durational aptations Yor the Pianoforte Series of: Orchestral Music Sacred Music Ghanyer Music Operas Concertos Songs National Dance and Folk Tunes Symphony No. 2, in G Minor Wolfgang Amadeus Mozart Adapted anb Edited with Instructions as te Interpretation ‘and Method of Study by Leopold Godowsky ° Biographical Sketch, General Information and Glossary by Emerson Whithorne Bema Bt Kouts Price 35 Cents rrnera im u.0.n No. 532PROGRESSIVE SERIES COMPOSITIONS =Car Catalog No, 532 SYMPHONY No. 2 IN G MINOR 0S WOLFGANG AMADEUS MOZART. BIOGRAPHICAL SKETCH—JOHA} Born at Salzburg, Austria, January 27, 1756. Died at Vienna, Austria, December 5, 1791. OLEGANG knows everything in this, his eighth year, that one can require of a man of forty.” Thus Leopold Movast, the father of ono of the mightiest musieal geniuses, wrote to his wige about their son, Mozart was undoubtedly the most astonishing prodigy, both as composer and pianist, that ever lived. Ie was already playing the pianoforte and writing uste when onfy four years old; he was giving concerts in France, England and Holland when he was but mine. Imagine this child balling the most earned musicians of his time. Picture those wonderful private concerts at the principal courts of Europe where the litle Mosart was troatod like tome child princo. In Thaly his suecestes were so dazzling that he was made Knight of the Golden Spur by the Pope and clectod a member of tho Accademia Filharmonica, a very high honor for a youth of fifteen years. ‘Throughout these journeys of triumph his father carefully continued the boy's musical education, Perhaps no genius has ever been better tanght in the technic of his art than was Wolfgang Amadeus Mozart. The relation between father and son is beautifully given in a few words, which Mozart often repeuted as.a child—""Nest after God comes papa.” Here algo is shown the religious belief, which he had from his devout parent. ‘Whon twenty-six years of age Mozart married Constanze Weber, a charming young lady who lad no skill in managing the small earnings of her light-hearted husband. ' It seems tragie that no proper re- ‘ward was ever granted Nozart for his untiring labors... When we consider the number of his works, itis ‘Giffcult to understand how he found time for dancing, billisrds and bowling—all of which he was ‘very fond—and yet eould leave to the world such a mighty legacy of inspired music. He was a simple child of nature, full of mirth and jollity, loving all sorts of jokes and escapades; but he was always industrious— Ihe muct have bean to produce the prodigions nuraber of compositions that he did in the thirty-five years of his life, Far into the night his wife was obliged to keep him company as he sat over his work; he would tall: and langh in the midst of his eomposing—as ke said, in order to keep himself awake. His later years were darkly clouded by poverty and debt; he could not earn enough to support him- self and his family, no mattor with what vigor he applied bimsel? to composition, While writing his Requiem, he suffered from fainting spells, and became convinced that someone had poisoned him. He was sure that he was composing the Requiem for his own faneral. ‘There was no truth in the poigon idea, but it was true that he wae actually writing this femous Requiem for himself—he died at one o’cloek int the morning of December 5, 1791. At three in the afternoon of the following day his funeral service took place in front of the famous old St. Stephens Cathedral, in the very heart of Vienna. As was the custom with Ue very poor, his funeral was held in the open air. ‘There was a terrific storm, making it impossible for the mourners to go beyond the city walls, and the hearse bearing the body of Wolfgang Amadeus Mozart wendod its lonely: course throngit the wind and rain to a pauper’s grave, in the churchyard of St Bars. ‘The world docs not know to this day whieh is tho grave of Mozart--he tho was so poor in worldly goods, and 0 vastly wealthy in spiritnal riches HISTORICAL INFORMATION: Mozart wrote his three most wonderful symphonies in less than six weeks, ‘The I flat bears the date June 26, 1788; the G minor, July 25, August 10, 1788. ‘Phos we discover Uhat the @ minor Symphony wae composed in 1788; the “Jupiter, Tess than a month. ‘Ano, 692-3 Cenprighe 1915 Cited tae of Amur, Cra rian and International Copyright Union and Asti by Art Pb aon Sct, Se. Lon Movs US-4, Cappih Canada 1915 bp AP Pabcaion Soe ami, Rigs of Tront= lation anda other rigs reseed Copy enened 1968Page 2 SYMPHONY No, 9 IN G MINOR ‘This is undoubtedly the most admired of all the forty-one symphonies. Schnbert wrote: “Yon can hear the angels singing in t.””” Beethoven is said to have reseored it from a pianoforte arrangement, Athough Mozart hod jst ad a great sues in Prague, Behera, with his opera Don ovoeni, his unre: was neverticlessauite empty, for he writes to his frend Puchong inthe spring of 168 Reese Biteously for,8 Joan and mentions gloomy thoughts which he must repel with al ne maghks Tee Seed range thal these three gionious symphonies how itle sgn ef unlappiness oe depress METHOD OF STUDY: The editor has s0 However, these four notes mnst be played with anormal staccato, giving each note about one-half of its actual time value. ‘The second subject of this movement comes after the full measure pauso at m. 43; this one measure rest is not to be shortened in the least, ‘The captivating melody must be interpreted tenderly and ex. Preetively as generally befits a second subject; frequently this part of a sonata or symphony is called {the song group on aecount of the lyric quality of the themes. ‘The rests in mn. 61-62 should be given thelr full value, and the chords separated, but not slaccat ‘The Andante is Mozart in his most serions mood. ‘Tho opening ie given out in the orchestra by the strings and horns, the melody creeping in very quietly, almost secrefly. “Note the entrance of the differ. gnt voices of the right hand, always with an upward interval. ‘The bass is to be played sonoronsly in m. 12 followed by the predominating middie voice at the end of m. 2 (beginning in the right hand ard pass ing smoothly over to the left hand). ‘The accents in m. 5-6 are Very necessary to a proper interpretation of these measnres; the repeated flat played by the thumb of each hand should not be loud, end yet it should be insistent. ‘In m.7 there is a slight emphasis on the D’s of the following: Let the student remark the entrance of the bass at the end of m. 8, the lower voice of the right hand at the end of m. 9, and the bass again at the end of m. 10. Tn m, 18-14 the lower voico of the left hand introduces part of the theme, which is fonnd in the reper Yoice of the right hand of m. 5-6, while the middle voice of m. 15 continues the theme of m. 7, divided be, tween the two hands. ‘These statements of the main theme should stand out prominontly.” ‘The 32nd notes in the sight hond of m, 49-14 are wol to be hurried, In 25. 16, and all similar instances, the first nole each dred group must be emphasized and alightlysoctaned wien cern Retina ake tests. The enticing call in the right hand of m. 1819 tnd 22-29 fe to be played wich de while the coda beginning with m. 29 requires similar treatment. acy and grace, Ano. 582-8SYMPHONY No. 2 IN G MINOR Page 8 Xe is hardly necessary to draw attention to the syneogation frequently, employed throughout the Bfennetto; emphasis must always be given to these syncopated notes, tus adding humor and charm to the reading of the movement, In. 19 thore isa strong accent on the last note (D) in the left hand, fel- owed by an accent on the right-hand chord in m. 16; in this manner the measure rhythm is elearly eatab- lished in cage the syneopation should have made the position of the normal accents doubtful. Other in- stanees of similar procedure oeeur in m, 18-19 and m, 21-22 After the rather heavy daneing movement of the first two divisions of this movement, there ccmes, the Trio with its delicacy and tenderness—a delightfal change of mood and feeling. From m. 61 there is, a dialogue between the two liands until m. 69, the right band continually answering the left hand, ‘The Menuetto is then repeated, the movement elosing at m. 42. ‘Tho Finale is nothing: less than a wonderfully joyous dance, full of grace and bubbling over with in- osent marth, Tho constant change from “pio “fs worthy of remark the quick Fempe, together with these effects of “loud”” and soft,” make this part of the symphony appear like revolving mass of changing eolors. Again, as in the first anovement, we have a melody of exquisite loveliness after all this gniety: this enters at the end of m. 16 and continues until m. 47. ‘The phrasing of the right hand of m. 42-43-44 is to be carefully considered. Note the first accented Din 1m. 42, and the emphasis required on the C sharp, C natural, B natural and B flat of the two suecced- ing measures. NOTE 70 THE TEACHER—The aim of the editors is to have every department of ther work es perfect and complete us possible, nd they hare heen governed by this principle in making the anna. Kons to the Educational Adaptations. “Although nothing. superfiuous hae been ‘actuded, the toncher must use diseretion as tothe amount of text material that the student is capable of assimilating at the time. GLOSSARY Mozart, pronounce, — Mo-tairt, Don Giovanni, “ Den J8-6-vtn-n’. Sateburg, “ ales-boorg. Pachbers, “ Pook-bérz. Acculemia Fitbarmonica, “ Kooi-damea Fe-lar-mo-neka, allegro molto, Pronounced. a-lé-gro molto, - very animate! and quick. cresc. (erescendo), “ cxtcshterda, ~ increasing in tone. andante, “ An-din-t8, ~ moderate and flowing. espe. (esprossien), “ te-pris.sde-v0, - with oxproston. rare, (marcato), “ rir-ci-t0, - marked. dolor, “ dobtebt, softly and sweetly, pit, “ pE-09, - more, tranauillo, “ tran-qute-to, -ealmly. allegro ass, “ allege ass, - very quickly. Ano, 582-3‘EDUCATIONAL ADAPTATIONS Orchestral Music Series Symphony No. IJ, in G Minor Adapted and edited by Leopold Godowshy. WOLFGANG AMADEUS MOZART, Meh Allegro molto. J. 110-132 4 5 4 ® 4 a Sharzendo — ais ~—, Se ak wee Fe | Serrghed 1915. United Sten of America, Cre Gran ly Aa Pleat Sac. Sos Mas U Coppice 943Symphony No. Il in @ Minor, 2. 592-13A % = * . Symphony No IL in © Minor, 8. 582-13~ Andante). us. ot Ope Symphony No. Ii, in @ Minor, 6. 582-18SALE ‘ Symphony No. Hin © Minor, 5. ss2-13Symphony No. If, in 6 Minor, 6Menuetto. Allegro. d. HOt . y, air t is Symphony No. I, in @ Minor, 7. 582-18532-13 Symphony No II. in G Minor. 8.Trio. folee @ tranguillo P del aguill 4 Symphony No. IL, in @ Minor, 9. 532-13Menuetto D.C. ' 592-13 Symphomy Ko. I in @ Minor, 10.Finale. Allegro assal. d « 192-182. 3 : Se 4 vee 532-13 Is Symphony No. II,in @ Minor, 11.id on Symphony No. Il, in 6 Minor, 12, 532 13EA te LS Symphony No. Hin G Minor, 13. “82-13,