Symphony KV 75 (Mozart)

The symphony in F major Köchelverzeichnis 75 is a classical symphony in four movements that may have been composed by Wolfgang Amadeus Mozart .

General

Painting by Mozart by Saverio dalla Rosa, January 1770

The symphony in F major Köchelverzeichnis (KV) 75 was probably composed between March and August 1771 in Salzburg. Like several other works of this era (e.g. KV 97 ), KV 75 was only passed down in voices from the Leipzig publisher Breitkopf & Härtel , which were destroyed in World War II. Mozart's authorship is therefore not proven beyond doubt. However, Volker Scherliess (2005) thinks that “the vast majority of experts consider them to be genuine”.

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 75 has the number 42), even if they are earlier works than Mozart's last symphony KV 551 from 1788, which is number 41 according to the Old Mozart Edition .

To the music

Instrumentation: two oboes , two horns in F, two violins , viola , cello , double bass . In contemporary orchestras it was also customary to use bassoon and harpsichord (if available in the orchestra) to reinforce the bass voice or as a continuo , even without separate notation .

Duration: approx. 13 minutes.

With the terms used here based on the sonata form, 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 75 with restrictions. Sentences 1, 3 and 4 correspond 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

F major, 3/4 time, 136 bars

The structure of this set is characterized by a series of smaller motifs . Often there is a characteristic, "restless-floating" figure made of three tones: two sixteenths (second up) followed by an eighth (second down).

The first theme consists of a two-bar, sequenced motif (motif A) with an initial sixteenth-note phrase from the 1st violin and an ascending chord from the 1st oboe, underlaid with chords from the remaining instruments. This is unusual in that in contemporary symphonies it is mostly the violins that lead the voices. The following section from bar 9 changes with the phrase-like motif B from the tonic F major via the subdominant B major to the dominant C major. The "second theme" (rather: motif) in C major from bar 21 in turn consists of the two phrase-like motifs C and D. C is in the piano, characterized by a decimal point downwards and appears offset in the two violins, D is in the Forte and has a similar structure to B. The section of the second theme ends in bar 32 with a downward syncope figure on the double dominant G. Up to the end of the exposition in bar 56, further motifs now follow (motif A1, contains the phrases of the 1st violin from motif A, alternation G- and C major, motif E: chord with trills and tremolo accompaniment, motif F: descending figure with tone repetition, repeated an octave lower in the piano). The exposition ends with final chords and a sixteenth-note run (bars 53–56); it is not repeated (as is usual).

This is followed by a transition section (bars 57-77), which begins as a lead by the winds and is otherwise only intended for strings. 1st and 2nd violin and viola play a long, arch-like, singing figure in the piano, creating a polyphonic effect. The recapitulation from bar 78 is structured almost exactly like the exposition.

Second movement: Minuetto

F major, 3/4 time, with trio 42 bars

With its arch-like figures in the piano, the minuet has a more restrained, singing than dance character and is only given off by sections with separated, e.g. T. chromatic movement some “power”. The chamber music-like trio in B flat major, in which only the strings play, also has a cautious effect. Volker Scherliess (2005) thinks that the listener should possibly experience a surprise here by initially believing that he is hearing the slow movement normally expected in the second position in a symphony, until he gradually realizes that it is a minuet.

Third movement: Andantino

B flat major, 2/4 time, 61 bars

In the two-part Andantino, the violins play with mutes, the horns are silent. The first theme is marked by trills in the first clause and by a falling figure in the trailer, while the second theme (bars 12 ff.) Has characteristic grinders. The final group (bars 20 ff.) Stands out due to its fourth .

In the short transition section (bars 26–36) over G minor and D major, two new motifs are introduced, which (like the previous motifs) are each repeated. The recapitulation from bar 36 is structured similar to the exposition.

Just like the second movement, the Andantino's character is sangally reserved. Both parts of the sentence are repeated.

Fourth movement: Allegro

F major, 3/8 time, 103 bars

The first theme is in the forte and has an upbeat, progressive character with a memorable melody. The antecedent ends on dominant C, the subsequent clause takes up the motif of the antecedent, but after the movement is interrupted in bar 8, it leads back to F. This section is now repeated (bars 10-18), but without wind instruments and with mirror-image dynamics : the forte section is in the piano, the piano section in the forte. Without a transition, the equally upbeat and memorable second theme begins in bar 18 in the piano. The melody, interspersed with eighth rests, moves between C and F major. It is performed by the 1st violin, underlined by even sixteenths of the 2nd violin. This is followed by a repetition in the forte with wind accompaniment. The end of the exposition is formed by the section from bars 36–47 with sixteenth notes in both violins and a characteristic final turn with trills (bars 44–47).

The short transition (bars 48–55, completely piano) with notes of the 1st violin interrupted by eighth rests and regular sixteenths of the 2nd violin is somewhat reminiscent of the second theme. The recapitulation from bar 56 is structured similar to the exposition. The second theme is now in B flat major, the melody has been changed slightly. At the very end, the final turn with the trill sounds first in the piano, then again in the forte. The exposition as well as the transition and recapitulation are repeated. Overall, the movement has an almost dance-like character - possibly as a “compensation” for the more vocal minuet.

With this sentence, Volker Scherliess (2005) imagines musical figures who “switch between light and shadow like figures on an imaginary stage, soon emerge, then duck again, as it were.” He sees particular importance in the final turn, the trill motif: “ She picks up the headline, the first bar of the movement, and repeats it, so that a coherent gesture emerges, in which one might imagine a buffon-like situation, perhaps a complement to Arlecchinos. ”Then Scherliess emphasizes the different“ lighting ”of the final turn her appearance in the piano (exposition) or piano and forte (recapitulation).

Individual references, comments

1. ↑ ^{a b c} Volker Scherliess: The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 , pp. 277-278.
2. ↑ Scherliess (2005) describes bar 20 ff. As the "transition section"
3. ↑ Alfred Einstein ( Mozart - His character, his work. Pan-Verlag, Zurich and Stuttgart 1953) speaks in this section of an “accentuation of the development.” However, it is not really possible to speak of an execution, as there is no material presented in the exposition is processed.
4. ↑ ^{a b} The repetitions of the parts of the sentence are not kept in some recordings.
5. ↑ what is meant is the trill in the main motif

See also

• List of symphonies by Wolfgang Amadeus Mozart

Web links, notes

• Symphony KV 75 (Mozart) : Score in the New Mozart Edition
• Wolfgang Amadeus Mozart: Sinfonia in Fa, K. 75. Pocket score. PR 804. Ricordi, Milan 1955