Sinfonia Concertante in E flat Major, K. 364 Notes

Area of Study 1: Instrumental Music of Haydn, Mozart, and Beethoven

Wolfgang Amadeus Mozart: Sinfonia Concertante in E♭ Major, K. 364 - First Movement

Key Details

Date of Composition: 1779
First Performance: Unknown, probably 1779
Location of First Public Performance: Unknown, probably Salzburg
Structure: Sonata Form with double exposition
Instrumentation:
- Solo violin and viola
- Orchestra: 2 oboes, 2 horns in E♭, violins I/II, violas I/II, cellos, double basses

Context

Wolfgang Amadeus Mozart (1756-1791):
- Born in Salzburg, son of Leopold Mozart.
- A prodigious talent, performed across Europe as a child.
- Received composing commissions and performance invitations in his teens.
1773: Appointed at the Archbishop of Salzburg’s court.
- Left after four years due to dissatisfaction.
Travels with his mother:
- Munich, Augsburg, Mannheim: Inspired by instrumental music.
- Paris: His mother died, deeply affecting Mozart.
- Accusations from his father about idleness and responsibility for his mother's death.
Return to Salzburg: Court organist and choirmaster with enhanced salary.
- Inspired by Stamitz in Mannheim, wanted to write new material.
1782: Dismissed by the archbishop due to his preference for non-sacred music.
Relocation to Vienna:
- Married, taught pupils, performed concerts, composed.
- Died on December 5, 1791, at age 36 after a brief illness.
- Widely regarded as the greatest composer of his time.
Sinfonia Concertante:
- Written when Mozart was 23 and already successful.
- He had composed significant works, including
  - nine of his 27 piano concertos,
  - all five of his violin concertos,
  - over 30 of his 41 symphonies,
  - solo keyboard and chamber music,
  - operas and church music.
Exposure to new genres:
- Mannheim and Paris introduced him to the sinfonia concertante.
  - A newer version of the Baroque concerto grosso.
  - Structured like a symphony but with virtuosic solo parts.
Mozart's work in the genre:
- Worked on six such hybrid works during his time in Paris in 1778 and on his return to Salzburg.
- K. 364 is his greatest achievement in the genre.

The Concerto and the Symphony

Concerto concept:
- Developed by Italian Baroque composers (Corelli, Torelli, Vivaldi) and J.S. Bach and Handel.
- Dialogue between a solo instrument/small group and a larger accompanying group.
Concerto grosso vs. solo concerto:
- Corelli, Bach, and Handel: Focused on concerto grosso (solo group).
- Torelli and Vivaldi: Developed solo concerto (single soloist).
Ritornello form:
- Principal idea frequently returns, punctuated by soloist/orchestra episodes.
Classical period developments:
- Mozart incorporated ritornello form into the sonata form model.
Symphony's development:
- Developed in the Classical period with Baroque ancestors (sinfonia, dance suite).
- Collections of contrasting movements based on different dances.
Early symphony composers:
- C.P.E. Bach and J.C. Bach influenced Haydn.
- Haydn: “The father of the symphony”.
Rise of sonata form:
- Caused both genres (concerto/symphony) to flourish in the Classical period, with other large-scale genres like sonata and string quartet.
- Allowed composers to develop musical ideas over an extended period.
- Exploration of themes in related keys through repetition and contrast.
- Developed as an extension of the popular Baroque binary form (rounded binary form).
- Became the common structure for first movements of large-scale works: exposition, development, and recapitulation.
- Movements often begin with an introduction and end with a coda.
Sonata form sections:
- Exposition: Presents thematic material in two subject groups.
  - First: Tonic key.
  - Second: Related key (dominant).
  - Linked by a transition; ends with a codetta.
- Classical concertos: Double exposition (orchestra, then soloist).
  - Mozart's Sinfonia Concertante follows this model.
  - First exposition: Largely in the tonic key.
  - Second exposition: Largely in the dominant key.
- Development: Explores thematic ideas from the exposition.
  - Uses different aspects of their character, key, or musical element.
  - Builds up to a climactic return to the tonic key for the recapitulation.
- Recapitulation: Themes from the exposition reappear, normally all in the tonic key.
- Coda: Brings the movement to a close.

The Influence of Paris and Mannheim

Baroque concerto grosso decline:
- The concerto grosso (concertino/ripieno treated as equals) declined in the Classical period.
Symphonie concertante in Paris:
- A similar genre showcasing two or more soloists with the orchestra in a supporting role.
- Popular in the 1770s and 1780s.
- Increased interest in virtuoso playing.
- Mozart took great interest in its hybrid form when he was in Paris.
Influence of Mannheim:
- Mozart encountered one of the best orchestras in Europe.
- They could play a huge range of dynamics.
- Performances of works by Johann Stamitz (1717–1757) and his sons Carl and Anton.
Special effects in Mannheim:
- “Mannheim crescendo”: A brief passage (often one bar) from very soft to very loud.
- “Mannheim rocket”: A rapid upwards scale or arpeggio.
- “Mannheim roller”: A rising melodic line over a pedal note, accompanied by a crescendo.
- “Mannheim sigh”: A two-note descending slur.
- All these effects are found in the first movement of Mozart’s Sinfonia Concertante in E♭, K. 364.

First Movement: Allegro maestoso - Structure

Three movements in all; the first is marked Allegro maestoso, the slow movement is an expressive Andante in the relative minor, and the third is a lively, virtuosic Presto.
Only the first movement is studied for the OCR specification.
Transposing instruments:
- Horns are in E♭, sounding a major 6th lower than written.
- Viola part in some scores is written in D, tuned scordatura (sounding a semitone higher than written).
- Alto clef is used for viola music.
Sonata form structure:
- Loose but clear sonata form with a double exposition, common in concertos.
- Common time (4/4).
- Orchestral exposition: Introduces several melodic ideas and motifs.
- Solo exposition: Soloists introduce further melodic ideas, supported by the orchestra.
- First exposition: Almost entirely in the tonic key of E♭ major.
- Second exposition: Mainly in the dominant, B♭ major.
- Development section: Goes through some related keys, mostly in the dominant.
  - Presents further new ideas and reworks material from the exposition.
- Recapitulation: All in E♭ major, mostly based on the second exposition with the soloists’ roles reversed.
- Substantial coda: Includes a cadenza, where the two soloists exchange material with increasing virtuosity.

Structure Breakdown

Bars 1–73: Exposition 1
Bars 74–173: Exposition 2
Bars 174–222: Development
Bars 223–327: Recapitulation
Bars 328–338: Coda (first part)
Bars 339–363: Cadenza
Bars 363–382: Coda (second part)

Melody

Mozart's use of themes differs from standard sonata form.
- Lacks clear first subject, transition, and second subject.
- Instead, uses many short thematic “ideas”.
- Reprises some but leaves many largely undeveloped.
Decoration:
- Appoggiaturas (such as in Idea B) and trills.
Articulation:
- Very specifically indicated to ensure that the melodies have character.
Three main motifs:
- Some melodic and some rhythmic.
- Labelled as x, y, and z.
Motif x:
- A dotted idea, fanfare-like in character.
- Influenced by the Mannheim school (Stamitz).
- Appears in at least three different iterations: “x1,” “x2,” and “x3.”
Motif x1 (Bar 1):
\flat_{}^{}sfp \dot{ \hspace{2mm}} \text{œ} \text{™} \text{ œ} \text{ j} \text{ œ} \text{ j}
Motif x2 (Bar 6):
\flat_{}^{} \text{œ} \text{™} \text{ œ} \text{ j} \text{ œ} \text{ .} \text{ œ} \text{ .}
Motif x3 (Bar 27):
\flat_{}^{} \text{œ} \text{ œ} \text{™} \text{ œ} \text{ œ} \text{ œ}
Motif y:
- A falling arpeggio figure.
Motif z:
- A descending stepwise figure, moving from dominant to tonic.
Motif y (Bars 3–4):
\text{œ} \text{ œ} \text{ j} \text{ ‰} \text{ œ} \text{ .} \text{ J} \text{ ‰} \text{ œ} \text{ .} \text{ J} \text{ ‰} \text{ œ} \text{ .} \text{ J} \text{ ‰} \text{ œ} \text{ .} \text{ J} \text{ ‰} \text{ œ} \text{ .} \text{ j} \text{ ‰} \text{ œ} \text{ .} \text{ j} \text{ ‰} \text{ œ} \text{ .} \text{ j} \text{ ‰}
Motif z (Bars 6–7):
\text{œ} \text{ œ} \text{ œ} \text{ œ} \text{ œ} \text{ J}
Other recurring features:
- Accented off-beats (minims in bars 5–6).
- Oscillating pairs of semitones (bar 107).
Significant melodic ideas:
- 17 most significant labelled Ideas A–R.
- Bar number of first appearance is indicated.
Idea A (Bar 1):
*Including motifs x1, y, and z, and the off-beat minim feature.
Allegro \hspace{1mm} maestoso \newline \flat{}^{}sfp \hspace{2mm} sfp \hspace{1mm} f \hspace{1mm} x \hspace{1mm} p \hspace{1mm} y \newline \flat{}^{} f \hspace{1mm} z
Idea B (Bar 11):
- Including motif x2 and a “Mannheim sigh”.
Idea C (Bar 27):
- Including motifs x3 and z, and the off-beat crotchet feature.
Idea D (Bar 38):
- Including motif x2, y, and z (in quavers).
Idea E (Bar 46):
Idea F (Bar 74):
- Including hints of motifs x2 and z.
Idea G (Bar 78, with melodic idea beginning bar 79):
Idea H (Bar 94):
- Including motif z.
Idea J (Bar 107):
- Including the oscillating semitone feature and motif z (strings, in crotchets).
Idea K (Bar 126):
Idea L (Bar 133):
Idea M (Bar 143):
Idea N (Bar 158, with melodic idea beginning bar 159):
Idea O (Bar 168):
- Similar to idea E.
Idea P (Bar 174):
Idea Q (Bar 194):
Idea R (Bar 210):
- Including motif y.

Detailed Structure

Motivic development, instrumental dialogue, and modulation.
Exposition 1 (Bars 1–26) - Key: E♭ major
- No clear first subject, transition, or second subject themes.
- Uses many ideas and motifs.
- Largely in the tonic key.
- Bars 1–11: Idea A opens with motif x1, then motifs y and z. Off-beat minims add rhythmic impetus.
- Bars 11–26: Idea B (Mannheim sigh + motif x2). Shared between violins and oboes over a quaver tonic pedal.
Exposition 1 (Bars 27–46) - Key: E♭ major (with hints of the dominant)
- 27–37: Idea C (motif z and x3) presented in three-bar phrases.
- 38–46: Idea D made of horn/oboe questions (motif x2) and answers (motif z). Violins play motif y.
Exposition 1 (Bars 46–74) - Key: E♭ major
- 46–57: Idea E rising over a tonic pedal in a long, exciting "Mannheim roller”.
- 58–65: Cadential section with motif x. Typical cadential progression (I–VI–II7b–Ic–V–I).
I–VI–II7b–Ic–V–I
- 66–74: Falling crotchet steps in antiphony between oboes and violins. Mannheim Sighs.
Exposition 2 (Bars 74–94) - Key: E♭ major
- 74–77: Idea F: Soloists in octaves, with descending harmony.
- 78–90: Idea G: motif x1 in orchestra, delicate semiquaver answers from soloists, becoming imitative.
- 90–94: Orchestra and octave minims take us to the first modulation.
Exposition 2 (Bars 94–125) - Key: B♭ major
- 94–107: Idea H, a lyrical four-bar phrase, is played by the solo violin in C minor.
- 107–121: Idea J is a virtuosic, sequential passage, first for violin and incorporating the oscillating semitone feature.
- 121–125: The viola passage continues, trills, cadencing in B♭ major.
Exposition 2 (Bars 126–158) - Key: B♭ major
- 126–133: Idea K is presented by the solo violin in B♭ major, rising semiquaver upbeats. The viola repeats it.
- 133–142: Idea L more virtuosic semiquavers, arpeggios, scales/oscillating pairs of notes.
- 143–149: Idea M is played in parallel 10ths by the soloists.
- 149–158: Dovetailing rising scales, and falling slurred quaver pairs with trills, begin a build towards a Ic–V7–I cadence in B♭ major.
Codetta (Bars 158–174) - Key: B♭ major
- 158–168: Idea N is played by the orchestra, tutti, includes semiquavers and motif x3.
- 168–174: Idea O includes motif x3 and an antiphonal trill pattern.
Development (Bars 174–194) - Key: G minor
- 174–181: Idea P is a three-bar phrase for solo violin in G minor.
- 181–187: Idea O returns in the orchestra, modulates to C minor.
- 187–194: Idea P now appears in the viola, in C minor.
Development (Bars 194–210) - Key: C minor (modulating)
- 194–202: Idea Q sequential dovetailing between the soloists: This takes us from C minor through F minor and B♭ major to E♭ major
- 202–210: Idea Q gathers momentum moving through secondary dominants of B♭ major, C minor, A♭ major, and F minor.
Development (Bars 210–223) - Key: B♭ major
- 210–218: Idea R oboes and horns share a four-bar phrase and soloists alternate bars of semiquaver arpeggios, with motif y in the orchestral lower strings.
- 218–223: Dominant preparation of scales, with imitative entries in thirds, before a B♭ pedal prepares us for the return to the tonic key.
Recapitulation (Bars 223–231) - Key: E♭ major
- 223–229: Idea A is shortened to just six bars. The rest of Exposition 1 is omitted.
- 229–231: Soloists once again creep in with a sustained note.
Recapitulation (Bars 233–253) - Key: E♭ major
- 233–236: Idea F
- 237–249: Idea G, viola lead
- 249–253: octave minims take us to the dominant of F minor.
Recapitulation (Bars 253–284) - Key: F minor
- 253–260: Idea H, viola lead
- 260–266: violin.
- 266–279: Idea J viola first.
- 280–284: violin. moves back to E♭ major.
Recapitulation (Bars 285–328) - Key: E♭ major
- 285–292: Idea K viola lead.
- 292–301: Idea D appears with inverted pedals and decorative runs from the soloists added.
- 301–306: Idea L appears after.
- 306–314: Idea L starts visits the subdominant chord before a perfect cadence with chromatic appoggiatura.
- 314–328: Begins as per bar 149 new material shared between the soloists.
Coda (part 1) (Bars 328–338) - Key: E♭ major
- Idea M with IIb harmony replacing the IV chord.
Cadenza (Bars 339–363) - Key: E♭ major (modulating)
- 339–342: The cadenza for the two soloists begins with dovetailing hints of motif z.
- 343–350: The dovetailing semiquavers of Idea Q secondary dominants.
- 351–355: octaves, over I–VI–Adim7–B♭7 with triplets.
I–VI–Adim7–B\flat7
- 356–359: Staccato triplet and quaver passagework.
- 360–363: A chromatic adagio passage.
Coda (part 2) (Bars 364–382) - Key: E♭ major
- 364–372: Idea O motif x3 and the antiphon trill idea for four bars, with off-beat violins.
- 372–382: A closing passage using motifs x and z with a “Mannheim rocket“.

Harmony and Tonality

The tonal plan is relatively simple.
Moves to other keys are generally fleeting.
Harmony is mostly functional and simple.
Tonic and dominant pedals are common.
More colorful, chromatic harmony, including diminished seventh and Neapolitan sixth chords.
Classical-era chord progressions.

Texture and Instrumentation

Orchestra is very string dominated.
Soloists double their respective orchestral parts in tutti sections.
First entry of the soloists is unusual as it dovetails with an orchestral “fade”.
Orchestral writing is reserved.
Ideas are often first played by the violin and first played by the viola in the recapitulation.
A lot of sharing, dovetailing, and imitation between the two soloists.
Upper and lower strings are often in antiphony.
Contrasts textures abruptly, using dynamics as well.
Wind instruments frequently “fill out” the texture.

Rhythm

Allegro Maestoso: Relatively quick but grand approach.
Energy is created using quaver and semiquaver patterns.
Off-beat patterns add energy and drive.
Almost always something moving, even when the melodic material is smoother.
Combines rhythm to create energy.