33:56 - Here comes the part we all were waiting for, with all the main themes of the Finale being combined into a quadruple-counterpoint "Stretto". Hats down to the genius of Mozart!
A magnificent work! We are very lucky indeed to have Mozart’s music in the world. Bravissimo Herr Mozart! David Alexander Lillis. Eastbourne, Lower Hutt, New Zealand. 16 October 2024
@@dariusgoh5314 ГП - главная партия - main part (as translator says), ПП - побочная партия - side part, СвП - связующая партия - bonding part, Трио is trio, Менуэт is minuet
@@gusevski_m thank you so much! I’ve seen these short forms in a few piece breakdowns but I can’t find anything on the internet about it! Is this somewhat equivalent to the exposition development and recap of sonata form? What’s the meaning of ЗП?
@@dariusgoh5314 ГП - 1st theme/FTA СвП - Transition ПП - 2nd theme/STA ЗП = closing theme/codetta/coda it's all just the expositions lol it kinda breaks in the 4th movement since it becomes way more complicated than just two-theme sonata form
I часть Экспозиция Гп 00:05 Сп 0:44 1я Пп 1:32 2я Пп Зп 2:42 Разработка 1 раздел 6:23 развивает ЗП в ми бемоль мажоре 2 раздел 7:22 развивает СП Релиза 8:41 Я запуталась что где там в репризе II часть ГП 11:20 СП 11:37 III часть Менуэт 22:09 Трио 24:19 Финал ГП 26:28 Гп 2й элемент 26:42 Пп 27:29
That's right! to me this symphony also seems to be a little bit Beethovenian. This symphony, though still in a very classical style, is more elaborate than the other symphonies usually written at that time (not to mention Haydn, of course). I wonder what could have written Mozart, had he lived longer, because in this symphony he really raised his art to a new level.
@@bohdanzavhorodnii9374Haydn's London symphonies also very much seem to inspire the Beethovenian sound. I personally attribute much of the start of the romantic movement to Mozart rather than Beethoven who gets all of the credit. In fact someone tried to argue with me that Mozart was not progressive, but I'm positive they have not heard the borderline atonal sequence in the finale of this symphony, nor either of Mozart's minor keyed piano sonatas (C minor and A minor), nor the requiem (even just up until the Lacrymosa when he died), nor any other piece by Mozart for that matter.
I wish I never stopped playing the violin! It's probably been ~16 years since I've touched a violin but I still remember how to play one. One day I'll buy one and get back on it. Good luck with learning the piece!!
The gratis dinamic first movement is written by a cedule of a " tresillo" of semicorcheas. The, melody goles up and down withn singular wideness with some moments of clearly unbroken fortissimo. There is a third theme also with happines.The second mouvement has an extatic main theme ,and others relatives, in maggiore or minore tones. The third mouvement is descendent melody with some rays of greatness. The last mouvement has a contrapuntistic exercise of genious "vivace". A double fugue ends this "enlightening" score.
This, analysis porpits the exact known thing or durum in the Symphonic Repertoire; of the Mozart. I am glad you doised the conrete self of it. Maggiore fortissimo to the you!
We studied that Mozart wrote forty one symphonies, but in now days many sites publish symphonies numbered besides that 41, as symphonies 42 to 46. Koechel numbered only 41 and I believe in his Catalogue.
Actually those symphonies are juvenile works of Mozart's and they are as well included in the Koechel catalogue. Of course, Jupiter is the last symphony Mozart composed.
@@themobiusfunction Yup. The maximum size of "scored for..." is simply dictated by the number of skilled musicians expected to be available. Scores were smaller yet in the Baroque (think Vivaldi). With the rapid growth of European cities in the 19th century, orchestras grew to enormous size by the late Romantic (think Mahler) until they encountered physical limits on how many instruments you could bring to one place and play at once.
@@ryanschlimme Well, the score does say "forte", and I agree that the tympani should be heard -- but there can be too much of a good thing. In the opening phrase, it's hard to hear the orchestra over the drumbeats, and I doubt Mozart wanted that. Were 18th-century tympani even capable of playing this loud?
![Beethoven: Symphony No. 7 in A major, Op. 92 [Kleiber & VPO] (with Score)](http://i.ytimg.com/vi/3_TzIjb3QVs/mqdefault.jpg)
![Beethoven: Symphony No. 7 in A major, Op. 92 [Kleiber & VPO] (with Score)](/img/tr.png)
33:56 - Here comes the part we all were waiting for, with all the main themes of the Finale being combined into a quadruple-counterpoint "Stretto". Hats down to the genius of Mozart!
The finale may be one of the most epic finales of all time.
26:28 (Theme 1)
26:44 (Theme 2)
27:13 (Theme 3)
27:28 (Theme 4)
28:24 (Theme 2: Inversion 1)
31:00 (Theme 2: Inversion 2)
31:15 (Theme 2: Inversion 3)
31:28 (Theme 2: Inversion 4)
31:32 (Theme 2: Inversion 5)
33:40 (Theme 2 Inversion 6)
33:43 (Theme 1 two inversions)
A magnificent work! We are very lucky indeed to have Mozart’s music in the world. Bravissimo Herr Mozart! David Alexander Lillis. Eastbourne, Lower Hutt, New Zealand. 16 October 2024
The amazing C major symphony!!
Викторина Мурова
I часть
0:05 - ГП
0:44 - СвП
1:32 - ПП
2:42 - ЗП
II часть
11:20 - ГП
11:37 - СвП
13:20 - ПП
14:07 - ЗП
III часть
22:09 - Менуэт
24:19 - Трио
IV часть
26:28 - ГП
27:29 - ПП
can someone explain this in English?
@@dariusgoh5314 ГП - главная партия - main part (as translator says), ПП - побочная партия - side part, СвП - связующая партия - bonding part, Трио is trio, Менуэт is minuet
@@gusevski_m thank you so much! I’ve seen these short forms in a few piece breakdowns but I can’t find anything on the internet about it! Is this somewhat equivalent to the exposition development and recap of sonata form? What’s the meaning of ЗП?
@@dariusgoh5314
ГП - 1st theme/FTA
СвП - Transition
ПП - 2nd theme/STA
ЗП = closing theme/codetta/coda
it's all just the expositions lol it kinda breaks in the 4th movement since it becomes way more complicated than just two-theme sonata form
I часть
Экспозиция
Гп 00:05
Сп 0:44
1я Пп 1:32
2я Пп
Зп 2:42
Разработка
1 раздел 6:23 развивает ЗП в ми бемоль мажоре
2 раздел 7:22 развивает СП
Релиза
8:41
Я запуталась что где там в репризе
II часть
ГП 11:20
СП 11:37
III часть
Менуэт 22:09
Трио 24:19
Финал
ГП 26:28
Гп 2й элемент 26:42
Пп 27:29
мы сами во всем запутались, но спасибо огромное
And like that Beethoven was born.
That's right! to me this symphony also seems to be a little bit Beethovenian. This symphony, though still in a very classical style, is more elaborate than the other symphonies usually written at that time (not to mention Haydn, of course). I wonder what could have written Mozart, had he lived longer, because in this symphony he really raised his art to a new level.
@@bohdanzavhorodnii9374Haydn's London symphonies also very much seem to inspire the Beethovenian sound. I personally attribute much of the start of the romantic movement to Mozart rather than Beethoven who gets all of the credit.
In fact someone tried to argue with me that Mozart was not progressive, but I'm positive they have not heard the borderline atonal sequence in the finale of this symphony, nor either of Mozart's minor keyed piano sonatas (C minor and A minor), nor the requiem (even just up until the Lacrymosa when he died), nor any other piece by Mozart for that matter.
33:56 we all waited for this one
Without this finale, western symphonic literature would be irrevocably incomplete
What a brilliant recording.
Bravo DNCO and maestro Fischer!👏👏
10:38 is my favorite moment!
It's a Mozart's joke, a schezo as sense/way of humour. I love this moment too.
@@eduardoxavier3005 I agree!
5:20 is my favorite moment!
Så fruktansvärt läckert, allt, upp och ner ibland.
I’m doing this for youth symphony and it’s so frikin good but so fast 😭😭😭
I wish I never stopped playing the violin! It's probably been ~16 years since I've touched a violin but I still remember how to play one. One day I'll buy one and get back on it. Good luck with learning the piece!!
@@OmnipotentEnt thank you so much ❤️ I actually play the viola so it’s a tad different but still just as good!
The gratis dinamic first movement is written by a cedule of a " tresillo" of semicorcheas. The, melody goles up and down withn singular wideness with some moments of clearly unbroken fortissimo. There is a third theme also with happines.The second mouvement has an extatic main theme ,and others relatives, in maggiore or minore tones. The third mouvement is descendent melody with some rays of greatness. The last mouvement has a contrapuntistic exercise of genious "vivace". A double fugue ends this "enlightening" score.
This, analysis porpits the exact known thing or durum in the Symphonic Repertoire; of the Mozart. I am glad you doised the conrete self of it. Maggiore fortissimo to the you!
We studied that Mozart wrote forty one symphonies, but in now days many sites publish symphonies numbered besides that 41, as symphonies 42 to 46. Koechel numbered only 41 and I believe in his Catalogue.
Danke. Zer are only 41 Mozart Symphonies.❤
@@MpeshaBrosMD Yes, There are only 41 Mozart symphonies in Koechel's catalogue.
Actually those symphonies are juvenile works of Mozart's and they are as well included in the Koechel catalogue. Of course, Jupiter is the last symphony Mozart composed.
8:50 I love this part of the first movement
14:33
17:39
19:50
26:28
This theme appears many years before in another of his work.
ティンパニを強打するなんて御法度です。
why a little orchestra?
Orchestras were generally smaller back in the Classical era.
@@themobiusfunction Yup. The maximum size of "scored for..." is simply dictated by the number of skilled musicians expected to be available. Scores were smaller yet in the Baroque (think Vivaldi). With the rapid growth of European cities in the 19th century, orchestras grew to enormous size by the late Romantic (think Mahler) until they encountered physical limits on how many instruments you could bring to one place and play at once.
26:58
6:40
^
Jesus
I really hate how loud the timpani is in this recording.
For me, it well encompasses the nature of the piece. It is a triumphant symphony of the god of all gods.
@@ryanschlimme Well, the score does say "forte", and I agree that the tympani should be heard -- but there can be too much of a good thing. In the opening phrase, it's hard to hear the orchestra over the drumbeats, and I doubt Mozart wanted that. Were 18th-century tympani even capable of playing this loud?
@@tomross5347Only when the timpanist also went to the gym a lot.
And to me how short my wife wears her skirt.
27:31
Period performances suck. The strings sound weak and flat. The music sound so much better with contemporary instruments.Out of here.
26:28
34:12