V.A. Mozart Symphony No. 39
Wolfang Amadeus Mozart is the greatest composer of the era of classicism. His life is permeated with contrasts: from glory and recognition to a beggarly existence. Only the music brightened his hard everyday life. The composer simultaneously had to work on opera and instrumental works, during which the synthesis of genres took place, the dramaturgy intensified, the melodic images became more prominent. In adulthood, his compositional technique reached practical perfection. His endless stream of musical fantasy resulted in three magnificent symphonic compositions, among which the symphony No. 39 can be considered a unique example.
History of creation
There were times when fate presented Wolfang Amadeus Mozart gifts for hard work and optimism, and then his opera and instrumental works were staged on the best stages of the world. But changeable lady luck unfairly left the genius in the most important moments. So, after the premiere of the opera "Don Juan“as if the whole world was up in arms to a young musician. To feed his family, he settles for the position of court composer. His salary was so insignificant that it was barely enough to exist. the best, so many of his masterpieces appeared against the backdrop of a difficult life period.
The summer of 1788 was extremely fruitful for Mozart, because it was then that the composer created as many as 3 symphonic diamonds. As a born jeweler, Mozart cut the sounds of the orchestra, turning them into genuine art. June 25, 1788 the last note was put in the score of the 39th symphony, already on July 31, Wolfang completed the work on the Fortieth. The 41st symphony appeared three weeks later.
It is believed that during his lifetime the trilogy of symphonic works was not performed. There are unconfirmed versions of the 39th symphony premiere. In the last years of his life, Wolfgang participated in several concerts, the programs of which included an unidentified symphony, which could well have been the 39th, in Leipzig and Frankfurt in 1789 and 1790, and Salieri performed the Mozart symphony in Vienna in 1791.
Nevertheless, it is known for certain that in March 1792 a memorial concert dedicated to Mozart was held in Hamburg, at which the work was presented to the public, one of the audience shared his impressions of the beginning of the symphony as follows: "The introduction was so magnificent that it delighted even the the coolest, most insensitive listener. "
Interesting Facts
- Musicologist Deutsch suggests that Mozart wrote a symphony for the presentation of a new gambling house, located in Spiegelgasse. The casino belonged to Philip Otto, who was an admirer of modern classical music. At the premiere Mozart invited his friend Michael Puchberg. At the time of the opening, the symphony was already finished and could well have been included in the repertoire of the concert. Nevertheless, data on the concert program has not been preserved.
- The famous Austrian conductor and musicologist Nikolaus Harnonkur believes that Mozart initially created the symphonic trilogy, consisting of 39, 40 and 41 symphonies, as a single piece.
- The biographer Alfred Einstein noticed a strong resemblance of the Mozart symphony to the 26 symphony of Michael Haydn, who was the younger brother of Joseph. Both pieces are written in the key of E-flat major.
- The score was printed in 1797 by Johann Andre, after the death of Mozart.
- Until the summer of 1788, Mozart never wrote several symphonic works in a row.
Content
Symphony No. 39 is perfection expressed by music. This is a small theater, where each topic performs its own role. The tonality in E flat major creates a feeling of light, lightness and lightheartedness. But Mozart would not be himself if the musical canvas would not have the opposition of images characteristic of him. Flickering contrasts, bright, rich orchestration create originality of the work. Four parts are permeated with a thin thread of a single thematism.
Part I - Es-dur
Theatricality, solemnity, pathetics are heard in the introduction. Curtain opens friends! General pause, complete silence. The action begins, violins animatedly singing the main part. Easy melody picked up horn and bassoonsgradually the melodic line descends below to the languid cellos and contrabass. Pastoral way to add elegant flutes and with. The whole orchestra joyfully rejoices.
The secondary batch is related, it maintains lightness and airiness. But peace of mind gives way to anxiety. The situation is heating up, there is tension and tension. When reaching a high wave - the climax, a decline occurs. Chromatic chords depict sighs tired man. Breath is translated and a reprise comes into play. The piece is built on ups to heaven and fall, from happiness to drama.
Part II - As-dur
Throughout his life, Wolfang Amadeus Mozart never tired of surprising the audience with new, truly revolutionary solutions in composition. Using the second part, the sonata form, he literally expands the scope of theatrical action. The enlargement of scales allows to achieve a sense of drama, which is not typical for the middle parts.
The main theme is the romantic flight of the soul. Inspiration is gradually replaced by sighs, pauses. It seems that this is only a sweet and beautiful dream, which is interrupted by the first and merciless rays of the morning sun.
A side theme has internal energy. In the performance of wooden-wind instruments, the musical material becomes pastoral. Gradually sonority increases, texture density increases. The drama develops when two opposing themes collide. The power and energy of the secondary literally squeezes inspiration and lightness of the main theme. After a tense and intense fight for the right to be heard, the soul triumphs and solemnly completes the act of a jubilant solo aria.
Part III - Es-dur
The third part seems to let us into the world of carnival and celebration. The solemn atmosphere created by genuine glee. The amazing transparency of the music creates an indescribable atmosphere of ecstasy and harmony. The captivating rhythm of the minuet fills the listener with the desire to dance. The ingenuous theme of the clarinet lends the trio its ease and carelessness. Flute replicas sound mockingly trying to mimic the clarinet. Languid horns support the dispute by easily accompanying solo instruments. Suddenly, a miniature comic sketch is interrupted by the visit of the original minuet. The rhythm, the gallantry of the situation and the pathos of the moment are restored.
Final - Es-dur
The final part seems to sparkle with light. In the only subject one can feel the unstoppable, rapid run of life. A variety of modulations and change of orchestral paint allow you to feel the fullness and versatility of the melodic line. Stormy passages of violins, are replaced by modulations of wooden-wind instruments. Only fun and joy reign here. There is no place for despondency or sadness on this celebration of eternal happiness. Move only forward to uncharted faces.
Symphony No. 39 - a sample of mature style Mozart, full of unusual composing techniques. The brilliance, dynamism of development supposedly extol the music. It is unearthly, light and soaring. It has light and darkness at the same time, there is good and pain in it. In the music of the 39th symphony there is a real life, you just need to hear it and feel it.
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