeo,,2 Symphonies of Mozart" by Saint-Foix of Mozart" by Jahn Volo Ch.XIV, P.129 II, Ch.32, P.421 9 INSTRUMENTATION Saint-Foix believes that the lack of oboes in the E-flat symphony is instruments Mozart due This is 0 in the to its likely inconvenient key for these untrue since key utilize oboes. same other works Mozart wrote by a "Sinfonia Concertante" for the Mannheim Virtuosi in E:-fla t major for flute, oboe, horn also are included in the minor" and the and in choruses and bassoon in 1778. of and the both, of the "Great Mass in C scores "Zauberfloete", Oboes of which overture a number of soli latter of t he are keys with three flats. It is of the likely oboes that Mozart chose the clarinets instead for their mellow effect with horns and basa­ oons, which he did not wish to brighten with oboes. The been an reason for economic of his for most omitting symphonies that much of his musie make hibitive for cost the 0 their may be attributed to t he often written far modest not too fact wealthy instrumentation in order to production and performance not pro­ orchestra upon the demand of the organization who could afford the added instrumentationo became might also hae Mozart added clarinets to his G minor symphorw the Paris of this of a oboes His lack of full instrumentation one. patrons, required the As necessary for Mozart a result cost director of the of this addition it to alter the oboe partso 10 FORM AND ANALYSIS OF 'mE E-FLAT MAJOR SYMPHONY Mozart utilizes deseending all movements except all relating scales as are well three movements a common other as the minuet. contemporary This may be to each other. in Mozart's occurrence scales ascending or a in ot means However, compositions of that periodo composers Introduction and First Movement He ed the opens introduction with forte chords by piano passages in typical Mannheim style. duction ends theme The 0 first theme sult of these the up-beat and is the dominant an on also enters unaccented beats two first sure and should be by the the conducted atore-mentioned two facilitated of measures fact that Allegro equals approximately In this in durationo manner form Allegro one half of measure the ot character The orous typeo the following Allegro in first theme one, but of an more a one of t he .m.e@.­ the is measure trans­ to the exquisite the Allegro is not the smooth and warm, Intro­ the of preceding Adagio re­ creates measure Mozart accomplishes ition from the majestic Introduction in The Conducting three-beat first the the actually accordinglyo as intro­ the first to coming together impression that both measures, the last of duction and the The up-beat. an on follow- dolee manner. usual vig­ second theme 11 This theme Saint-Foix calls is a followed by a powerful ritornello with a sort theme which of gypsy rhythm: 12 I t\. 12- J ... 11 ij! 6f 1 f 1 ... ,. , •• I , r , · E6511 4i ij i If' · I x _ The ritornello and ing scales as serves a understood to be merely entrance. of the between the theme first which influences The first nello) while following part with A transition. a preparation descend­ transition is often for t he second theme transition embodies part of the spirit Here the first the and leaves it gradually and second themeso the to form a bond Motivic material entire movement is also evidento part of the transitional episode completely dissimilar inversion of the first themeo in spirit, is (the a ritor­ partial 13 At duced which is employed simplification inception the cello and bass in the idea in measure or in the even first the theme inverted. is It may have had be a.t 35 measure first three 89 and in measures In fact this des­ generative of the four measures In the long) third and fourth divisions In all four divisions prominence is to half-step a duration of t he first the half-note quarter notes) and entering the are (the neighboring same on the down- , In measure 113 of the first movement it is modified to relate scale step motive by beginning are 1200 measure first movement end with this the of given half-step by extending so in (each first two divisions descending half-stepo the found be the basic to seems at measure from which the entire movement is derivede The note is introduotion from E-flat to Do the force it closing theme composer's mind at cending half-step idea of in the this it of its of important motivic idea is intro­ an A variation of 125. a 64 measure other step ended. that some again In the The descent in This treatment measures measures are of 118, 150, 181-183 (the descending the descending ha1f­ step new descending steps ha1f-stepso occurs a to the on the note on which is, however, diatonic whole-steps and the some descending scale and 1590 return to the recapit- 14 ulation) ently; the the descending half-step flute plays it in stands faster a out promin­ rhythm than the clarinets and bassoonso r V'ol;;.;.." Th tmt n- b . - - -----_....... __ .J"...... -tf- • • Flul r --............. • ':..., -... ,-(Ii •• I iii I For the closing section Mozart utilizes the generative motive The development tive motive The ascending scaleso section followed by followed by the ureso with the generative generative begins with the genera­ second themeo motive motive leads and This is arpeggio fig- to the recapitu- 15 lation which follows the vations second and with the classical style without theme inno­ in the ton.ic now keyo Second Movement While first movement the bass does not duplicate the cello, their parts ways but in the the basses rest occasionally In Mozart's later works for woodwinds a As the mechanism. of the. was still considerably the pets, since the latter valve horn not until 18300 second movement to the mical second theme of the called the 1 - Teuchert & , improved with and vir­ composers fillQin tones as the horns and trum­ still without valveso The 1 is a rondo but in designo it is Its strongly strong rhyth­ corresponds in vitality to the episodic first movemento second playo true of this possibilities, case first movement theme unison, invented until 1813 and the three­ was related cellos second movemen t for chordal were two-valve horn The not also the woodwinds longer used them merely the in interesting orchestration more tuosis explored their technical no where is e.videnced which is symphony particularly in here are al­ theme Haupt, of the Saint-Foix might also have second movement Musik-Instrumentenkunde a ritornello, VoloIII,P.3 16 since the it the serves first and same purpose third themes of the as contrast between episode of the first movement. The first theme time Woodwinds 0 is given and brasses pletion of the first themeo horns enter with third themeo t minor At enter with measures (second) of abruptly transition com­ the utilizing it appearso is From The augmented by syncopations transition tollows first motive the lower the and The in Vlhich the first strings which first answer the wood­ theme with and the Thereafter follow four themeo to the ritornellic repeated in descending sequences which second motive when the a of closely related theme preparation third theme a after which it is given two-measure is of the first theme for t he entrance chordally. accompany is followed by violins, mento a and forms strings theme theme a the of theme third theme. the 64 measure second motive enters until t he the woodwinds and both times modulatory 01' this alternate with end two-measure a ter second violins and violas. the winds There en entry it modulates to B-tlat majoro excitability 01' do not strings the first Thereafter follows the vigorous second theme which is its to t he to the of the woodwinds; This rather melancholic interlude restated in the played by the dominant state- 17 The repetition lude as this theme is well entered this theme oanonic in D-flat and again it first to the a theme strings now theme which the F on ,first theme but both the the violas and thirds, while only to This theme is flute theme is given in des­ entry of the an is again modulatoryo major, traversing is are and F a majoro similar to the first added to the second violins the continue third and the the woodwinds follows, modulates the are The repeated first section of The transition Which tallows and the movement. major, D-flat major, A-flat minor, transition, When two-mea­ same the woodwinds It modulates from b minor to E-flat minor, unusual. strings participate poly­ aocompanied by in b minoro second theme of section ot the cending scales in thirdso the the based The middle themeso major key of violins, however, four measures, while phonically with is The repetition is again 68 four measures seared for tor the inter­ briet again by the woodwinds, it by the stringso measure a repeated after the in the dominant which is At after treatment, is later repeated interlude sure the as of other woodwinds given descending first violins remain on the same noteo After the incompletely 0 third theme After the the first first theme is repea.ted but section of the first theme 18 the Coda starts wi th to the first theme After three based the coda theme This on the theme and also measures by the woodwinds. a based on is on short but the ounnermal.ody reenforoed The second violins the violas a theme, while the cellos and based c played by the first 1'iiblinso this theme first one. the second motive of gorgeously polyphonic are in unison given a theme simplification basses the are of given a first themeQ Coda concludes the 19 Third Movement The minuet contrast in. form of popular the to a is one of Mozartts best known. In the trio is stately first section, "Laendler", in Austrian Tyrol a country dance still very and Eastern SWitzerlando 20 In this trio the partial by the flute has As in echoing a charming effect. measure 113 ot the first step-like descending scale 39-42 of the clarinet movement, again in occurs the measures ot the Minuet. Fourth Movement The Finale simplified, the At while ever winds accompany with measure tirst violinso of the at violins and the minor to enable transition, and the V\O od­ brasses, chordso is greatly resembles state a stated the li likewise when the by the first themeo measure theme is The repeated theme modulates to an in that key. figured chords, the of second theme 44 the woodwinds 49. somewhat rapid chordal passages, eighth-note 43 the first theme, measure theme strings, It frolic­ the valveless homo beginning continue with lower of duet the 16, the measure The trumpets fill in and the horns the while At formo introduced by the typical measure the violins At sonata 10 augmented by the woodwinds at measure play is theme lively some, in the is the entry of The a section repeated f-sharp syncopated eight-measure second violins accompany with violas with sustained thirds, while 21 the bassoons first first between Finale enter the theme. At first the first and third 63 At violins. which stops on a a 79 6-4 chord a occurs theme creates strings consists of the of con­ measure above-mentioned The whole An abrupt pause modulatory. time the 106 motive, then participating with ohords the woodwinds chordal passageso motive by continued by the alternately by higher and lower strings, in unison with This stated 0 to measure 153 and is the first of The entire development section from stated the firsto The woodwinds is measures but also, anticipation an tinue with the ever-recurring motive which after six in the by the orchestra pause cadenza which does not follow. theme, and themes, lively closing measure be­ themes; in the Second Move­ second theme which is much like measure with the in the First Movement occurs and second alternately vigorous syncopated theme a after the a the flute vigorous theme tween the the of measure A ment and section is unusually occurs strings continue with in t he measure, 138. ever-recurring instead of the woodwindso The recapitulation is regularo descending measures scale 39-42 pattern by the of the Minueto At violins measure 252 the strongly resemble 22 The generative measures descending half-step occurring 29, 56, 58, 65, 113, 118, 120, Movement is also present in Finale This may well be 0 The and a measures ot the First 90 and 96 of of the move,ment" La the unifying foreeo Coda starts with measure 238 and ends unexpectedly "a in Haydn, with the abruptly initial rhyt,hm. 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