Symphony KV 97 (Mozart)
The symphony in D major Köchelverzeichnis 97 (73m) is a classical symphony in four movements , which may have been composed by Wolfgang Amadeus Mozart .
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 - according to the Italian type - and whether Mozart later composed the minuet.
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 97 has the number 47), 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 trumpets in D, 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 .
Duration: approx. 11 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 97 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, 4/4 time, 94 bars
The movement is in the style of an Italian overture with no repetitions. It does not have a distinctive melody, but is more of a kind of “essay of orchestral noises” with a splendid character. It opens in fanfare-like figures made up of strong forte chords alternating with a stepped eighth note movement in the piano, as is also found in K 74 and K 95 .
The following passage is characterized by tremolo and leads via the double dominant E major to the second theme (rather: motif). This (bars 20-25) is in the dominant A, is held in the piano and is based on a short phrase used by the violins in a third interval. The final group up to bar 37 contains a lot of tremolo and changes in harmony between the tonic in D major and dominant in A major.
A transition section (bars 38–58, no development, as there is no processing of the material of the first part of the sentence) surprisingly begins after a three-quarter break as a stressed, sustained unison -C. The section from bars 39-52 is rhythmically relaxed by syncopation in the 2nd violin and runs through the subdominant G major, followed by E minor and B minor. The recapitulation beginning in bar 59 is announced with a tremolo section, the structure of which largely resembles the exposition.
Second movement: Andante
G major, 2/4 time, 36 bars, strings only
The first theme is structured in four bars and is based on a third figure of the two violins. After a short transition to bars 5 and 6, the second theme follows, which is characterized by the violins' sixteenth-note triplets in staccato and is also structured in four bars . The exposition ends in bar 14 in dominant D. A short “development part” from bars 15 to 22 leads the main motif from the first theme to G, E, A and D major. Bars 19 to 22 contain a new continued spinning motif and announce the recapitulation beginning in bar 23.
The entire set is structured in an almost minimalist way and develops a calm, relaxed atmosphere. Neal Zaslaw (1986) assigns an “attractive pseudo-naivety” to the sentence.
Third movement: Minuetto
D major, 3/4 time, with trio 40 bars
The pompous minuet with the characteristic, fanfare-like ascending unison triad is based on chord melodies alternating between tonic and dominant. It is mostly held in the fortress.
The trio in G major with a two-bar motif forms a strong contrast to the minuet in its orchestration only for strings and the abrupt change of accents or short forte interludes and is similar in its timbre to the second movement.
Fourth movement: Presto
D major, 3/8 time, 173 bars
The movement begins with a fanfare-like forte chord progression of D major and A major, followed by seven bars of staccato eighth notes from the violins. This “first theme” is repeated before a transition to the second theme, dominated by tremolo, begins in bar 25. The second theme (from bar 40, A major) is singing and is repeated in minor. It shows similarities to the main motif of the first movement of Ludwig van Beethoven's 7th Symphony :
“The anticipation of a passage in the 1st movement of Beethoven's 7th Symphony is ghostly, not only because of the theme, but also because of its immediate repetition in minor. Beethoven could not have known this unpublished work. So we either have to believe in an astonishing coincidence or assume that both of them were inspired by the work of a third party unknown to us. "
The final group (bars 57-71) is again characterized by chord melodies and tremolo. The exposure is not repeated. There is also no development, but - as in the first movement - a transition section with new motifs. An organ point on the horn on A from bars 72 to 86 is remarkable . The familiar chord progressions and tremolos dominate until the beginning of the recapitulation in bar 101. A short coda with triad melodies (bars 170–173) concludes this gigantic movement.
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 g Neal Zaslaw: Mozart's earliest symphonies. Symphony in D major, KV 73m / 97 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.
- ↑ Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6 , pp. 277-278
- ^ 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.
- ^ Franz Giegling, Alexander Weinmann , Gerd Sievers : Chronological-thematic directory of all of Wolfgang Amade Mozart's sound 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, Wiesbaden 1964.
- ↑ Hermann Abert ( WA Mozart. Revised and expanded edition of Otto Jahn's Mozart. First part 1756-1782. 7th expanded edition, VEB Breitkopf & Härtel, Musikverlag Leipzig 1955, 848 p.) Writes regarding 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. "
- ↑ Zaslaw (1986) on the similarly structured first movement of KV 95
Web links, notes
- Symphony KV 97 (Mozart) : Score and critical report in the New Mozart Edition
- Wolfgang Amadeus Mozart: Sinfonia in Re, K. 97. PR 809. Ricordi, Milan 1955 (pocket score).