Symphony in the works of Haydn and Mozart. Works of Mozart: list. Wolfgang Amadeus Mozart: creativity. Brief information about the composer

Mozart wrote operas throughout his life, starting at the age of 11. But his highest achievements in this area date back to the Viennese period (“The Marriage of Figaro”, “Don Giovanni”, “The Magic Flute”). Mozart wrote operas of different types and genres:

Singspiel (The Abduction from the Seraglio, The Magic Flute)

opera-buffa (“The Marriage of Figaro”, “That’s what all women do”)

operas-seria (“Idomeneo, King of Crete”, “The Mercy of Titus”).

Opera "Don Juan", combining the features of musical tragedy and comedy, cannot be reduced to any of these types. Mozart called it a “gay drama.” This opera was created by order of the Prague Opera House. The highest achievement of opera is the tendency towards end-to-end development with the traditional division into complete numbers.

Opera "The Marriage of Figaro" written based on the second part of Beaumarchais’s trilogy “Crazy Day, or The Marriage of Figaro,” despite the fact that it was banned by censorship (the comedy exposes the feudal-aristocratic order of France on the eve of the bourgeois revolution of 1789).

At the opera "Magical flute" Some aspects of Freemasonry, the religious and ethical teaching to which Mozart belonged and in recent years wrote several Masonic cantatas, were reflected. The opera is a philosophical fairy tale, the meaning of which is the victory of light over darkness, reason and good over evil. The ideal kingdom of justice, brotherhood and friendship is glorified here in a fairy-tale form. In The Magic Flute, Mozart turns to the Singspiel genre with spoken dialogue and German text. Beethoven considered this opera to be perhaps Mozart's best opera. Goethe was so captivated by The Magic Flute that he conceived a sequel to it and even began writing the libretto.

Along with Gluck, Mozart was the greatest reformer of the 18th century opera house. But, unlike him, he did not declare his reform theoretically. If Gluck sought to subordinate music to dramatic action, then for Mozart, on the contrary, music was the basis of opera. Mozart wrote: “In opera, poetry must be the obedient daughter of music.” Mozart believed that the text of the libretto should be concise and not drag out the action.

One of the highest innovative achievements of Mozart's operatic dramaturgy is mastery of musical characteristics actors. Before Mozart, the musical characteristics of heroes were almost completely ignored. These were a kind of musical “masks” with developed techniques of expressiveness. Without resorting to leitmotifs, Mozart endowed the heroes of his operas with melodic turns that formed a coherent image. Thus, in the image of Don Juan his love for life’s pleasures, courage, and courage are emphasized; in the image of Suzanne - feminine attractiveness, cunning. The musical characteristics of the characters are concentrated in the arias. Mozart also assigns an important role to ensembles, which are usually rich in intense dramatic development.

4. Symphonic works of Mozart. Symphonies. Concerts.

The genres of symphonic music created by Mozart include symphonies, serenades, divertissements, cassations (a genre close to the serenade), concerts for various instruments with orchestra.

Throughout his life, Mozart worked simultaneously on operas and instrumental works, which led to their mutual influence: Opera music is enriched with techniques of symphonic development, instrumental music is imbued with melodiousness. Many musical images of Mozart’s symphonic and chamber works are close to arias and ensembles from his operas (G.P.I parts of symphony No. 40 and Cherubino’s aria “I can’t tell, I can’t explain”; “Aria with a portrait” by Tamino from “The Magic Flute” and the theme of the II part of the symphony No. 40).

Images of Mozart's symphonies:

lyrical

dance

dramatic

philosophical.

Dramatism was often achieved by the presence of contrasting elements within one theme - a characteristic feature of Mozart’s style, which was developed in the work of Beethoven (G. P. I parts of symphony No. 41 “Jupiter”, consisting of 2 contrasting elements: courageous-heroic and lyrical). The presence of two contrasting elements in one theme is a stimulus for the subsequent development, comparison and collision of various musical images.

Mozart wrote his first symphonies at the age of 8, under the impression of the symphonies of I.K. Bach. Mozart's early symphonies are close to a suite, serenade, divertimento and do not have an organic unity of the cycle.

Mozart's three most famous symphonies were created in 1788:

No. 39 Es-dur – heroic-dramatic, light, based on dance themes;

No. 40 g-moll – lyrically expressive, reverently excited. It is sometimes called “Wertherian”, because it, like Goethe’s “The Sorrows of Young Werther,” was born in the atmosphere of the period of “Storm and Drang” with its heightened emotionality and outpouring of feelings, thereby anticipating romantic symphonism.

No. 41 C-dur (“Jupiter”) – majestic, monumental (the name was not given by Mozart). Its peculiarity is that all development leads to a monumental finale, crowning the symphony, like a majestic dome crowning a grandiose cathedral (the finale is a combination of sonata allegro and triple fugue).

One of the significant places in Mozart’s work is occupied by concerts for various instruments accompanied by orchestra. The classical type concert contains two expositions:

I - orchestra exposition, where the main thematic material is presented

II – exposure of the solo instrument.

The solo part was distinguished by its virtuosity. The free virtuoso cadenza (after K 6 4 before the coda of the first part) was designed for improvisation by the soloist. Only in the 19th century did cadenzas begin to be composed by the composer himself. The second part of the concert is slow, the third part is the genre finale.

Among Mozart's numerous concertos, the piano ones stand out - d-moll, c-moll, C-dur, Es-dur; violin - D-dur, A-dur. These are masterpieces of concert and symphonic music. Mozart's concertos are no less symphonic than his symphonies.

Mozart's orchestra is the same composition as Haydn's orchestra (paired). However, Mozart made more use of the expressive properties of instruments, their melodiousness (especially strings).

Wolfgang Amadeus Mozart (1756–1791)

More than two centuries separate us from the time when Mozart lived and worked. Those were years filled with the most important historical events that radically changed both the way of life of people and the very face of the planet. But the art of one of the greatest musical geniuses of humanity, Wolfgang Amadeus Mozart, is invariably alive and beautiful. “In my deep conviction, Mozart is the highest culminating point to which beauty has reached in the field of music,” Tchaikovsky once said. Another brilliant creator, Shostakovich, gave him the following definition: “Mozart is the youth of music, an eternally young spring, bringing to humanity the joy of spring renewal and spiritual harmony.” The versatility of Mozart's genius is amazing. He is equally great in opera and symphonic works, and in chamber and choral works. In each of the genres to which he turned, he created masterpieces. Mozart's short life was full of contrasts. A child prodigy who composed his first harpsichord concerto at the age of four and also played the violin and organ, he won pan-European fame in his early childhood, performing on tour in many countries. In his mature years, he suffered from lack of recognition. Caressed by the crowned heads, for a long time he was almost in serfdom from the despotic Archbishop of Salzburg, and when he broke these bonds, he suffered from ill will and envy, bent under the yoke of desperate need and, despite this, created bright, life-affirming music, full of optimistic strength.

A brilliant opera composer who left in his legacy such masterpieces as “The Marriage of Figaro”, “Don Giovanni” and “The Magic Flute”, Mozart created an era in the symphony. He worked in this genre for more than twenty years, writing about fifty symphonic cycles. The first symphonies were written by him at the age of six and were an imitation of the style of Johann Christian Bach, while the latter influenced Haydn’s later symphonies and anticipated the phenomenon not only of Beethoven, who in many ways came more from Haydn, but also from Schubert. Mozart's Fortieth Symphony is a harbinger of romantic symphonism, the immediate predecessor of Schubert's "Unfinished", the influence of which, in turn, is evident in Tchaikovsky's "Winter Dreams" symphony and Kalinnikov's First Symphony. The forty-first symphony continued in the last, also in C major by Schubert, which sounds almost like a Brahms symphony. In other words, Mozart's symphonism determined the development of this genre for a whole century! Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg, the capital of a small ecclesiastical county. His father, Leopold Mozart, was a member of the choir of the Archbishop of Salzburg, a good violinist, who later became a bandmaster, and the author of many musical works. He was the first teacher of his son, who already showed phenomenal abilities in early childhood. At the age of four, the child tried to compose a keyboard concerto, although he did not yet know how to write down notes, and at the age of seven, having received a violin as a gift, he was able to replace the second violinist in the trio, playing his part directly from the sheet. Fortunately, the father was an excellent teacher who skillfully guided the development of a brilliantly gifted child. No composer of the 18th century had such an intelligent and sensitive teacher.

From the beginning of 1762, L. Mozart kept a notebook in which he wrote down his son’s compositions - first small keyboard pieces, and then larger ones. That same year, the Mozart family went on a concert tour around Europe. In addition to the boy, his older sister Maria Anna (born in 1751), who was also an excellent musician and virtuoso harpsichordist, also took part in the concerts. The Mozarts visited Munich and Vienna, and in the summer of the following year they went on a longer journey through Munich, Augsburg, Stuttgart, Frankfurt am Main to Brussels, London, Paris, then visited Lille, Ghent, Antwerp, The Hague, Amsterdam. The trip lasted a total of three years, and little Wolfgang everywhere evoked delight and surprise, sometimes mixed with mistrust - his genius seemed so incredible.

The brother and sister performed in front of the most sophisticated audiences - Louis XV listened to them in Versailles, the Marquise of Pompadour in Paris, the royal couple in London, and the Prince of Orange in Holland. Little Mozart performed both as a clavier player - alone and with his sister in four hands, and as a violinist. The concert programs included not only works learned in advance, other people's and his own, which he composed continuously, despite constant travel and enormous fatigue from concerts, but also improvisations on a theme given by the audience, and sometimes not only a theme was given, but also a form, in which it should be embodied.

In the surviving program of one of the concerts, in particular, it says: “An aria that Mr. Amadeo will immediately compose on the verses offered to him and then perform, accompanying himself on the clavichord... A sonata on a theme that the first violinist of the orchestra will propose at his choice, will compose and perform Mr. Amadeo... Fugue on a theme suggested by the listeners..." So much improvisation had to be done because some listeners suspected a fake, believing that such a small child could not compose, but was performing his father's music. Once, hearing that the work was being created right at the concert, someone suggested that the matter was not without evil spirits and demanded that the ring be removed from the finger - he decided that it was magical and controlled the boy’s hands.

While abroad, little Mozart learned to play the organ and wrote, in addition to many clavier works, his first symphonies. At this time, his first sonatas were already published. The work was colossal, completely beyond the strength of a child. Perhaps she undermined her health, leading to such an early death. But the father, well aware of how difficult such a lifestyle was for his son, stubbornly continued to tour. This reflected not only a desire to make money: he thought of creating European fame for his son, thereby making his life easier in the future. Time has shown that he miscalculated. The refined audience for whom the children performed perceived them not as serious musicians, but as a kind of curiosity, a miracle of nature, arousing vain curiosity, and came not to listen to music, but to look at the baby in a court costume (Wolfgang performed in a powdered wig, with a tiny with a sword on his side), who is capable of such tricks. During the trip, Mozart not only gave concerts and studied, but also listened to a lot of music. He became acquainted with Italian opera, especially fully represented in London, in Stuttgart he heard performances by the wonderful violinist Nardini, after which he became seriously interested in violin music, in Mannheim he heard the best orchestra in Europe performing symphonies, in Paris he enjoyed listening to the comic operas of Dunya and Philidor, who presented is a completely different art compared to Italian opera. All this expanded the young musician’s horizons, gave new impressions, food for thought, and was immediately reflected in his own compositions.

Upon returning to Salzburg, the boy began a serious study of counterpoint and the scores of the great masters of the past. His work is gradually freeing itself from momentary performance dependence - he no longer writes what must be performed at the next concert, and is not limited to keyboard works. From his pen appears the everyday music of that time - cassations and serenades for instrumental ensembles, as well as Italian arias and spiritual cantatas. In 1767, the father, mindful of his son’s wild success in Vienna, again took him to the capital of the Austrian Empire, but this time his hopes were not justified. And the next year, when the Mozarts appeared again in Vienna, intrigues began against the young genius, no longer a funny prodigy, but a 12-year-old boy - the court musicians felt in him a serious rival.

“The Imaginary Simpleton,” a three-act Italian opera buffe, which became Mozart’s first theatrical work, despite a contract with an entrepreneur, was not staged in Vienna - it was performed the following year in Salzburg. At the same time, the young composer wrote the one-act opera “Bastien and Bastienne” in a completely different style - based on the models of French comic opera. Of course, these were not independent essays - what could a boy who had no life experience, who had not yet realized his gift, offer? He relied on what he heard and used familiar patterns. But his music revealed a great musical flair, sensitivity to everything truly interesting, and spiritual responsiveness.

In the same year he wrote symphonies, songs and a mass. At the beginning of 1769, he returned with his father to Salzburg, where the archbishop enlisted him to serve as bandmaster, however, without paying a penny for it. He believes that he has done enough for the Mozarts by mercifully allowing his conductor, Mozart the Elder, to be absent for such a long time.

In Salzburg, the boy continues his usual activities - he composes a lot in various genres, from cassations and minuets to masses and Te Deum. The father, wanting to complete his son’s education, takes him to the country of music, Italy, at the end of the year. The trip lasts until March 1771, then, in the same year 1771 and in the season 1772–1773, young Mozart visits Italy twice more. And there he surprises the musicians with his skill as a performer, improviser, and composer. In Rome, he amazes everyone, including his own father, by recording Allegri’s famous Miserere, heard only once. This composition, written specifically for the Sistine Chapel, was the property of the Pope, and its notes were strictly forbidden to be taken out of the chapel or shown to anyone. Mozart is commissioned to perform the opera seria “Mithridates, King of Pontus,” which is staged in Milan. She is a huge success, the audience shouts: “Bravo, maestrino.” Orders are coming in from all directions. At the same time as composing operas, Mozart studied the choral polyphony of the old Italian masters, studied with the famous Padre Martini and passed the most difficult test at the Bologna Academy: in a traditional academic competition, in just half an hour he wrote a polyphonic choral work on the theme of Gregorian chant, designed in a strict ancient style. And something unprecedented happens - the young musician is not only given a graduation diploma: he is elected a member of the Bologna Music Academy.

Returning home as a winner, Mozart wrote operas, concertos, symphonies, chamber works, but at the same time remained the court accompanist of the Archbishop of Salzburg. They pass year after year in the same classes, in the same place. His material affairs are not brilliant, and his father is thinking about a new tour of European countries, but the archbishop denies him leave. In 1777, Mozart felt that he could no longer vegetate in Salzburg - he longed for a wider field of activity. And the father, forced to obey his master, sends his son on a trip to Europe with his mother. They go to Munich, Augsburg, then to Mannheim and finally to Paris. Mozart is trying to find a paid position, but cannot get a job anywhere. He lingers especially long in Mannheim. And it’s not just the glory of the local orchestra that attracts him. Having established friendships with many musicians, he visits their homes and meets a young singer, the daughter of a theater prompter and copyist, Aloysia Weber. He composes arias for her, and writes an enthusiastic letter to his father, in response to which he receives a stern rebuke. L. Mozart thinks about the future of his son, and not about his love - and demands immediate departure: “Your letter is written just like a novel,” he writes. - March to Paris. And quickly... Either Caesar or no one! The single thought of seeing Paris should protect you from all random inventions. From Paris the fame and name of talent spreads throughout the world, there noble people address genius with the greatest condescension, deep respect and politeness, there you will see excellent social manners, which are surprisingly different from the rudeness of our German gentlemen and ladies, and there you will strengthen your French language."

And Mozart goes to Paris, but his hopes deceive him. The famous French educator Grimm writes about this to Mozart’s father: “He is too trusting, little active, easily allows himself to be deceived, does not know how to take advantage of the opportunity... Here, in order to be in time, you need to be cunning, enterprising, daring. I would like fate to give him half as much talent and twice as much dexterity... The public... attaches importance only to names.” In addition to unsuccessful attempts to somehow break through, all the more futile because the Parisian public these days was completely occupied with the so-called “war of Gluckists and Piccinists,” that is, fierce disputes between supporters of Gluck’s opera reform and those who prefer the operas of the Italian Piccini, in In Paris he suffers a heavy loss - his mother dies. Orphaned and disappointed, at the beginning of 1779 Mozart returned to Salzburg, where, through the efforts of his father, he received the position of organist and bandmaster.

Now he is no longer free: the duties of court service strictly regulate his life. The composer writes a lot. His stay in Paris nevertheless turned out to be useful, since Gluck’s musical dramas made a huge impression on him and made him think about new paths, compared to Italian opera. This affects his opera Idomeneo (1780). He composes symphonies, instrumental concerts, serenades, divertissements, quartets, and sacred music. And every day his dependence on the archbishop becomes more and more unbearable, all the more difficult because the former ruler of Salzburg, enlightened and tolerant, who sent his father on many years of travel, died, and his place was taken by a limited and despotic man.

Mozart was treated like a servant, and even more so the more his fame grew abroad. This became especially humiliating in Vienna, where in 1781 the archbishop appeared along with his court. The composer suffered humiliation, mainly because of his father, to whom he was passionately attached, but finally his patience ran out and he demanded his resignation. He wrote to his father, who remained in Salzburg: “I am still full of bile! And you, my best and most beloved father, of course, sympathize with me. My patience had been tested for so long that it finally snapped. I am no longer so unhappy as to be in the Salzburg service. Today is the happiest day for me." In response to the objections of his father, who did not understand his action, which was unprecedented and unheard of in those years when all the musicians sought to occupy some kind of court position in order to have a secure income, Mozart spoke about the outrageous attitude towards him of Count Arco, who was an intermediary between him and the archbishop , and concluded his letter with significant words in which the indomitable spirit of Beethoven can already be heard: “The heart ennobles a person, and if I am still not a count, then my insides are probably more honest than the count’s; He may be a court servant or a count, but if he insults me, he’s a bastard. First, I will present to him quite politely how poorly and poorly he does his job, but in the end I will have to assure him in writing that he will expect a kick from me ... or a couple of slaps in the face.”

A free, independent life began. It was now that Mozart created his best, peak works in all genres, in particular the last great operas, the last symphonies and the Requiem. In 1782, he married Constanze Weber, Aloysia's younger sister, who had already married. And in this he acts contrary to his father’s aspirations. In the same year, the opera “The Abduction from the Seraglio” appeared, in which the composer realized his long-standing idea of ​​​​creating a truly German opera based on the national genre - the Singspiel. “The Abduction from the Seraglio” is a success in Vienna, and is staged in Prague, Mannheim, Bonn, Leipzig, and then in Salzburg. Mozart is counting on extensive concert activity, invitations to London and Paris, work in noble houses, opera orders, but those qualities that the insightful Grimm wrote about interfere here too - intrigue, envy, petty calculations of the Viennese musicians and the composer come into play it's very difficult. The last years of life, despite freedom and family happiness, are far from prosperous. The outlet turns out to be the friendship that began between Mozart and the venerable Haydn, who was at the height of his fame. Mozart learned a lot from Haydn's later works, but the latter's influence can also be felt in the works of the maestro written after Mozart's death.

The Abduction from the Seraglio is followed by the brilliant The Marriage of Figaro (1786). Work on it began in 1785, when Mozart became acquainted with Beaumarchais's freedom-loving composition. The production of comedy was banned in Vienna, as it was considered politically dangerous. However, librettist Da Ponte, a talented writer and a cunning businessman, managed to overcome the censorship slingshots. The opera was staged, but in Vienna, despite the resounding success of the first performances, it quickly disappeared from the stage due to intrigue. But it had a long and lasting success in Prague, where it was staged the same year. From then on, Mozart fell in love with Prague and its audience, whom he called “my Prague residents.” For Prague, where he traveled in 1787, “Don Giovanni” was written - “a cheerful drama”, as the author defined its genre - an innovative work, one of the best in the world operatic repertoire.

Returning to Vienna, Mozart began his duties as court chamber musician. This position was given to him after the death of Gluck, who held it. However, he was burdened by work: the composer, who had already created the greatest works, had to write music for court balls and other unimportant works. Of course, he also wrote completely different music - in 1788 his last three symphonies appeared, which mark the pinnacle of Mozart's symphonism and pave the way, along with Haydn's symphony, for Beethoven, and even in some ways foreshadow Schubert.

Neither a court position, nor numerous orders, nor opera productions save Mozart from poverty. In recent years, he has been struggling to provide the income necessary to support his family, which is growing with the birth of children. Hoping to improve his affairs, in 1789 he took a trip to his beloved Prague, then went to Berlin, Dresden, Leipzig. His concerts are a huge success, but bring in little money. He performs in Potsdam, at the Prussian court, and the king invites him to remain in court service, but the composer finds it inconvenient to quit his service in Vienna.

Returning from the tour, he began writing the comic opera “This is what all women do,” and in 1791, returning to the traditional genre of Italian opera seria, he wrote “La Clemenza di Tito.” By this time he was tired, exhausted and sick. But he still has enough strength to write a poetic philosophical opera-fairy tale in the Singspiel genre - “The Magic Flute”. It reflected the composer's Masonic sentiments (he was a member of the Crowned Hope lodge).

During these same days, he receives a mysterious order: a stranger, who did not want to give his name, offers to write a Requiem. The completely ill composer cannot help but think that he is writing the Requiem for himself. Only later did it become clear that the order was made by Count Walseg, an amateur who incognito ordered works from professional composers and then passed them off as his own. This failed with the Requiem - Mozart did not have time to finish it, although he worked until the last days of his life.

He died on December 5, 1791 in Vienna. They buried him in a common grave, since there was no money for burial. His wife, who was not feeling well, did not go to the cemetery, and soon the very trace of his ashes was lost. Many years after Mozart's death, a monument was erected in the cemetery as a sign that the great composer was buried somewhere here.

Soon after the composer's death, rumors spread that Salieri poisoned him out of envy. They said that before his death, Salieri confessed to the poisoning. However, he was dying in a psychiatric clinic, and the doctor and orderlies swore that they had not heard any confession, and strangers were not allowed to see the patient. The famous statement of Pushkin, convinced of the crime that had taken place, that the person who booed “Don Juan” could have poisoned its creator, is based only on rumors. At the Vienna premiere, Don Giovanni was a failure, and even if Salieri whistled, no one would have noticed, therefore, data about this could not be preserved; in Prague, where the opera was a stunning success, Salieri was not there. Moreover, he had nothing to envy - he was considered the first composer of Vienna, was a court conductor, more than well-off financially, while Mozart was poor and lived almost in poverty. And Salieri’s operas were performed on the stage of the Vienna Theater one after another, while with Mozart everything was much more complicated. And the latest research by researchers forces us to completely abandon this romantic legend.

After Mozart, there remained a huge number of works that the composer did not mark as opuses. Many of them are in the same key. To systematize Mozart's legacy, the researcher of his work Köchel undertook a colossal effort, compiling a universal catalogue. The numbers for this catalog are given, along with the serial number of each symphony with the index KK (Köchel catalogue).

Symphony No. 34

Symphony No. 34, C major, KK 338 (1780)

History of creation

The composer wrote Symphony No. 34 in C major in August 1780. This was a difficult time in Mozart's life. The previous year he had returned from another long trip abroad. Even at the age of six, he conquered many European cities with his gift that was revealed beyond his age. Then there was the sensational receipt of the title of member of the Bologna Academy of Music at the age of 13 and pan-European fame as an adult musician. However, when, at the request of his father, he set out on this last journey, he was severely disappointed: Paris, which applauded the miracle child in a ceremonial uniform, did not want to know the mature composer.

The French capital had no time for him: passions flared up there between supporters of Gluck's opera reform and those who preferred traditional Italian opera - both serious and comic. The largest representative of Italian opera in Paris was Piccini. The discord between representatives of these two movements was called the war of the Gluckists and the Piccinists, and Mozart had nothing to do between them.

To top it all off, he suffered a serious blow - his mother, who accompanied him on the trip, died. Tormented by grief and disappointed, he returned to his native Salzburg and, following the example of his father, entered the service in the chapel of the Archbishop of Salzburg. However, there was no other choice for him: only a permanent place of service could give him a stable means of livelihood. But the archbishop was distinguished by a capricious and despotic character, and the composer, who had already received world recognition and was fully aware of his genius, could not come to terms with the life of a subordinate, a servant who could be pushed around. Very soon, in just a year, he will abruptly break with the archbishop, but in the meantime he works for him, writes the music that is required of him - spiritual, entertaining, to accompany balls and gala dinners. But Si is already the author of several operas that have received recognition in the homeland of the genre in Italy, the author of many works in a variety of genres, including symphonies, of which more than thirty have been written.

Symphony No. 34 turned out to be the last work written for the archbishop's chapel. This determines the modest composition of the orchestra - there were no flutes or clarinets in the chapel. The symphony was performed for the first time, apparently, already in Vienna, where Mozart ended up with the archbishop’s retinue: it was probably about it that Mozart wrote that the premiere took place on April 3, 1781 at the theater “At the Carinthian Gate”, but there is no more accurate information about this , unfortunately, has not been preserved.

The thirty-fourth symphony created by the 26-year-old composer is an amazing work. It is in three parts, with all three parts written in sonata form, each time solved differently.

There is no slow introduction, usual for symphonic cycles of that time, the second movement, which previously represented a moment of rest from the conflict, serenely lyrical or pastoral, is saturated with depth, which determines the use of the most complex, dialectical of all musical forms. In addition to the main and secondary parts, the final part plays a major role, acquiring the significance of an independent image. All these are clearly innovative features, foreshadowing the features of romantic symphonies, up to Bruckner's, although, of course, the scale and orchestral means are still very modest here, limited by the capabilities of the instruments of that time.

Music

The first part begins decisively, assertively. Its fanfare main theme, performed by the full orchestra, is reminiscent of the beginning of Mozart's most famous C major symphony, No. 41, “Jupiter.” In sharp contrast comes the transparent secondary, consisting of two elements - a smooth movement, which also evokes an association with “Jupiter” (only, unlike the latter, here the chromaticism is descending), and soft, as if fluttering syncopation. The exhibition ends with a widely expanded final batch. In a development based on individual secondary motives, features appear that one would like to call romantic - excitement, impetuous trepidation. From here, perhaps, threads stretch to another famous Mozart symphony - “The Fortieth”.

The second, slow movement is full of charming chanting. This is an instrumental romance with a broad, freely unfolding melody, uniform in mood, but written in sonata form without development. (Previously, the sonata form in the slow part of the symphony was used only by Haydn in the Farewell Symphony, which Mozart did not hear.) The main part unfolds calmly in the chamber sound of the strings, supported by the bassoon. The secondary one, which continues the mood of the main one, is even more chamber: it is a two-voice performance of the first and second violins. The final part introduces a new touch - a slightly playful grace - and leads to a reprise that repeats the exposition almost exactly (with a side part now in the main key), but the final part expands into a coda, in the last bars of which the main theme again sounds.

The symphony ends with a whirlwind, exciting finale, in which the elements of dance and the fascinating rhythm of the tarantella dominate. The main part in the sound of a full orchestra is replaced by a side part in the same continuous movement of eighth notes, but with a more modest sound - only violins and violas, which are then joined by two flutes, and then a bassoon. The third image - the final part - a gentle melody of flutes in thirds, gives way to a cheerful run-dance with perky trills. The development is based on the final theme. At the end, its movement through chromatic semitones creates tension, which is resolved by the appearance of a reprise. The short coda sounds like a joyful affirmation.

Symphony No. 34

Symphony No. 35, D major, KK 385, Haffner (1872)

Orchestra composition: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.

History of creation

The Haffner Symphony was created during one of the brightest periods of the composer’s life. He is the author of operas, recognized even in Italy, thirty-four symphonies, countless other smaller works, instrumental, vocal, including spiritual, who has won all-European fame, one of the largest performers of our time. And he's free! After several years of work in the court chapel of the Salzburg Archbishop Count Coloredo, he, outraged by the treatment of himself as a servant, broke up with him and remained to live in Vienna, providing the first example in the history of music of a free musician who was not in anyone’s service. At the same time, this is a very difficult situation, since only the service can provide a permanent income, and now Mozart depends on customers, on the organization of concerts, on many accidents. But he is free, and would be happy with this alone, if not for one more, no less important circumstance - after breaking up with the archbishop, he marries his beloved Constance Weber.

The symphony, written in 1782, was intended for a family celebration in the house of Haffner, burgomaster of Salzburg. Six years ago, Mozart composed a serenade in connection with the marriage of one of Haffner’s daughters. As then, the composer intended to create a serenade in the form of a suite consisting of independent pieces. However, in the process of work, a symphonic cycle in the traditional four movements was formed, and the opening march and one of the two minuets written for it earlier were not included in the final edition of the work. The symphony was first performed publicly in Vienna on March 30, 1783. The composer was pleasantly surprised to receive the score from Salzburg. “The new Haffner Symphony surprised me very much,” he wrote to his father. “I completely forgot about her, but she should definitely make a good impression.” The composer was not mistaken - the symphony, full of sparkling optimism, still enjoys the love of listeners and occupies a stable place in concert programs.

Music

The first movement opens with the sound of the entire orchestra, intoning with powerful unisons the main theme-thesis, not of the usual, square (multiple of four) structure, but occupying five bars, easily remembered thanks to the angular, sharp melody and sharp, chased rhythm. Tutti is replaced by monophony, supported by spare chords. The sonority increases quickly. The secondary part, in essence, manifests itself only by the appearance of a different key, since the main one continues to be heard by the violins, and the new theme of the violin is carried out in counterpoint, as if accompanying the bright intonations of the main melody. The development, also built on a thesis theme, is permeated with polyphonic techniques and quickly leads to a reprise, even more unified in character, thanks to tonal unity. Thus, the sonata allegro turns out to be monothematic.

The gentle sounds of the slow (andante) second movement flow smoothly. This is a kind of serenade in which the lyrical outpourings of lovers are heard against the backdrop of serenely frozen nature. The Andante is written in tripartite form with a coda. The first theme is flexible, expressive, the second, similar in mood, develops against the background of excited syncopated accompaniment.

The third movement is a minuet. Its main theme wittily combines a certain stiffness and roughness with grace, even sophistication of the melodic pattern. The trio is full of charm and sincere warmth, in which the theme is initially led by oboes, bassoons and violins and violas softly sounding in thirds.

The finale is filled with jubilant joy. In a rapid whirlwind, images of different character are replaced: an impetuous main theme in the sound of a string group and a transparent, graceful secondary one. Both of them are subordinated to a single pulse, living, imperiously drawing forward. In development, the coloring is somewhat darkened - a side theme sounds in a minor key, but this is a short episode, before the reprise. The main theme sounds joyfully in the coda, completing the rondo sonata form.

Symphony No. 36

Symphony No. 36, C major, KK 425, Linz

Orchestra composition: 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.

History of creation

Mozart wrote the symphony, which later became known as the Linz Symphony, in 1783. At this time he is a recognized master, the author of many works in a variety of genres. He is known in many European countries, conquered by the musician at the age of six, during his first concert tour together with his older sister Maria Anna (Nannerl). However, all this does not give him either material well-being or independence. In order to obtain a real livelihood, he is forced to enter service in the court chapel of the Archbishop of Salzburg, Count Colorado. But he could not stand this service for a long time.

Accustomed to respect during numerous travels, knowing his own worth, and now forced to sacrifice not only freedom, but also self-love, pride, self-respect, treated like a servant by the arrogant boss Count Arco, and even by the archbishop himself, who became even more rude to Mozart than His fame spread more and more, in 1781 he broke with the archbishop, married Constance Weber and settled in Vienna, where he expected to have success.

These calculations did not come true - the capital of Austria did not appreciate his genius. In addition, the father - a major musician, violinist and composer, who was the only mentor and educator of the brilliant Mozart - could not understand his son’s departure from the service in which he spent his entire life. He was also against marrying Constance. All this, despite the enormous love and respect that the younger Mozart felt for the elder, led, if not to a break, then at least to a serious cooling of relations.

At the end of July 1783, Mozart and his young wife went to visit his father, who continued to serve in Salzburg, apparently in order to earn forgiveness and reconcile the old Mozart with his marriage, introducing him to the charming, cheerful and carefree Constance. On his way back from Salzburg to Vienna, Mozart stopped in Linz for a few days. There, in the palace of Count Thun, the symphony was composed, which was performed under the direction of the author on the day of its completion, November 4, 1783. Apparently, the absence of flutes and clarinets in Count Thun's orchestra determined the composition of the symphony's performers, which was more modest compared to its predecessor.

Music

The symphony begins with a slow introduction, in which the majestic chords of the entire orchestra give way to expressive melodies of the violins. The sonata allegro is distinguished by its thematic richness. In its wide-ranging exposition, many decisive and cheerful, Mozart-like clear melodies replace one another, gradually preparing the transition to more flexible and gentle motives of the side part. In the final game, everything returns to the general life-affirming flow. A development based on a minor version of a side theme brings different colors to the music. But this is only a short episode, after which the main images return in a reprise.

The second part - andante - is written in a smooth, slightly swaying barcarolle rhythm, in sonata form, which the composer chooses in the slow movements of his mature symphonies in order to emphasize the depth of experience. Andante melodies are full of artless charm, expressive and graceful. The main theme in the calm sound of the strings is a flexible, expressive, rhythmically variable, typically Mozartian melody. Gradually, excitement and trepidation appear, which is emphasized by soft syncopations. A side theme slightly darkens the mood with minor colors. The same excitement fills the development, based on the main theme and smoothly flowing into the reprise.

The minuet, written in three-part da capo form, is a cheerful, simple-minded dance with a rough lapidary theme moving along the sounds of a triad, a fanfare and a funny “curl” of a trill that completes the motive. In the outlines of the trio's melody, which does not create a contrast, but gives the impression of a continuation of the first theme in a more chamber sound, one can guess the future Ländlers of Austrian symphonies, right up to Bruckner and Mahler.

The finale begins with a quiet, almost chamber sound. The main and side parts complement each other, which is emphasized by their identical beginning - in the sound of one string group. Gradually a picture of festive fun unfolds, completing the symphony.

Symphony No. 38

Symphony No. 38, D major, KK 504, Prague (1786)

Orchestra composition: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.

History of creation

In 1781, Mozart, an all-European famous composer with a huge creative baggage, including several operas, more than thirty symphonies, sacred music, instrumental concerts and ensembles, committed an act that was completely unheard of at that time: he broke with the court service of the Archbishop of Salzburg and remained in Vienna without permanent means of subsistence. In the 18th century and earlier, all composers were in the service somewhere - on the staff of one of the numerous royal, princely or count courts of then fragmented Germany, as, for example, Haydn, who was the conductor of Prince Esterhazy almost all his life, or, as in his time the great Bach, - cantors, organists and teachers at cathedrals.

Mozart was the first to feel the humiliation of such a situation, when a composer, a creator, gifted from above, found himself in the position of a servant of a master, often insignificant, who sometimes humiliated him unintentionally, simply because he considered everyone born in the “low class” not equal to himself, but sometimes and quite deliberately, in order to “knock down the arrogance of those who think of themselves.”

After leaving the archbishop, an independent life began, similar to rough sailing in a stormy sea. Mozart was constantly on the verge of poverty, he was overcome by debts, because without a constant income he had to look for orders that were not always well paid, and give concerts that sometimes, although attracting a large audience, brought almost no income. And yet it was a happy time of freedom and creative growth. It was during these years, after 1781, that his best creations were created. Among them, of course, is the opera “The Marriage of Figaro”. But in Vienna, where the opera was first staged, despite the success of the first performances, it quickly left the stage - the intrigues of local musicians, much less talented, but much more dexterous and practical than Mozart, played a role.

But the premiere of “The Marriage of Figaro” in Prague took place in 1786 with unprecedented triumph. The composer met with such delight and enthusiasm among the Prague residents that he had never dreamed of in his homeland. A new opera was immediately commissioned for him - with a plot that he himself wished to choose (this opera was “Don Giovanni”, staged in Prague a year later). At the same time, on January 19, 1787, Mozart’s original concert took place in Prague, for which he wrote a three-part symphony in D major, which remained in history under the name Prague.

In its completeness and maturity it is close to the last three symphonies. Apparently, the proximity to the future “Don Juan”, thoughts about which had already begun to disturb the composer’s imagination, also had a certain influence on her.

Music

The similarity in musical and dramatic terms between the first movement of the symphony and the overture to “Don Giovanni” is especially striking: the powerful, menacing introduction, perhaps inspired by the music of Gluck, is directly compared with the unrestrainedly cheerful main theme of the sonata allegro. The side theme, soft and melodious, is close to folk song melody - you can hear Slavic features in it, and at the same time you can feel the Italian flavor. In a dramatic development, the main theme undergoes active development, but in a reprise, the music again acquires its original appearance.

The second movement, a wide-ranging andante, is also written in sonata form - a case unprecedented before Mozart, who, using this most complex of musical forms, fills with special depth a movement that had previously been an island of rest and serenity or quiet, artless sadness. Its themes, united by a smooth barcarolle rhythm, are not opposed, but complement each other, creating one complete image - a poetic idyll.

The sparkling finale, in which the composer again, for the third time throughout the cycle, uses the sonata form, as if intending to show its various possibilities, is one of the most characteristic of Mozart. Its main theme is similar to the melody of the duet between Susanna and Cherubino from the first act of The Marriage of Figaro. A side theme is reminiscent of Czech folk tunes. The ingenious development is full of bright surprises. Almost imperceptibly it turns into a reprise, where the main thematic material is heard in a slightly modified form.

Symphony No. 39, No. 40, No. 41

Symphony No. 39, E-flat major, KK 543 (1788)

Orchestra composition: flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.

Symphony No. 40, G minor, KK 550 (1788)

Orchestra composition: flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, strings.

Symphony No. 41, C major, KK 551, “Jupiter” (1788)

Orchestra composition: flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.

History of creation (No. 39)

The Symphony in E flat major is the first of three that Mozart wrote in the summer of 1788. These months were very difficult in the composer's life. For a long time already world-famous, having created by that time 38 symphonies, many instrumental concerts, ensembles, piano sonatas and other works that received the widest distribution, and most importantly, two of his three best operas - “The Marriage of Figaro” and “Don Giovanni”, which made up a whole era in the history of this genre, he, however, was financially in extremely straitened circumstances. In Vienna, “The Marriage of Figaro” quickly disappeared from the stage due to intrigue and received real recognition only in Prague, where it was received warmly and with interest. After its resounding success, Mozart was asked to write an opera on any plot that suited him. And he chose Don Juan. The opera, completely original in genre and called a “fun drama” by the composer, was a triumphant success among Prague residents. On May 7, 1788, the premiere of Don Juan took place in Vienna. But here the opera did not find understanding. The concert, announced by subscription, did not attract listeners.

Being hired as a court composer instead of the recently deceased Gluck also did not bring relief - the salary turned out to be meager. The family was literally in danger of starvation. Mozart writes to friends and patrons of the arts, begging them to help him, to give him money at least for a short time... And in this cruel time, in a surprisingly short time, three of his best symphonies appear, literally one after another.

Previously, the composer had never written several symphonies in a row. These last symphonies constitute, as it were, three chapters of one colossal composition, showing the different states of the soul of their creator. They could be called a trilogy, in which the author appears as a seeker, dissatisfied, excited and yet full of unshakable optimism, despite all the difficulties and suffering.

The Symphony in E-flat major was completed on June 25. It was supposed to be performed in the summer, simultaneously with two others, in a concert by subscription in favor of the author. But this concert did not take place - the composer was unable to gather a sufficient number of listeners. The premiere date for the Thirty-Ninth Symphony has not yet been set.

Music (No. 39)

The symphony opens with a slowly unfolding introduction. His pathetic solemnity is theatrical, bright and full-bodied. After a general pause, as if from afar, the lively main theme of the sonata allegro quietly enters, first from the violins, echoed by the horns and bassoons. Then it moves into basses - to cellos and double basses; they are imitated by clarinets and flutes. This pastoral melody is replaced by jubilant exclamations from the orchestra. The secondary theme, which the violins begin on the long sustained tone of the horns, is tender and airy. The entire part is built on a change of moods - from lyrical to militant, from pastoral sketches to dramatic episodes. In a small development, the oppositions intensify. An energetic dialogue ensues between the low strings and violins, based on a stubbornly laconic motif. Chords of wooden flutes sliding in chromatic harmony with sighs prepare the reprise.

The second part is distinguished by its excited emotional structure. It is also written in sonata form, an innovation unheard of before Mozart. The composer thereby dramatizes the music, giving it a larger scale, a wider breath. The main theme, intoned by the first violins, anticipates the music of the romantics with its flight, extended, but interrupted by pauses, as if for a sigh, deployment. The side theme is full of pathos, great internal strength and energy, with energetic ups against the backdrop of continuous sixteenth-note accompaniment. In the final part, initially intonated by the woodwinds entering canonically one after the other, a pastoral tone appears, emphasized by the orchestration. In development, the side theme leaves its mark on the main theme, making it more dramatic. In the reprise, all three themes are intertwined and complicated by new additions. Only the first theme remains in the coda, emphasizing its primacy in the figurative structure of the music.

The third part - the minuet - is marked by a festive character and sincere fun. Conflicts have ceased in him, and unclouded happiness fills his heart. The joyful sound of the entire orchestra alternates with more transparent phrases of one string group. In the middle episode - the trio - the clarinet sings a simple and uncomplicated melody, reminiscent of a village waltz (the second clarinet accompanies it), and the flute, supported by horns and bassoons, seems to imitate it... And the first section of the three-part da capo form returns. The finale is the brightest and most cheerful part of the symphony. It is based on one theme, flowing in a continuous run, a theme that changes its appearance, moving into different keys, donning different orchestral outfits. With a change in orchestration and tonality, its function also changes - it begins to play the role of a side part. Laughing passages of flutes and bassoons, iridescent roulades of violins, sharp attacks of horns and trumpets - everything is spinning, rushing somewhere, seething with unbridled fun. R. Wagner said that in the finale of this Mozart symphony “rhythmic movement celebrates its orgy.” The rapid run of the finale completes the harmonious structure of the symphony, glorifying the joy of being.

History of creation (No. 40)

The second symphony in G minor, written in the summer of 1788, was completed at the end of July. Like its predecessor, the Fortieth Symphony was intended for performance in a large “academy” of authors, for which a subscription was announced. But the subscription did not provide the necessary funds, everything was upset. It is possible that it was performed in one of the private houses of wealthy music lovers, but information about this has not been preserved, and the date of its world premiere is unknown. In contrast to the previous, bright, joyful one, which plays the role of a kind of introduction in the triad, the G minor symphony is tremulous, as if growing out of Cherubino’s aria “I can’t tell, I can’t explain” with its direct, lively youthful feeling - a brilliant harbinger of many romantic pages of music XIX century, starting with Schubert's “Unfinished” Symphony. The symphony was written for a modest orchestra. It contains the traditional four movements, but lacks the slow introduction usual for symphonies of that time.

Music (No. 40)

The first part begins, as it were, with a half-word: an excited, intermittent, as if slightly choking melody of the violins. The deeply expressive, sincere, seemingly pleading melody - the main part of the sonata allegro - is related to the aforementioned Cherubino aria. The similarity is enhanced by the fact that the main part develops unusually widely, with great breath, like an operatic aria. The secondary theme is full of melancholy, lyricism, it contains dreaminess, humility, and quiet sadness. The development is opened by a short plaintive melody of bassoons. Abrupt, sharp exclamations, gloomy, alarming, mournful intonations appear. A stormy, dramatic action unfolds. Reprise does not bring peace and enlightenment. On the contrary: it sounds even more intense, since the secondary theme, previously sounded in major, is here colored in minor tones, subordinate to the general tonality of the movement.

The second part is dominated by a soft, calm and contemplative mood. Nevertheless, Mozart, as in previous symphonies, uses sonata form here. The violas, with their unique, slightly stifled timbre, sing a gentle melody - the main theme. The violins pick her up. A side theme is a fluttering motif that gradually takes over the orchestra. The third and final theme is again a melodious melody, full of sadness and tenderness, heard first by the violins and then by the wind instruments. Excitement, instability, and anxiety reappear in development. But here it is only a moment. The reprise returns to light thoughtfulness.

The third movement is a minuet. But not cutesy or sophisticated court dance. The features of marching appear in it, although freely implemented in a three-beat dance rhythm. Its melody, decisive and courageous, is intoned by violins and flute (an octave higher) with the accompaniment of a full orchestra. Only in the trio, written in the traditional three-part form, do transparent pastoral sounds appear with a soft roll of strings and wood instruments. The fast-paced finale lacks the usual cheerfulness of the final movements of classical symphonies. He continues the temporarily interrupted dramatic development, so vivid in the first movement, and brings it to the climax, central to the symphony. The first theme of the finale is assertive, soaring upward with great internal energy, like an unwinding spring. The side theme, soft, lyrical, evokes associations with both the side theme of the first movement and the initial andante melody. But its appearance is short-lived: the lyrics are swept away by the newly swirling whirlwind. This is the conclusion of the exhibition, which turns into a stormy, restless development. Anxiety and excitement also capture the reprise of the finale. Only the final bars of the symphony bring affirmation.

History of creation (No. 41)

The Great Symphony in C major was completed by Mozart on August 10, 1788. In this symphony, Mozart again seeks to move away from the personal and subjective. Proudly majestic, it has the same optimistic character as the first of the triad, anticipating Beethoven's symphonies with its heroic character, perfection, complexity and novelty of compositional techniques. This symphony, like the two previous ones, was supposed to be performed for the first time in the summer of the same year, in a concert by subscription, but it was not destined to take place: apparently, the subscription did not provide the necessary funds. There is no evidence of the first performance of one of Mozart's greatest works.

At the heart of this symphony, called “Jupiter” (there is information that the name “Jupiter” was given to it by J. P. Salomon, a famous English violinist and entrepreneur, who a few years later organized Haydn’s concerts in London) for its unprecedented majestic scale, the grandeur of the concept and the epic harmony of the embodiment, lie triumph and heroism. Her courageous, upbeat, festive music, her monumental lapidary style are reminiscent of the pages of Beethoven's symphonies with their heroism, persistent optimism, and bright strong-willed beginning. Tchaikovsky, who was very fond of all of Mozart’s work, called this symphony “one of the wonders of symphonic music.”

Music (No. 41)

The beginning of the first movement - decisive chords soaring upward and tender sighs from the violins sounding in response - is like a thesis that will then find its development. Indeed, another contrast follows: the courageous, strong-willed main theme, performed by the entire orchestra, is replaced by a graceful, charming melody of the violins (side part), sounding transparent in the light, lace-like orchestral accompaniment. The final theme is playful, playful, and full of cheerful slyness. The first part of the symphony is built on the development of these three themes-images.

The second part - andante - is distinguished by its inspired lyricism, poetry and nobility of images. As in previous symphonies, this is a kind of sonata form, essentially innovative, because before Mozart there was only sonata allegro, that is, it was believed that such a structure could only be in the first part, sometimes in the finale. The main theme is slow, thoughtful, with a flexible melody developing in free improvisation. The side track that replaces it is Mozartian in excitement and trepidation, filled with deep but restrained feeling. The final part brings peace - calm, enlightened. The development is small. In the reprise, excitement and languor return, but the tutti episode with its powerful fanfare sound recalls the courageous episodes of the first part. The code briefly repeats the main themes of the part.

The third movement is a minuet, not quite ordinary. It begins easily, naturally, with a languid, chromatically descending melody of the first violins, accompanied by the second. Next, other instruments are connected, very sparingly. The orchestral sound gradually increases, reaching tutti with loud fanfares. The trio is graceful, perhaps even flirtatious, with a light, simple-minded melody of violins and oboe, but it is also replaced by fanfares. The reprise of the three-part form (da capo) returns to the images of the first section.

The grand finale, cheerful, impetuous, amazes with the richness of images and the skill with which they are introduced by the composer. It contains as many as five main themes, which are developed using various contrapuntal tricks, previously used by composers only in strictly polyphonic forms. The first theme, of only four notes intoned by the violins, is strict, similar to the theme of a Bach fugue or the epigraph theme of Shostakovich, but strictly diatonic, and is like a mini-introduction to the main one, the second, also sounding in the violins, is energetic and varied in rhythm. The third has a decisive dotted rhythm, turning into a smooth run of eighth notes. The fourth is a rising upward sharp staccato with a trill. All of them make up the main part, developing in the most intricate techniques of polyphony. Already at the beginning of the connecting part, a fugato appears, the theme of which is one of the elements of the main part of the finale. Then a side part (the fifth theme) sounds - appearing in a different - dominant - key and a more transparent sound of the orchestra. The development is built mainly on the first two topics. The complexity of the form never becomes self-sufficient: a continuous flow flows easily, freely, naturally, in which diverse themes are united in one movement, subordinate to a single mood. The pinnacle of the finale, and with it the entire symphonic cycle, is a coda that is unique in its mastery, in which all five themes are contrapuntally intertwined, captivating with its cheerfulness.

The outstanding Austrian composer W. A. ​​Mozart is one of the representatives of the school. His gift manifested itself from early childhood. Mozart's works reflect the ideas of the Sturm und Drang movement and the German Enlightenment. The artistic experience of various traditions and national schools is translated into music. The most famous ones, the list of which is huge, have taken their place in the history of musical art. He wrote more than twenty operas, forty-one symphonies, concertos for various instruments and orchestra, chamber instrumental and piano works.

Brief information about the composer

Wolfgang Amadeus Mozart (Austrian composer) was born on January 27, 1756 in the beautiful town of Salzburg. Besides composing? he was an excellent harpsichordist, bandmaster, organist and virtuoso violinist. He had an absolutely amazing memory and a passion for improvisation. Wolfgang Amadeus Mozart is one of the most not only of his time, but also of our time. His genius was reflected in works written in various forms and genres. Mozart's works are still popular today. And this indicates that the composer has passed the “test of time.” His name is most often mentioned in the same breath as Haydn and Beethoven as a representative of Viennese classicism.

Biography and creative path. 1756-1780 years of life

Mozart was born on January 27, 1756. I started composing early, from about the age of three. My father was my first music teacher. In 1762, he went with his father and sister on a great artistic journey to various cities in Germany, England, France, Switzerland, and the Netherlands. At this time, Mozart's first works were created. Their list is gradually expanding. Since 1763 he has lived in Paris. Creates sonatas for violin and harpsichord. In the period 1766-1769 he lived in Salzburg and Vienna. He enjoys immersing himself in studying the compositions of great masters. Among them are Handel, Durante, Carissimi, Stradella and many others. In 1770-1774. located mainly in Italy. He meets the then famous composer Josef Mysliveček, whose influence can be traced in the further work of Wolfgang Amadeus. In 1775-1780 he traveled to Munich, Paris and Mannheim. Experiencing financial difficulties. Loses his mother. Many of Mozart's works were written during this period. The list of them is huge. This:

• concert for flute and harp;
• six keyboard sonatas;
• several spiritual choirs;
• Symphony 31 in the key of D major, which is known as the Paris Symphony;
• twelve ballet numbers and many other compositions.

Biography and creative path. 1779-1791 years of life

In 1779 he worked in Salzburg as a court organist. In 1781, the premiere of his opera Idomeneo took place in Munich with great success. This was a new turn in the fate of the creative personality. Then he lives in Vienna. In 1783 he married Constance Weber. During this period, Mozart's operatic works performed poorly. The list of them is not so long. These are the operas L'oca del Cairo and Lo sposo deluso, which remained unfinished. In 1786, his excellent “The Marriage of Figaro” was written based on a libretto by Lorenzo da Ponte. It was staged in Vienna and enjoyed great success. Many considered this to be Mozart's best opera. In 1787, an equally successful opera was published, which was also created in collaboration with Lorenzo da Ponte. Then he received the position of “imperial and royal chamber musician.” For which he is paid 800 florins. He writes dances for masquerades and comic opera. In May 1791, Mozart was hired as assistant conductor of the Cathedral. It was not paid, but provided an opportunity after the death of Leopold Hofmann (who was very ill) to take his place. However, this did not happen. In December 1791, the brilliant composer died. There are two versions of the cause of his death. The first is a complication after an illness with rheumatic fever. The second version is similar to the legend, but is supported by many musicologists. This is the poisoning of Mozart by the composer Salieri.

Major works of Mozart. List of essays

Opera is one of the main genres of his work. It has a school opera, singspiel, opera seria and buffa, as well as grand opera. From the pen of the compo:

• school opera: "The Metamorphosis of Hyacinth", also known as "Apollo and Hyacinth";
• opera series: "Idomeneo" ("Elijah and Idamant"), "The Mercy of Titus", "Mithridates, King of Pontus";
• buffa operas: “The Imaginary Gardener”, “The Deceived Groom”, “The Marriage of Figaro”, “They Are All Like This”, “The Cairo Goose”, “Don Giovanni”, “The Feigned Simpleton”;
• Singspiel: "Bastien and Bastienne", "Zaida", "The Abduction from the Seraglio";
• grand opera: "opera The Magic Flute";
• pantomime ballet "Trinkets";
• masses: 1768-1780, created in Salzburg, Munich and Vienna;
• Requiem (1791);
• oratorio "Vetulia Liberated";
• cantatas: “Penitent David”, “The Joy of the Masons”, “To You, Soul of the Universe”, “Little Masonic Cantata”.

Wolfgang Amadeus Mozart. Works for orchestra

W. A. ​​Mozart's works for orchestra are striking in their scale. This:

• symphonies;
• concertos and rondos for piano and orchestra and violin and orchestra;
• concertos for two violins and orchestra in the key of C major, for violin and viola and orchestra, for flute and orchestra in the key of oboe and orchestra, for clarinet and orchestra, for bassoon, for horn, for flute and harp (C major);
• concertos for two pianos and orchestra (E flat major) and three (F major);
• divertissements and serenades for symphony orchestra, string and wind ensemble.

Pieces for orchestra and ensemble

Mozart composed a lot for orchestra and ensemble. Famous works:

• Galimathias musicum (1766);
• Maurerische Trauermusik (1785);
• Ein musikalischer Spa (1787);
• marches (some of them joined serenades);
• dances (counterdances, landlers, minuets);
• church sonatas, quartets, quintets, trios, duets, variations.

For clavier (piano)

Mozart's musical works for this instrument are very popular among pianists. This:

• sonatas: 1774 - C major (K 279), F major (K 280), G major (K 283); 1775 - D major (K 284); 1777 - C major (K 309), D major (K 311); 1778 - A minor (K 310), C major (K 330), A major (K 331), F major (K 332), B flat major (K 333); 1784 - C minor (K 457); 1788 - F major (K 533), C major (K 545);
• fifteen cycles of variations (1766-1791);
• rondo (1786, 1787);
• fantasies (1782, 1785);
• different plays.

Symphony No. 40 by W. A. ​​Mozart

Mozart's symphonies were created from 1764 to 1788. The last three became the highest achievement of this genre. In total, Wolfgang wrote more than 50 symphonies. But according to the numbering of Russian musicology, the last is considered to be the 41st symphony (“Jupiter”).

Mozart's best symphonies (Nos. 39-41) are unique creations that defy the typification established at that time. Each of them contains a fundamentally new artistic idea.

Symphony No. 40 is the most popular work of this genre. The first movement begins with an excited melody of violins in a question-and-answer structure. The main part is reminiscent of Cherubino's aria from the opera "The Marriage of Figaro". The side part is lyrical and melancholic, contrasting with the main one. The development begins with a small bassoon melody. Gloomy and mournful intonations arise. The dramatic action begins. The reprise increases the tension.

In the second part, a calm and contemplative mood prevails. The sonata form is also used here. The main theme is performed by violas, then taken up by violins. The second topic seems to be “fluttering”.

The third is calm, gentle and melodious. Development brings us back to an excited mood, anxiety appears. The reprise is again a bright thoughtfulness. The third movement is a minuet with march features, but in three-quarter time. The main theme is courageous and decisive. It is performed with violins and flute. Transparent pastoral sounds emerge in the trio.

The fast-paced finale continues the dramatic development, reaching the highest point - the climax. Anxiety and excitement are inherent in all sections of the fourth part. And only the last bars make a small statement.

W. A. ​​Mozart was an excellent harpsichordist, bandmaster, organist and virtuoso violinist. He had an absolute ear for music, an excellent memory and a desire for improvisation. His excellent works have taken their place in the history of musical art.

SYMPHONYC WORK OF MOZART

Mozart's symphonies were significantly influenced by the opera genre. This is felt in the versatility of its content, the abundance of contrasting images-themes, themes-characters, in the combination of the instrumental and vocal elements in the thematism. Mozart intensified in his symphonies the contrast between themes, within themes, between sections and parts, and in his symphonies there is a tendency to combine into a cycle. In Symphony No. 40, this is manifested in the following:

1. 
   New romantic content, the absence of everyday images, images of struggle, heroic confrontations, a shift in emphasis to the world of the human soul (from objective to subjective). Outlined in the first bars of the symphonies, this content covers all parts and reaches its climax.
2. 
   Three of the four movements of the symphony are written in the form of a sonata allegro, although differently resolved into parts 1, 2, and 4.
3. 
   In all three parts there is a principle of active development of themes and the same principles of switching through enharmonicity in parts 1 and 4.
4. 
   Consistent intonation formation of the theme of the finale from the quart motif of the 2nd part, through the consistent expansion of the 3rd part, with the participation of the intonations of the GP of the first part. M2, uv2, m6.
5. 
   The climax of the cycle is shifted to the finale, which only Beethoven had.
6. 
   Minuet movement in GP 2 parts, as an anticipation of the genre in the third part
7. 
   The lyrical sixthness inherent in part 1 from the 5th step to the third will be preserved in both the third and fourth parts.
8. 
   The second intonation of the main section of the 1st movement will become the leitintonation of the symphony.
9. 
   All parts contain themes aimed at rising to the top and then descending.

Mozart's orchestral composition is the same as in Haydn's later symphonies, with the leading role of violins with the active participation of woodwinds in No. 40, flutes, oboes, bassoons predominate, there are horns, but there are no timpani or trumpets. Mozart entrusts some themes entirely to one group of the orchestra, i.e. use pure timbres, for example, GP 1 part = strings, other themes represent timbral dialogue, for example PP 1 part. The dialogue is observed, for example, in the second movement – ​​strings – woodwinds.

SYMPHONY No. 40. g-moll

As a lyrical genre it will find its continuation in the symphonies of Tchaikovsky, Brahms, and Mahler. Each of the four movements is based on lyrical themes, but they all receive dramatic development and therefore the symphony as a whole sounds like a tense monologue. This is the difference between Mozart and Beethoven's symphonies, based on the struggle and clash of various principles and pre-romanticism.

The personification of the lyrics in the 1st part of the symphony is an elegiac GP, everything in this theme was new for symphonic music of the 18th century. Intimate chamber character that determines the subjectivity of the content.

1. 
   Homophonic texture of the theme: song-ariat, there is a melody and accompaniment. First the accompaniment, then the soloist. The songfulness anticipates the future romance style of the 19th century, although in general the symphonies are written according to all the rules of the sonata-symphonic structure of classicism.
2. 
   In the song, the GP is brought closer to the human voice through the warm timbre of the violins.
3. 
   Intonation content of topics:

Purely romantic sextvo, framed by lamentous small seconds. This m2 concentrates in itself the main intonation content not only of 1 part, but also of the entire part = ZP, Development, Reprise, SP...

The GP is not so much expositional as it is developmental; it includes sequencing, modulation, uv2, unstable harmonies, pauses, etc. The peculiarity of the joint venture is that there is no hint of the future PP; it takes the music away from the atmosphere of the GP lyrics towards dramatization - to the culmination of the entire orchestra on the dominant B-dur. Therefore, the PP, which appears in B major after a pause, is perceived as a resolution of the local dramatic conflict, but soon it becomes the source of a new conflict. Compared to the GP, the PP is more restrained, objective, the song beginning is combined with the instrumental, chromaticisms, whimsical rhythm give it a certain sophistication. If the horizontal predominates in the GP, then the vertical predominates in the PP. The themes contain lexemes (features) of chorales in reprise. This theme will sound in a minor key. ZP is built on the technique of re-intonation m2 is replaced by b2.

The development is based on the GP, which goes through a circle of tonal shifts, according to part 5. In general, Mozart’s Development is less than Exposition (Haydn’s is equal). In Development, the voltage reduces the voltage almost nothing.

Part 2. Andante. Es-Dur

Sonata Allegro, but unlike the 1st movement in major; part looks like a contrast to part 1; its GP and PP are close in content and thematic theme. The GP has three elements, which is being developed further. The first is based on a gradual ascent, the second on the “Mannheim sighs”, the third - from the seventh measure to thirty-second durations. Before PP p. 37, bar 3, with the appearance in Des-dur, a turning point occurs, and at the end of the exposition (the last two lines of p. 37) the image is dramatized.

Part 3. Minuet

Outwardly it is a minuet, a three-part form, a trio in the middle, there is nothing else that would indicate that this is a dance. The main theme, despite its three-part structure, is slowed down by syncopations. In addition, the minuet contains features of a chorale, a fast tempo, and a synthesis of the minuet with a chorale and a march. Trio in the eponymous major, on pastoral roll calls of woodwinds and horns.

The final

Generalization of the entire cycle, intonation development of themes. GP (sonata allegro) is based on the “Mannheim rocket” - in triad. Here there is a second from the GP of the 1st part and the PP of the 1st part.

^ SYMPHONY No. 41 C-DUR “JUPITER”

According to Mozart's son, the name of the symphony was given by Johann Solomon, an English composer and violinist, at whose invitation Haydn visited London and wrote 12 London symphonies. The name was given either by association with the initial tirades with the arrows of the thunderer, or because of the music: majestic, solemn, sublime. No. 41 summarized the best that was found in this era, not only by Mozart, but also by his contemporaries. The content and range of means of expression are limitless: the subjective and objective beginning, the detailing and generalization of connections with past eras, palpable in the proximity of individual themes to Greek melodies and appeal and polyphony in the finale; and at the same time – projection into the future; into romantic imagery and intonation.

If No. 39 was lyrical and dramatic in content, then No. 41 combined lyricism, epic and drama with features of heroic marching and monumentality. A summary of all these features is given at the end of the cycle; it is the culmination of the symphony, which was a complex form - sonata Allegro + three-part fugue, the end of this part is five-voice and the part and, therefore, the whole symphony ends with a five-tempo fugato. There is a lyrical beginning, but here it is juxtaposed and surrounded by courageous, strong-willed, intonation elements, which deprives the lyrics of the subjectivism that was inherent in some themes of symphony No. 40.

No. 41 is a prime example of how theatrical principles are refracted into symphonic form. In No. 40, this also took place, but it affected mainly the “operatic nature” of its thematics. In No. 41, the connections with the theater are much broader: in the exposition, Mozart raises the importance of each of the four themes, including the related ones - he makes them independent, which allows us to perceive the 4 themes of the exposition as 4 different operatic characters. The types of images are the same as in the opera seria, at the same time, in Exposition 1 of Part No. 41 there are the same spheres of comedy + drama: GP - heroic-pathetic, PP - lyrical, ZP - dance. Just as at the beginning of his operas Mozart has a duet instead of arias, the main part of the 1st part is a real minor duet, in which a conflicting beginning is outlined. PP (p. 4, bar 56) G-dur, personifies a certain female character, and ZP (p. 5, bar 101) is a purely buffoon folk dance image that came here from the world of funny comic operas, an instrumental aria of the 18th century. The appearance is solemnly preceded by pauses, and the end of the theme is marked by solemn ritornellos (endings). Both in the first and in other parts, the sequence is destroyed by some sudden appearance of a new theme - a character, for example, in the PP in bar 81 a turning point comes: a sharp, figurative shift occurs (tremolo, tutti, timpani, three flats, five sharps, three bekars, a sharpened subdominant, instead of the G-dur-th beginning of the PP moves to C-dur, and in bars 8-9 p.5 SP-ZP invades the PP zone, the same G-dur as in the PP, but new independent image. It is with the GP that development begins. Only in the second section do elements of the GP and SP appear. In general, the Development is small, since part of its functions was taken over by the Exposition. The development of the first part is stable, all topics are in C-dur.

The invasion of the conflicting principle of a new, independent in figurative sense, Tonic, is also observed in the second part of the symphony Andante cantabile (p. 11) - sonata form, the appearance is determined by the GP and PP in character, reminiscent of a bright idyll, the character of a minuet in F and C-Dur (p. 12, 2nd line from top). However, between them a gloomy, ominous independent joint venture in C minor intrudes, as in part 1 = some kind of demonic beginning: unstable harmonies, rhythm The development in this part on page 13 is small - only 15 bars, then a dynamic reprise.

The third movement is a minuet. If in the second part of the symphony the SP was based on independent new material, then in the 4th movement the functions of the SP are further expanded: the beginning of the SP is a fugato on the main 2 themes, GP + a new third theme in the depths of the SP, while independent, p. 19 bar 13 Each one is homophonic, then polyphonic. The entire texture of the finale has been polyphonized. The theme of the GP is a Greek chorale, which, even before the symphony, was used by Mozart in his Mass in D major in “Credo”. The 4 themes of the exposition are independent, both in the opera and in the symphony. Moreover, some of them are constructed as dialogues. The GP develops as a five-voice fugatto. The coda of part 4, like an operatic finale, brings together all the main themes of the part.

Mozart the symphonist is not inferior to Mozart the operatic playwright. - The composer turned to the symphony genre when he was still very young, taking the first steps in his development. Together with Haydn, he stood at the origins of European symphonism, while Mozart's best symphonies appeared even earlier. Without duplicating Haydn, Mozart solved the problem of the symphonic cycle in his own way.

Mozart's work in the symphonic genre lasted a quarter of a century: from 1764, when the 8-year-old composer wrote and conducted his first symphonies in London, until the summer of 1788, which was marked by the appearance of his last three symphonies. It was they who became Mozart’s highest achievement in the field of symphonic music. The total number of his symphonies exceeds 50, although according to the continuous numbering accepted in Russian musicology, the last symphony - “Jupiter” - is considered the 41st. The appearance of most of Mozart's symphonies dates back to the early years of his work. During the Viennese period, only the last 6 symphonies were created, including: “Linzskaya” (1783), “Prague” (1786) and three symphonies of 1788.

Mozart's first symphonies were strongly influenced by the work of I.K. Bach. It manifested itself both in the interpretation of the cycle (3 small parts, absence of a minuet, small orchestral composition) and in various expressive details (melody of themes, expressive contrasts of major and minor, leading role of the violin).

Visits to the main centers of European symphony (Vienna, Milan, Paris, Mannheim) contributed to the evolution of Mozart’s symphonic thinking:

• the content of symphonies is enriched;
• emotional contrasts become brighter;
• more active - thematic development;
• the scale of the parts becomes larger;
• The orchestral texture becomes more developed.

The pinnacle of Mozart's youthful symphonism is symphonies No. 25 (one of his two minor symphonies. Like No. 40 - in G minor) and No. 29 (A major). After their creation (1773-1774), the composer switched to other instrumental genres (concert, piano sonata, chamber ensemble and everyday instrumental music), only occasionally turning to symphonic music.

Unlike Haydn's London Symphonies, which generally develop one type symphonism, Mozart's best symphonies (Nos. 38-41) defy typification, they are absolutely unique. Each of them embodies fundamentally new artistic idea:

• No. 39 (Es-dur) is one of Mozart’s most cheerful and sunny, closest to Haydn’s type;
• leads to the romantics, in particular to;
• anticipates Beethoven's heroics. As much as the g-mol-th symphony is concentrated in one circle of images, the figurative world of the “Jupiter” symphony is just as multifaceted.

Two of Mozart's last four symphonies have slow introductions, the other two do not. Symphony No. 38 (“Prague”, D major) has three movements (“symphony without minuet”), the rest have four.

The most characteristic features of Mozart’s interpretation of the symphony genre include:

A) conflict dramaturgy. Contrast and conflict appear in Mozart's symphonies at a variety of levels - parts of the cycle, individual themes, various thematic elements inside Topics. Many of Mozart's symphonic themes initially act as a “complex character”: they are built on several contrasting elements (for example, the main themes in the finale of the 40th, first movement of the symphony “Jupiter”). These internal contrasts are the most important stimulus for the subsequent dramatic development, in particular in developments.

b) preference for sonata form . As a rule, Mozart turns to her in all parts of their symphonies, except for the minuet. It is the sonata form, with its enormous potential for transforming initial themes, that is capable of the most profound revelation of the spiritual world of man. In Mozart’s sonata development it can acquire independent meaning any topic expositions, incl. connecting and final (for example, in the symphony “Jupiter”, in the development of the first part, the themes of z.p. and s.p. are developed, and in the second part - s.t.)

Mozart does not strive to use many themes in his developments (in the extreme parts of Symphony No. 40 - monothematic development); however, having chosen a topic, he saturates it with maximum drama.

V) the enormous role of polyphonic technology. Various polyphonic techniques greatly contribute to drama, especially in later works (the most striking example is the finale of the Jupiter symphony).

G) departure from open genre in symphonic minuets and finales. Unlike Haydn’s works, the definition of “genre-everyday” cannot be applied to them. On the contrary, Mozart in his minuets often “neutralizes” the dance principle, filling their music with either drama (in symphony No. 40) or lyricism (in the “Jupiter” symphony).

e) final overcoming suite logic symphonic cycle, as an alternation of different parts. Mozart's four movements of the symphony represent an organic unity (this was especially evident in Symphony No. 40).

e) close connection with vocal genres. Classical instrumental music was formed under the strong influence of opera. In Mozart this influence of operatic expressiveness is felt very strongly. It is manifested not only in the use of characteristic operatic intonations (as, for example, in the main theme of the 40th symphony, which is often compared to Cherubino’s theme “I can’t tell, I can’t explain...”). Mozart's symphonic music is permeated with contrasting juxtapositions of the tragic and the buffoonish, the sublime and the ordinary, which clearly resembles his operatic works (the contrasting exposition of the first movement of the Jupiter symphony can be compared with the operatic finale, in which the appearance of a new character immediately changes the character of the music).

In foreign musicology, a different, more accurate numbering has been established according to the revised Köchel-Einstein catalogue.

I.K. himself Bach relied on Italian examples of the symphonic genre.