Symphony KV 81 (Mozart)

The symphony in D major Köchelverzeichnis 81 (73l) was possibly composed by Wolfgang Amadeus Mozart in Rome in 1770.

General

Mozart in 1770

The authenticity of the four D major symphonies Köchelverzeichnis (KV) 81, KV 84 , KV 95 and KV 97 , all of which are said to have been composed during Mozart's first trip to Italy, has not been unequivocally established. a. because there is no autograph . A copy of the work, dated April 25, 1770, attributes the symphony to Wolfgang, but has also been associated with Leopold Mozart . In a letter dated April 25, 1770, Wolfgang reported to his sister that Leopold was currently copying one of his symphonies so that the sheet music would not have to be removed from the house.

A catalog by the publisher Breitkopf & Härtel from 1775 also lists Leopold as a composer, but this could possibly be due to the fact that Leopold was the publisher's point of contact.

Alfred Einstein (1937) rejects the authorship of his father: “It would be strange if Leopold had tried again in Rome as a later competitor to his son; and even stranger if one of the most charming and ingenious of the Italian symphonies from 1770 should come from him. "

Bernhard Paumgartner (1945) thinks that "the assignment to Wolfgang is convincing" ; Wolfgang Gersthofer (2007) expresses himself similarly: “Of course, the four works in question do not just form a fairly homogeneous group, so that the authorship of a single composer can be expected; Similarities to the authentic Italian symphony corpus of Mozart can also be found with regard to a number of features (...). (...) In short: all four D major symphonies KV 81, KV 84, KV 95 and KV 97 are likely to be authentic. "

While Alfred Einstein (1937) emphasizes KV 81 as “one of the most charming and ingenious of the Italian symphonies from 1770” (see above), Neal Zaslaw (1986) speaks of a “bright, superficial and conventional” symphony. In terms of form and character, the piece corresponds to the Italian symphony or overture type: in three movements with the first movement, which runs through without repetitions, and the finale of the "sweeping" type. The sentences are based on a series of short motifs that are usually repeated once.

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 81 has the number 44), 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 D, 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 .

Performance time: approx. 10 minutes

With the terms used here based on the sonata form , it must be taken into account 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 81 with restrictions. The sentences 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

D major, 4/4 time, 106 bars

The first theme consists of three elements (similar structure also in the other above-mentioned Italian symphonies):

• D major chord ascending like a fanfare in forte unison (inversion of this chord opens the third movement);
• Piano phrase with suggestion in the leading 1st violin;
• Forte “answer” with a broken chord in unison at the end.

After repeating the theme (without opening fanfare), the unison chord is briefly led to the dominant A major after being enriched with chord melodies . Chord strokes and a quarter pause as a caesura announce the second theme. This begins with a carpet-like, stepped eighth note movement of the 2nd violin and viola (also the base bass notes). Like the first theme, it is rather clichéd and characterized by the upbeat, stepped interval jump of the voice-leading violin, which is reminiscent of the main motif of the second movement. The following are followed by other smaller, repeated motifs:

• Forte passage with a melody line in a tremolo ; the motif is repeated twice from A and from E;
• Piano passage with offset movement and characteristic sixteenth-note run upwards;
• The final group of the exposition in the forte of the whole orchestra, based on a one-bar motif, alternation from D major and A major (chord melody).

After a general pause, a transition section follows up to bar 58, in which the four-fold accented A is noticeable. The “recapitulation” from bar 59 largely corresponds to the exposition. The whole set goes through without repetitions.

Second movement: Andante

G major, 2/4 time, 73 bars, horns are silent

The main theme begins as a two-bar dialogue motif between the two violins, with the 2nd violin echoing the 1st violin (not immediately noticeable when listening), followed by a final turn with a trill. The oboes accompany in sustained chords, the viola as a sixteenth note repeater and the bass with a staccato figure. After the repetition of the motif, the oboes also take part in the “conversation”, with the section from bar 15 ff. Also being repeated from bar 23 and ending the first part in bar 35 with a short final turn.

The second part is a variant of the first. Both parts are repeated. The oboes in particular create a pastoral, relaxed timbre.

Third movement: Allegro molto

D major, 3/8 time, 122 bars

The character of the Allegro molto is designed as a “sweep”, composed with numerous triad horn signals , “but the hunt is audibly withdrawn from the morass and tumult of such an event in the salon.” The movement begins with the reversal of the D- Major - triad that already opened the first movement. Together with further chord melodies, the eight-bar “first theme” emerges, which is repeated. This is followed by several smaller motifs. The second theme (bar 49 ff.) Is in A major and is initially only performed by the strings in the piano: over a walking bass, the violins play short, dance-like phrases in staccato . In the repetition (bars 57–65) the material is varied and accompanied by the winds. The motif of the final group (bars 65 ff.) Ends the exposition in bar 76 with chord hits on A.

As in the first movement, there is a short transition passage that initially spins the material from the second theme and from bar 85 onwards leads to the “recapitulation” with additional chord melodies. This begins in bar 95 with the second theme and is structured like the exposition in the further course. The exposition as well as the transition and recapitulation are repeated.

Individual references, comments

1. ↑ ^{a b c d e f} Neal Zaslaw: Mozart's earliest symphonies. Symphony in D major, KV 73l / 81. 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.
2. ↑ ^{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.
3. ^ ^{A b} Alfred Einstein: Chronological-thematic directory of all of Wolfgang Amade Mozart's music works. In addition to the information about the lost, started, transferred, dubious and superseded compositions by Dr. Ludwig Ritter von Köchel. Third edition, edited by Alfred Einstein. Breitkopf & Härtel-Verlag, Leipzig 1937, 984 pp.
4. ↑ See, however, the two Lambach symphonies , where the “more modern” New Lambach Symphony was finally assigned to Leopold Mozart.
5. ^ Bernhard Paumgartner: Mozart. Atlantis-Verlag, Zurich and Freiburg i. Br. 1945, p. 155
6. ^ Wolfgang Gersthofer: Symphonies KV 16-134. In: Joachim Brügge, Claudia Maria Knispel (Ed.): The Mozart Handbook, Volume 1: Mozart's orchestral works and concerts. Laaber-Verlag, Laaber 2007, ISBN 3-8900-7461-8 , pp. 15-27.
7. ↑ ^{a b} The repetitions of the parts of the sentence are not kept in some recordings.
8. ↑ or also: "Chasse" / "Caccia": French. / Italian for hunting piece

Notes, web links

• Symphony KV 81 (Mozart) : Score and critical report in the New Mozart Edition
• Wolfgang Amadeus Mozart: Sinfonia in D, K. 81. PR 806, Ricordi-Verlag, Milan 1955 (pocket score).

See also

• List of symphonies by Wolfgang Amadeus Mozart