9th Symphony (Mozart)

The symphony in C major Köchelverzeichnis 73 was probably composed by Wolfgang Amadeus Mozart in 1772. According to the old Mozart edition, the symphony has the number 9.

General

Mozart in 1770

The autograph of this symphony is available, but the year 1769 recorded on it was probably entered later by the publisher Johann Anton André. Mozart probably composed the symphony in 1772. It is unclear whether Mozart wrote the symphony for a performance in Salzburg or for an Italian client.

To the music

Instrumentation: two flutes (only in the second movement), two oboes , two horns , two trumpets , timpani , two violins , viola , cello , double bass . In contemporary orchestras it was also customary, even without separate listing bassoon and harpsichord (if available in the orchestra) to reinforce the bass part or as a basso use -instrument.

Performance duration: approx. 12 minutes.

With the terms used here based on the sonata form , it must be taken into account that this scheme was drafted in the first half of the 19th century (see there) and can therefore only be transferred to the Symphony Köchelverzeichnis (KV) 73 with restrictions. E.g. Sentence 1 corresponds even more to the two-part form, in which the second part of the sentence is viewed as a modified iteration of the first ("exposure"). - The description and structure of the sentences given here is to be understood as a suggestion. Depending on the point of view, other delimitations and interpretations are also possible.

First movement: Allegro

C major, 4/4 time, 105 bars

The movement opens as a forte fanfare of the entire orchestra ( tutti ), which is based on the C major chord. The winds play the basic structure, reinforced by the tremolating strings. In contrast, the strings respond in a calm, singing, descending piano turn with a eighth run in the bass. This contrasting theme "brings with it a completely un-Italian, Mannheim- style, but intensified change of mood, like no other work since Mozart's very first symphony" and is repeated in a variant leading to the dominant G major with an extended string answer. The renewed tutti fanfare from G major then leads to the double dominant D major, the achievement of which is emphasized with three chord strokes. The subsequent forte passage (from bar 16) brings several motifs: First, viola and bass play scale-like sequences of D major and G major under tremolo of the violins and recumbent notes of the wind instruments, followed by a two-bar, cadenced figure with syncope , the short C major grazes. This six-bar unit is repeated and then changes into a figure with a counter-movement between the violins. The final group (bars 33 ff.) Is characterized by its distinctive bass motif over tremolo of the violin / viola and sustained wind chords. Mozart changes here u. a. to the dominant parallel in E minor and repeats the passage like an echo in the piano. The exposition ends as an energetic, tremolous unison figure of the tutti with chord strokes in G major.

The middle part of the movement (bars 46 to 58) has the character of a transition. It is consistently in the piano and is characterized by its organ point on G (horn: sustained notes, viola and bass: eighth note repetition), above which the violins and oboes play a four-bar motif with trills.

The recapitulation (bars 59 ff.) Is structured in a similar way to the exposition, but the repetition of the first theme in the piano passage is chromatically changed. The energetic tremolous unison figure of the final group is repeated shifted upwards for reinforcement. Overall, the movement has an overture-like character due to the long forte and tremolo passages and the lack of repeated parts of the sentence .

Second movement: Andante

F major, 2/4 time, 51 bars, flutes represent the oboes; Horns, trumpets and kettledrums are silent

Leading parts in this movement, which is mainly held in the mezzoforte, are the flutes and the first violin, which is usually parallel. The 2nd violin accompanies as a continuous sixteenth note movement, while the viola and bass with eighths or quarters provide the basic harmonic structure. A characteristic motif with dotted rhythm runs through the entire movement. The first topic (bars 1–8) is periodically made up of a front and a trailer, which in turn consists of a two-bar “question” and “answer” (phrases). The “answer” in the subsequent clause leads to the dominant and ends on the double dominant in G major. In the subsequent second theme (C major), the first violin and the flutes play a motif in dialogue. The final group is characterized by the trill motif and the movement in sixths .

The second part of the sentence first takes up the head of the first topic in C major, moves this briefly to G minor and then brings a new motif with a lead in the subdominant B major. The “recapitulation” begins in bar 31 with the first theme and is structured like the first part of the sentence. Both parts of the sentence are repeated.

“Even the F major andante of this symphony (with flutes instead of oboes, which sound charming even though they are only simply amplified by the two violins) has a lot of its own, despite the almost inconceivable peculiarities of the voice leading (bars 28/29!) (for example the short developmental part in his apparently so simple melodizing), is therefore one of the young master's most interesting movements. "

Third movement Minuetto

C major, 3/4 time, 24 + 20 bars

The powerful minuet is kept in the forte throughout and is characterized by its striding quarter movement. The trill in the opening motif is somewhat reminiscent of the andante. As in the minuet of the symphony KV 112 , the viola does not have a voice of its own here, but merely doubles the bass line, which is possibly related to its origin as an independent dance minuet.

The trio in F major contrasts with the minuet with its line-up (strings only), volume (piano throughout) and character (lyrical timbre, soft melody line predominantly in thirds). In the first part of the trio, however, the trill phrase from the minuet also appears.

Fourth movement Allegro molto

C major, 2/4 time, 176 bars

This rapid movement is structured as a rondo . The refrain is eight bars and is based on the ascending C major chord with a short change to the subdominant F major. The violins and oboes lead the voice.

In the first couplet (bars 17–40, G major), the trill phrase is initially noticeable, similar to the Andante, followed by a forte passage with broken chords alternating between G major and D major. The second couplet (bars 57–74, C major) takes up this change again and continues it with a new “answer”. The third and longest couplet (bars 89–136) in C minor is characterized by its “questioning” third in E flat C, which is repeated three times. The winds accompany with sustained, the viola with broken chords and the bass with grounding quarters. The movement ends with a coda in which the trill motif occurs again.

The overall scheme for the sentence is: ABACADA-Coda.

"Surprisingly the ingenious finale (...), a splendid, brisk piece that requires virtuoso playing in order to have a gorgeous effect even today."

Individual references, comments

1. ↑ ^{a b} Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 , pp. 277-278
2. ↑ Wolfgang Gersthofer ( Symphonies 1769/1770. In: Joachim Brügge, Claudia Maria Knispel (Ed.): Das Mozart-Handbuch, Volume 1: Mozart's orchestral works and concerts. Laaber-Verlag, Laaber 2007, ISBN 3-8900-7461-8 , Pp. 21–24.) Means that the year 1769 added to the autograph is generally “accepted as a guideline” ; Alfred Einstein ( Chronological-thematic directory of all of Wolfgang Amade Mozart's music works. In addition to information on the lost, commenced, transferred, dubious and suppressed compositions by Dr. Ludwig Ritter von Köchel. Third edition, edited by Alfred Einstein. Breitkopf & Härtel-Verlag, Leipzig 1937, 984 pp.) Had KV 73 classified in the third edition of the Köchel Directory in the summer of 1771; Hermann Abert ( WA Mozart. Revised and expanded edition of Otto Jahns Mozart. First part 1756-1782. 7th expanded edition, VEB Breitkopf & Härtel, Musikverlag Leipzig 1955, p. 285) means that the year 1769 corresponds to the “advanced style “Is incompatible with the symphony.
3. ↑ ^{a b} Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989.
4. ↑ Hermann Abert (1955).
5. ↑ The repetitions of the parts of the sentence are not observed in some recordings.
6. ↑ ^{a b} Bernhard Paumgartner: Mozart. Atlantis-Verlag, Zurich and Freiburg i. Br. 1957, p. 155
7. ↑ by Bernhard Paumgartner As Gavotte referred

See also

• List of symphonies by Wolfgang Amadeus Mozart

Web links, notes

• Symphony in C, KV 73 (75a) : Score and critical report in the New Mozart Edition
• 9th Symphony : Sheet music and audio files in the International Music Score Library Project
• Wolfgang Amadeus Mozart: Sinfonia in Do, K. 73. PR 873, Ricordi-Verlag, Milan 1955 (pocket score).