Sinfonia Concertante

Dan zet je het dus over in een andere toonsoort, omdat het anders niet samenklinkt. Als je twee toonsoorten door elkaar speelt, dan hoor je wanneer beide instrumenten of instrumentgroepen een c spelen verschillende noten en dat is dus niet de bedoeling, dus speel je of andere noten, getransponeerd dus, of je stemt je instrument zo, dat je beide in dezelfde toonsoort speelt.

Misschien een beetje vage uitleg.

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Op woensdag 6 november 2002 15:54 schreef Angst het volgende:
Sorry, maar dat is niet wat ik bedoelde. Ik was ook wel een beetje onduidelijk, er is een bepaald stuk van Mozart waarin dit het geval is....dat de altviolist dus met anders gestemde snaren speelt en in die andere toonsoort, waardoor het dus weer zuiver klinkt met de rest.....
Ik vroeg me alleen af waarom Mozart dit heeft gedaan???

Groetjes,
Marjolein

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The magnificent Sinfonia concertante for violin, viola, and orchestra in E flat major, K. 320d/K. 364 is Mozart's only surviving complete work of this type, a genre that incorporates elements of both the symphony and concerto. Generally scored for two or more solo instruments and orchestra, sinfonias concertantes were particularly popular in Paris in the eighteenth century. It was there, in fact, that Mozart composed such a work in 1778 for four of the outstanding wind soloists in the Mannheim orchestra who were also then in the French capital; that work, however, is now known only in a spurious nineteenthth-century edition.
During this period Mozart also began two other sinfonias concertantes, one for violin and piano in D major, K. 315f/K. Anh. 56 (1778), another for violin, viola and cello in A major, K. Anh. 104/ K. 320e (ca. 1779 - 80), neither of which progressed beyond the first 130 or so measures before Mozart set it aside. The use of more than one solo instrument in an orchestral work presents special problems of blend, balance, and structure, and Mozart's abandonment of these works may well have been the result of such considerations.

The present work may be a replacement for the aborted K. Anh. 104. It was composed in Salzburg during the summer or fall of 1779, about the same time as that work; in both, Mozart calls for a higher tuning than is usual for the viola; his purpose in so doing was undoubtedly to give the instrument a brighter sound to avoid being overshadowed by its more penetrating violin companion.

The soloists for whom the Sinfonia concertante was composed are not known, but may have been Antonio Brunetti, the leader of the Salzburg court orchestra, and the violinist Joseph Hafender. The work is in three movements: Allegro maestoso, Andante and Rondo. The orchestra Mozart calls for includes two oboes, two horns, an optional pair of bassoons, and strings. The work is notable for its warm expansiveness; the Andante is particularly notable for its ravishing dialogue between the two soloists. The scoring is unusually full and rich; Mozart's frequent divisi writing for the violas produces textures that presage the sumptuous writing in Idomeneo, ré di Creta (1781), the opera seria composed for Munich less than a year later. -- Brian Robins

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