How does Mozart achieve this high sense of urgency in the finale? It's pure freneticism from beginning to end, and amazingly with no loss of form or expression
It’s mostly to do with using a 3/8 time signature; even the most incompetent of composers will achieve a natural sense of forward momentum using 3/8, or the closely related 6/8; but then this is Mozart - just back from Italy - and with pacy operatic overtures fresh in his mind.
This one and the next 3 "symphonies" are not, those are intradas or italian overtures, Mozart must have received commissions when he was still in Milano for Lucio Silla.
I had to listen to the slow movement three times in a row. The interplay between the 1st and 2nd violins, the chromaticism, and the early display of that uncanny and unique Mozartean pathos make it something special.
Not a coherent whole and a joke of an ending, but there are passages of incredible experiment... wisps, ghosts, of future Brahms, even here and there an incredibly future Mahler, with sprinklings of Sullivan (of "Gilbert and"). Until now, I thought I had heard all that Mozart offers -- this piece is a door to worlds that are new to me.
Keep in mind that Mozart wrote these works for the occasion, often in great haste, with already other works in his head or during the tedious task of copying parts if there was no copyist available for him. He was the multi tasker supreme.
This symphony makes a lot more sense if we take Mozart's tempo markings seriously. Presto is already very fast; molt presto is very, very fast. Half note = 120 ought to the trick. A 2/4 Andante has four beats to a measure; 8th note = 60 makes the duet between the first and second violins heartfelt. The Allegro 3/8 should be at a tempo in which the lovely second theme has a lilt to it; dotted quarter = 90 allows this. With these mm. numbers, each movement is related in tempo, something to be sought for in the classical period. The metrical modulation from the Andante to the 3/8 Allegro is a bit tricky, but it's there: If the Andante 8ths had triplets, each one would be 180, which is double the 90 of the third movement. Conductors have to do some subdividing in their head for an upbeat to the 3/8, but it will flow naturally for the orchestra. A slight fermata on the last quarter of the Andante also works.
I think the real beauty of THIS symphony, is how Mozart wrote this symphony as a continuation, where each movement's end would be continued by the next, with no real resolution until the very end.
If you like these transitions from one movement to the next, check out the symphonies of Carl Philipp Emmanuel Bach, who often does the same thing. Wonderful!
I love how the second and third movements blend practically seamlessly together. It's very unusual practice for the classical style. There's a moment of suspense and resolution there, which must have been thrilling in 1773.
In questa sinfonia troviamo una giustificazione a chi rimproverava Mozart di non avere melodia (non ricordo chi era). Comunque, a parte poche battute nel 6/8, è vero, melodie non ce ne sono. Però la struttura è chiarissima ed efficace.
![Mozart - Symphony No. 34 in C, K. 338 [complete]](http://i.ytimg.com/vi/zMA9FU9meFc/mqdefault.jpg)
Very often it’s the lesser known works of Wolfgang Amadeus Mozart that shine out the most. Great job with this post, Bartje Bartmans
I notice this. Some of the lesser known works are like miracles
This symphony is sublime. All the movements are equally amazing.
What delightful practice in reading a Mozart score. Thank you.
How does Mozart achieve this high sense of urgency in the finale? It's pure freneticism from beginning to end, and amazingly with no loss of form or expression
@Andrew Cohen no. nobody cares .
It’s mostly to do with using a 3/8 time signature; even the most incompetent of composers will achieve a natural sense of forward momentum using 3/8, or the closely related 6/8; but then this is Mozart - just back from Italy - and with pacy operatic overtures fresh in his mind.
This one and the next 3 "symphonies" are not, those are intradas or italian overtures, Mozart must have received commissions when he was still in Milano for Lucio Silla.
@@Alix777...no bro.. they are still Symphonies.
I had to listen to the slow movement three times in a row. The interplay between the 1st and 2nd violins, the chromaticism, and the early display of that uncanny and unique Mozartean pathos make it something special.
There's lots of music in this brief, yet alluring symphony.
I love this symphony. The third movement is superb !
Thanks a lot for this
Not a coherent whole and a joke of an ending, but there are passages of incredible experiment... wisps, ghosts, of future Brahms, even here and there an incredibly future Mahler, with sprinklings of Sullivan (of "Gilbert and"). Until now, I thought I had heard all that Mozart offers -- this piece is a door to worlds that are new to me.
Keep in mind that Mozart wrote these works for the occasion, often in great haste, with already other works in his head or during the tedious task of copying parts if there was no copyist available for him. He was the multi tasker supreme.
This symphony makes a lot more sense if we take Mozart's tempo markings seriously. Presto is already very fast; molt presto is very, very fast. Half note = 120 ought to the trick. A 2/4 Andante has four beats to a measure; 8th note = 60 makes the duet between the first and second violins heartfelt. The Allegro 3/8 should be at a tempo in which the lovely second theme has a lilt to it; dotted quarter = 90 allows this. With these mm. numbers, each movement is related in tempo, something to be sought for in the classical period. The metrical modulation from the Andante to the 3/8 Allegro is a bit tricky, but it's there: If the Andante 8ths had triplets, each one would be 180, which is double the 90 of the third movement. Conductors have to do some subdividing in their head for an upbeat to the 3/8, but it will flow naturally for the orchestra. A slight fermata on the last quarter of the Andante also works.
I think the real beauty of THIS symphony, is how Mozart wrote this symphony as a continuation, where each movement's end would be continued by the next, with no real resolution until the very end.
If you like these transitions from one movement to the next, check out the symphonies of Carl Philipp Emmanuel Bach, who often does the same thing. Wonderful!
I: Molto Presto 0:00
II: Andante 3:05
III: Allegro 6:05
I love how the second and third movements blend practically seamlessly together. It's very unusual practice for the classical style. There's a moment of suspense and resolution there, which must have been thrilling in 1773.
Very dramatic, sounds way more like an intrada or italian opera ouverture than a symphony.
While he was in Milano he must have received some commissions for opera overtures. The next 3 "symphonies" are exactly like this.
If you like these transitions from one movement to the next, check out the symphonies of Carl Philipp Emmanuel Bach, who often does the same thing.
danke
this is beautiful a true piece of art.
In questa sinfonia troviamo una giustificazione a chi rimproverava Mozart di non avere melodia (non ricordo chi era). Comunque, a parte poche battute nel 6/8, è vero, melodie non ce ne sono. Però la struttura è chiarissima ed efficace.
In the Gutman biography he says this is the first symphony not derivative of earlier models where Mozart finds his amazingly unique voice- thanks
Can you do more Giovanni Gabrieli? I really like those.
0:22 Sounds like some wild latino rhytms
lol it does.
i would like some more giovanni gabrielli
いい曲やー
♥️ 🇲🇹♥️☘ XIXXA
I think C Minor, LOL🤣🤣🤣