Symphony KV 96 (Mozart)
The symphony in C major Köchelverzeichnis 96 (111b) was possibly composed by Wolfgang Amadeus Mozart in Milan in 1771.
General
Alfred Einstein (1937) suspects that the symphony was written in Milan in October / November 1771 as a three-movement work according to the Italian type and that Mozart later composed the minuet. On the other hand, in his letters to his sister, Mozart also expressed his intention to write minuets for his symphonies composed in Italy.
However, the authenticity of the symphony is still unclear as there is no autograph . Accordingly, the dates vary considerably depending on the author: they range from 1770 to 1774 due to style comparisons or individual parallels to other works.
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 96 has the number 46), even if they are works earlier than Mozart's last symphony KV 551 from 1788.
To the music
Instrumentation: two oboes , two horns in C, two trumpets in C, timpani , 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 duration: approx. 15 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 96 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
C major, 4/4 time, 69 bars
The Allegro corresponds in character an overture , which next to the numerous fanfare, the frequent tremolo and Dreiklangsmelodik also it shows that the sentence without repetition and without implementation expires. The main theme is four bars and consists of a fanfare (upbeat “rolling” triplet and ascending triad in forte unison , motif 1), which merges into a descending piano movement interrupted by eighth notes (motif 2). The opening triplet in particular is formative for the entire movement.
After the repetition of the theme, ascending triad breaks in the tremolo (C major, F major, C major) and motif 2 as a variant follow. In bar 17, the dominant G major is reached, in which a note repetition motif (motif 3) begins, initially in the bass with a tremolo above. From bar 29, Mozart changes over G major, E major and A minor, initially with motif 2, then with the opening triplet in combination with tremolo. The final group (bars 42 ff.) Takes up the fanfare at the beginning and ends the exposition with chords on the dominant G major.
The second part of the movement (bars 47 ff.) Begins like the first with the main theme in C major, but then leads motif 2 to F and repeats the theme from D major with continuation to G major. This structure initially gives the impression that the exposure is being repeated (beginning of the topic in C), while the continuation to F and the subsequent repetition of the topic in D makes you think you are in a development. However, the further course largely resembles that of the exposure (small deviations relate, for example, to the lack of the passage with motif 3 in the bass).
Second movement: Andante
C minor, 6/8 time, 43 bars, trumpets and timpani are silent
For this “serious and measured” movement in the siciliano style, the short-term changes between forte and piano are characteristic. In terms of character, the Andante is unusually heavy in content for a work from around 1771, "and the stylistic discrepancy between its late Baroque intensity and the conventional modernity of movements one, three and four are difficult to explain." Possible structure:
First part: bars 1–19
- Motif 1 (main theme, bars 1–7): alternating piano quarters and forte eighth notes, ascending melody line with staggered use of the instruments (bars 1–2), then descending with dotted rhythm (bars 3–4); Theme is repeated.
- Motif 2a (bars 7-11) with dotted rhythm and interval jump downwards; chromatic sequencing upwards (bass line: G - A - A - B), conclusion in B flat major;
- Motif 2b (bars 12-19) with dotted rhythm and upward interval jump in the bass (offset to this in the viola), above it emphasized lead of the upper parts; then continued spinning; Change from E flat major ( tonic parallel ) and A flat major (their dominant); Motif is repeated.
Second part: bars 20–43
- Motif 1 '(bars 20-26), begins in E flat major; changes to the subdominant F minor when repeated ;
- Interlude (bars 27–31): falling bass line in dotted rhythm, arc-like response from the violins and spinning;
- Motif 2a '(bars 31–35): as above, conclusion in G major;
- Motif 2b '(bars 36–43): as above, change between C minor and F minor.
Both parts are repeated.
Third movement: Menuetto
C major, 3/4 time, with trio 51 bars
The minuet in the character of a court dance is based on two two-bar, contrasting motifs. The beginning of the second part brings a crescendo passage with staggered use of the instruments.
For the trio in F major (without trumpets and timpani) the contrast between a passage for string strings (without viola, 2nd violin, slightly contrary to the 1st violin) and the forte-tutti answer is characteristic.
Fourth movement: Molto Allegro
C major, 2/4 time, 120 bars
The first theme is based on the staggered alternation of ascending triads (C major / G major) and an offset eighth note movement. The movement opening is thus analogous to the Allegro; Similar beginnings from the first and last movement can also be found in other symphonies of this period such as B. KV 112 . Both halves of the topic are eight bars each and can be broken down into smaller modules. Without a transition, the second theme (bars 17–24) follows, which "ascends and descends in soft lines, seems flexible, like a composed swelling and declining."
This is followed by two motifs, each repeated once: the first with a pendulum movement that is repeated like an echo on the piano, the second with chord strikes and a "bell" figure. This “jagged” motif in particular, but also the previous and the first theme, have a march-like character. The exposition ends in bar 48 in the dominant G major and is repeated.
The short “development” (bars 49-76) begins with the main theme in G, but then modulates with a series of tones that descend in the tremolo and echo-like repeated tones to the tonic parallel in A minor, in which the pendulum motif also appears (bars 65 ff.) . The recapitulation (bars 77 ff.) Largely corresponds to the exposition, but the second half of the first theme has been changed.
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, Leipzig 1937, 984 pp.
- ↑ a b c d Neal Zaslaw: Mozart's earliest symphonies. Symphony in C major, KV 111b / 96. 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 c d Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter, Kassel 2005, ISBN 3-7618-2021-6 , pp. 277-278
- ↑ The repetitions of the parts of the sentence are not observed in some recordings.
See also
List of symphonies by Wolfgang Amadeus Mozart
Web links, notes
- Symphony KV 96 (Mozart) : Score and critical report in the New Mozart Edition
- Wolfgang Amadeus Mozart: Sinfonia in Do, K. 96. Pocket score, PR 808. Ricordi-Verlag, Milan 1955