Symphony KV 95
The symphony in D major Köchelverzeichnis 95 was possibly composed by Wolfgang Amadeus Mozart in Rome in 1770.
General
On April 25, 1770, Mozart mentioned in a letter from Italy to his sister a. a. two symphonies. Alfred Einstein (1937) is of the opinion that these are Köchelverzeichnis (KV) 95 and KV 97 , which could also be referred to as "twin symphonies" (Einstein also refers to the key and the structure of the works) and the Mozart probably composed in Rome in April 1770. However, this view is doubted by other authors, as no autographs have survived for either symphonies .
The authenticity of two further symphonies in D major, KV 81 and KV 84 , which Mozart is said to have composed during his first trip to Italy, has not been unequivocally established either. Wolfgang Gersthofer (2007), taking into account other works that were surely composed by Mozart during this time, “with great probability” assumes authorship of the same for the symphonies KV 81, KV 84, KV 95 and KV 97.
It is unclear whether the symphonies KV 95 and KV 97 were originally in three movements - in keeping with the Italian type - and Mozart later composed the minuet, or whether they were conceived in four movements from the start.
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 95 has the number 45), even if they are earlier works than Mozart's last symphony KV 551 from 1788, which according to the Old Mozart Edition has the number 41 .
To the music
Instrumentation: two flutes (only in the second movement), two oboes , two horns in D, two trumpets 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 . If trumpets are used, this probably also applies to the timpani, which are sometimes notated outside the score .
Performance duration: approx. 12 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 95 with restrictions. Sentences 1, 2 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
D major, 2/2 time (alla breve), 90 bars
The movement opens as a fanfare-like sequence of powerful unison D, offset eighth note movement of the violins in the piano (motif 1), vigorously repeated fourth motif (motif 2) and a figure unscrewing (motif 3). Similar beginnings can be found in KV 74 and KV 97 . This sequence is now repeated before a transition passage of chord melodies, ornaments and unison eighth runs begins in bar 17.
The passage from bars 27 to 35 is in the dominant A major and can be derived from the detached eighth note figure of motif 1, although now only the 1st violin is the part, while the 2nd violin and viola are accompanied by eighth notes (wind instruments and bass remain silent). At the end, the harmony briefly changes echo-like to minor, which creates an interesting sound effect. The final group (bars 35–43) is based on chord melodies and energetic repetitions of notes.
The “development” or the second part begins, similar to the beginning of the movement, as a chord in F sharp (without a third, so it is initially unclear whether it is a major or a minor), followed by the shortened motif 1 and a legato cadence (motif 4) B minor is resolved; B minor establishes itself for a short time with motif 2 (shortened) and motif 3. From bar 52, this sequence is repeated on the basis of E major, which changes into the sequencing of motif 3 after reaching A major . With the introduction of the second theme from bar 71, the rest of the sequence corresponds to the exposition. Motif 3 is taken up again like a coda from measure 86, ending the movement “openly” on a D major seventh chord followed by a general rest. This chord has a dominant effect on the G major of the following Andante.
All in all, the movement - like KV 97 - has an overture-like character, which, however, is reinforced here by the fact that the first movement merges into the second.
Volker Scherliess complains that the "thematic invention seems comparatively schematic" and that in the "middle section there are sequences of sequences which - compared to the standard with which Mozart spoiled us - tend to lack elegance." Hermann Abert also expresses himself somewhat disparagingly. Neal Zaslaw speaks of an “essay in composite orchestral noises (...) that offers no memorable or singable melodies (...). (...) The use of linguistic analogies, which is often necessary for description and explanation, would in this case present us with the absurd task of imagining a meaningful prose text consisting exclusively of articles, conjunctions and prepositions. (...) Symphonies in this manner by Johann Stamitz , Leopold Mozart called “nothing but noise” (...). ”However, Zaslaw also refers to difficulties in evaluating this type of music.
Wolfgang Gersthofer (2007) sees a striking resemblance to the overture to the opera Artaserse by Johann Christian Bach for the beginning of the transition section from bar 17 .
Second movement: Andante
G major, 3/4 time, 56 bars, trumpets are silent, flutes represent the oboes
The movement is based on a swaying eight bar theme. First of all, the violins lead the voice; in the repetition (bar 9 ff.), A pastoral shepherd timbre is created when the flutes join. From bar 17, two four-bar motifs follow, again with voice guidance in the flutes and the 1st violin. The first part ends in measure 24.
The second part begins with two new motifs that are structured similarly to the previous ones, the first being characterized by the staggered use of 1st flute / 1st violin on the one hand and 2nd flute / 2nd violin on the other. After this transition part, the first part is repeated in bar 33. Part 1 and Part 2 are repeated each time.
The main theme shows similarities with the fifth movement (Andante) of the Serenade KV 204 and with the minuet of the Sonata KV 9.
Third movement: Menuetto
D major, 3/4 time, with trio 46 bars
The energetic minuet is based predominantly on triad melodies and has v. a. at the beginning with continuous bass under ascending chords a particularly radiant character. It is completely forte and built quite compact overall: the first part is eight bars, the second consists of a six bar transition passage (again running bass over sustained unison tones of the upper parts) and then picks up the melody of the first again.
The trio in D minor for strings and oboe contrasts with the minuet with its softer timbre. It is completely in the piano (minuet: completely forte) and is based on a dialogue between 1st and 2nd violin with rocking, ascending and descending movement. The timing of the two parts is similar to that of the minuet.
Fourth movement: Allegro
D major, 2/4 time, 120 bars
As in the opening movement of the same name, this Allegro is also based predominantly on chord melodies, which dominate the beginning of the movement with three repeated four-bar motifs. The third motif is also characterized by a virtuoso sixteenth-note run upwards and the echo-like repetition in the piano. The second theme (bars 35–42), which is performed by the strings in A major piano and which is somewhat more melodic compared to the first Allegro, is followed by the final group (similar to the first movement), again made up of chord melodies. The exposition ends in bar 59 with chord strokes in A major.
The second part begins with a sequencing of motif 1 via A major and B minor to D major, with which the recapitulation is already reached in bar 66. With the exception of a short turn to E minor with motif 2 (bar 69), this largely corresponds to the exposition. Both parts of the sentence are repeated. As was customary for symphonies of this type at the time, the Allegro is the last movement in the “sweeping” character.
Individual references, comments
- ^ 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.
- ↑ a b c d e f Neal Zaslaw: Mozart's earliest symphonies. Symphony in D major, KV 73n / 95. 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.
- ↑ a b Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 , pp. 277-278
- ↑ a b 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.
- ^ A b Franz Giegling, Alexander Weinmann , Gerd Sievers : 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. Sixth edition. Breitkopf & Härtel-Verlag, Wiesbaden 1964, 1023 pp.
- ↑ 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, 848 pages) writes about the symphonies KV 74, 84, 95 and 97: “But the style is also unadulterated Italian: the main themes, which incidentally resemble each other strikingly and thus already point to a common time of origin, remind with their slightly apron, somewhat poor manner of Sammartini and comrades as well as the short of breath, of the old trio line-up suggestive side themes. Above all, however, the genuinely Italian loquacity prevails in these sentences, indulging in incessant repetitions of thoughts, which looks more at impressive brilliance and elegance than at depth. Most fleetingly are (...) the bushings (...). The (...) reprises refrain from any change, just as all interpretative arts of a thematic, contrapuntal or varying nature are banned. "
- ↑ a b The repetitions of the parts of the sentence are not kept in some recordings.
Web links, notes
- Symphony KV 95 : Score and critical report in the New Mozart Edition
- Wolfgang Amadeus Mozart: Sinfonia in D, K. 95. PR 807, Ricordi-Verlag, Milan 1955 (pocket score).