Which method of viewing music should I use?
Score Exchange has two methods to display previews of music: seView which uses regular html and javascipt and the Scorch plug-in from Avid which needs to be downloaded and installed onto your computer. Both have advantages and disadvantages:
You do not need to install any additional software to use seView.
Scorch is a free plug-in from Avid for displaying and printing music. It can also play the music that you're seeing. As modern web browsers are updated, Scorch is no longer compatible with many browsers. Scorch has never been compatible with mobile devices and some web browsers on Mac computers.
If your web browser does not install Scorch automatically, you can click here to download and install scorch manually.
The static preview shows a basic image of the first page.
The interactive preview also shows a preview of the first page, but it's a bit slower to load. The preview is displayed using the Sibelius Cloud Publishing technology from Avid. With most scores, this technology will provide a higher quality preview, as well as being able to switch to full screen mode and also play the displayed music to you.
Printing after purchase
After you have purchased this item the Cloud Publishing technology is utilised to provide the printing mechanism for the music. As such, we recommend checking that the Interactive Preview displays correctly on your device before committing to a purchase.
This score is free!
This score is available free of charge. Just click the 'Download & Print' button above.
Buy this score now!
Buy this score and parts now!
You have already purchased this score. To download and print the PDF file of this score, click the 'Download & Print' button above. The purchases page in your account also shows your items available to print.
Mozart and his father Leopold returned from the third of their Italian journeys in May 1773, having witnessed the success of his new opera seria Lucia Silla, K. 135 in Milan the previous December. In July, father and son once again set out for Vienna, possibly in the hopes of obtaining a post for Mozart, but although they were received by the Empress Maria Theresa on August 5, nothing is known of the details of the audience. By the end of September the Mozarts were back in Salzburg. Early the following month two new symphonies appeared, No 24 in B flat, K. 182, dated October 3, and the present work, which bears the date October 5. Both dates on the autograph manuscript were later crossed out. It seems probable that one or both symphonies were at least started in Vienna, since it is hardly likely that even Mozart would have suddenly produced two symphonies within a week of returning home.
The use of minor keys in symphonies was rare in the eighteenth century. (Mozart composed only one other, the Symphony No.40 in G minor, K. 550, and the use here of a key later identified with some of Mozart's most troubled and agitated music (the Symphony No. 40, the Piano Quartet, K. 478, and the String Quintet, K. 516) has excited much comment. In fact, rather than being viewed as a forerunner of Romanticism, K. 183 is more satisfactorily regarded as being part of a sudden wave of minor-key symphonies which appeared in the late 1760s and early 1770s. Among others, Vanhal, Ordonez, and Joseph Haydn produced during this period a number of minor-key works characterized by stormy drama and restlessness of spirit, attributes which have led some to refer to them as "Sturm und Drang" (storm and stress) pieces. (The name comes from that of a literary movement which was so called slightly later.) In particular, attention has been drawn to the relationship of K. 183 to Haydn's Symphony No. 39 in G minor (late 1760s), with which it shares not only its key but also an orchestration that unusually includes four horns in addition to pairs of oboes and bassoons, and strings. Mozart's opening Allegro con brio and closing Allegro betray characteristics typical of the Sturm und Drang style, a nervous drama articulated by considerable use of tremolando and restless, angular melodies. Between these two large-scale sonata-form movements come an Andante in E flat which gives vent to more introverted passions, and a terse and stern Minuet which strays far from the courtly origins of the dance; its Trio section in G major is scored for wind instruments alone.
This arrangement comes with an optional bass part for use with string orchestra.
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.
Reviews of Symphony No.25 - 2. Andante
You might also like...