Symphony KV 161 (Mozart)

The two-movement overture to the opera " Il sogno di Scipione " Köchelverzeichnis 161 supplemented Wolfgang Amadeus Mozart in 1772 by adding a final movement KV 163 to a three-movement concert symphony.

General

Painting by Mozart by Saverio dalla Rosa, January 1770

In March 1772 Mozart had composed his opera “Il sogno di Scipione” Köchelverzeichnis (KV) 126 in Salzburg, which is introduced by a two-movement overture in D major. This overture with its own KV number 161 goes directly into the first scene. Mozart later added a finale (KV 163) that was composed afterwards in order to be able to play the work separately as a three-movement concert symphony, presumably for performances by Milanese patrons in autumn 1772. Mozart proceeded similarly with the singspiel Ascanio in Alba, composed the year before ( KV 111, post-composed finale KV 120).

The symphony was not a uniform genre, especially in Mozart's youth, for example opera overtures were used as sinfonia or similar. called, (concert) symphonies conversely also as overture , z. B. if they formed the introductory piece for a concert evening. The overtures to the operas Mitridate, re di Ponto K. 87 and Lucio Silla K. 135 were designed by Mozart from the outset - as is usual for a contemporary Italian overture - as works in three movements. Of the works by Mozart, usually referred to as symphonies, show z. B. KV 74 , KV 162 , KV 181 and KV 318 overture-like trains. KV 161/163 shows typical features of this type of work:

• pompous introductory movement with signal-like triad melodies, forte-piano - contrasts, operatic "dramatic" tremolo , sudden minor breaks; the sentence runs through without repetitions;
• vocal, slow middle movement with a peaceful pastoral mood;
• fast-paced, short finale as "Kehraus";
• sentences merging into one another.

The old Mozart edition (published 1879–1882) contains 41 symphonies numbered 1 to 41. Further works were published in supplementary volumes until 1910. The symphonies it contains are sometimes labeled with the numbers 42 to 55 (KV 161/163 has the number 50), even if they are earlier works than Mozart's last symphony KV 551 from 1788, which is numbered according to the Old Mozart Edition 41 carries.

To the music

Instrumentation: two flutes , 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 time : approx. 8 minutes.

With the terms of the sonata form used here, it should be noted that this scheme was designed in the first half of the 19th century (see there) and can therefore only be transferred to the symphony KV 161 with restrictions. - 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 moderato

D major, 2/2 time (alla breve), 135 bars

The opening of the sentence is marked by contrasts: First, a fanfare-like triad signal in forte unison , then two piano motifs with dotted rhythm in Pizzicato - thirds . This first theme (bars 1–12) is repeated and then leads into a short transition with chord melodies and suggested figures, which changes to the dominant A major.

The second vocal theme (bars 36 ff., A major) with its repeated two-bar motif is announced by a carpet-like figure accompanying the 2nd violin / viola. As it progresses with syncopation, it takes on a brief clouding of A minor and, from bar 43, leads into the final group with a descending bass line over tremolo and chord melodies.

The second part of the movement begins after a general pause as a surprising chord in F sharp (third A sharp-F sharp), which serves as the starting point for a new theme that initially changes to B minor. Moved to A major, it is repeated before the introduction to the recapitulation begins with a four-bar twist from bar 76 . The recapitulation (bars 88 ff.) Initially runs like the exposition. The repetition of the first theme, however, leads to a new passage with dissonant chords, tremolo and energetically repeated cadencing sequence of tonic - subdominant - dominant - chords. The second theme is missing, instead the head from the first theme appears again: first in D major, then abruptly moved to B major, from where the music slowly slides down to D minor and on the A major chord with fermata comes to rest.

Second movement: Andante

D major, 3/4 time, 69 bars

The two-part Andante begins with its vocal, calm theme (bars 1–12; A part), in which, in addition to the violins, first oboes and then flutes lead. The topic is structured periodically . In bar 17 follows a new short motif with separate movement (B part), which leads to the repetition of the entire section via a bound figure in thirds, with the B part being varied. The movement sounds as a series of dragged, full-time chords including a short minor obscuration and breathes "open" after a decrescendo on the E major - seventh chord in pianissimo.

Third movement: Presto

D major, 3/8 time, 159 measures

The first theme of this “Kehraus” movement (bars 1–16) is based on a formulated dominant tonic - a phrase with an appendix from virtuoso sixteenth notes, which are repeated an octave lower in the postscript. Immediately follows the second theme in the dominant A major, in which the 1st violin plays its motif with a characteristic fourth downwards over the hastily flowing sixteenth note movement of the 2nd violin / viola.

The very long final group contains several small motifs with triad melodies and short runs, with the first of these motifs being performed offset by the 1st violin and viola / bass. It flows seamlessly into the middle section, in which the formerly more motif-like second theme is spun into a swaying, vocal melody. The recapitulation (bars 86 ff.), Which is structured like the first part of the movement, announces itself via a crescendo with virtuoso runs. A short coda with D major chords ends the movement.

Individual references, comments

1. ↑ Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 .
2. ↑ At least the overture to Mitridate was then also popular as an independent concert symphony (Zaslaw 1986).
3. ^ ^{A b} Neal Zaslaw: Mozart's earliest symphonies. Text contribution to: Wolfgang Amadeus Mozart: Early Symphonies 1764–1771 , German translation by Henning Weber from 1982. Recording by the Academy of Ancient Music ; Concertmaster Jaap Schröder, continuo: Christopher Hogwood. Decca Record, London 1986.
4. ↑ Scherliess (2005) thinks that this works “like an early anticipation of the beginning of the great G minor symphony KV 550. ”

See also

• List of symphonies by Wolfgang Amadeus Mozart

Web links, notes

• Symphony KV 161 (Mozart) : Score and critical report in the New Mozart Edition