Symphony KV 98 (Mozart)
The symphony in F major Köchelverzeichnis 98 was previously assigned to Wolfgang Amadeus Mozart , but its composer is unknown to the best of our knowledge.
General
In Vienna, an unknown person (possibly Franz Lorenz) created a "systematic-thematic directory of all compositions by Wolfgang Amadeus Mozart" . Here you can find the pencil note in Köchelverzeichnis (KV) 98: "1771 Milan Nov."
Ludwig von Köchel writes about the consideration of the work in the first Köchel directory from 1862: “On the authority of Al. Fuchs and Ludwig Gall, who thought they were genuine, I record this symphony, because it also has the instruments, the scope and perhaps also the content of similar works from around 1770 to itself. "
Theodore de Wyzewwa & Georges de Saint-Foix (1912) do not doubt the authenticity of the work, but believe that Mozart only sketched it out, but did not write it out in full.
Hermann Abert (1955) writes in a footnote to KV 98: “The symphony contains some things that do not agree with the type discussed so far, such as the suppression of half the secondary theme and the new final group in the recapitulation , the sentimental, with its wealth of sighs the Mannheim reminiscent character of most of the themes, which extends into the minuet and the Mannheim style, often quite mannered dynamic. The beginning of the trio even brings a Stamitz favorite phrase . "
In part, KV 98 was also assigned to Joseph Haydn , Michael Haydn and Leopold Mozart . Neal Zaslaw (1989) thinks after a comprehensive critical examination that KV 98 must have come from an unknown author.
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 98 has the number 48), 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 .
In the third edition of the Köchel Directory, the symphony is listed under "KV Appendix 223b", in the sixth edition as "Appendix C 11.04".
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 .
Performance duration: approx. 12–15 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 98 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
F major, 4/4 time, 103 bars
The first theme begins - unusual for a symphony of the time - on the piano. It is symmetrically built up from four bars of front and back notes. The antecedent, in turn, consists of two two-bar motifs that are performed by the 1st violin over a pendulous eighth note accompaniment. The episode contrasts with its accentuated bass movement in half notes and the triplet unison figure in bar 8. The theme is repeated (bars 9-16) and then merges into a section characterized by its triplet figure with energetic tone repetition and a downward run is. The triplet figure is first sequenced forte and then continued in the dominant C major. The second theme (bars 29–37, C major) is four bars with two two bar, phrase-like motifs each with voice leading in the 1st violin. The previously dominant triplet rhythm is now replaced by the "normal" eighth note movement in the accompaniment. The final group (bars 37–44) closes the exposition with the triplet motif from bars 16 ff .
The following middle section with transition character (bars 45–56) consists of triplet movement in the two violins similar to bar 16 ff., But based on broken chords that occur in dialog between bass / viola and the two violins. The harmonies change: C major, C major with seventh , F major, D major, G minor.
The recapitulation from bar 57 is structured similar to the exposition except for an extension in the final group. Both parts of the sentence (exposition as well as middle part and recapitulation) are repeated.
Second movement: Andante
B flat major, 2/4 time, 80 bars, strings with mute
The movement is mostly in the piano with individual accents . As in the previous sentence, the first theme has eight bars and is made up of four bars for the front and back. The melody of the violins in thirds is characteristic of the antecedent ; the epilogue begins with an emphasis on C minor, but then quickly changes over to B major to the dominant F major. The theme is now repeated with oboes doubling the violin part. After four bars with a transition character, another theme follows, which is structured in a similar way to the previous one (but already at the first performance with the oboe leading the voice). The rhythm of the first bars is identical in both themes: dotted quarters and two sixteenths. The second theme is also repeated. This closes the first main section of the movement in measure 36.
The second main section begins as an eight-bar passage (again divisible into 2 × four bars), which, however, does not take up any material from the previous section, but introduces new phrases and is therefore to be understood as a further transition (similar to the first movement). Already in bar 45 the first theme starts again in the usual form. As in the first main section, it is repeated with oboes (up to bar 60). The second topic appears in a modified form with a pendulum movement in the trailer. The sentence ends with three bars of closing phrase. Both main sections are repeated.
Third movement: Menuetto
F major, 3/4 time, with trio 44 bars
The minuet begins with a powerful three-note melody in the forte and a conventional closing formulation for the first part. Leading parts are the two oboes spaced a third apart as well as both violins and the viola. The second part surprisingly begins in D major and is loosened up by syncopation. The rapid modulation back to the main theme in F major takes place via G minor and C major.
The trio is also in F major and takes up the first phrase from the Allegro's first theme. Otherwise, it moves harmoniously and structurally in conventional paths (simple tonic dominant melody).
The first part of the minuet has ten bars, the second 18. The trio has a ratio of eight to eight bars.
Fourth movement: Presto
F major, 2/4 time, 150 bars
Characteristic of the entire movement, similar to the Allegro, is the continuous triplet movement in both violins, which is given an energetic character through repetitions of notes. The wind and bass are mostly accompanying. The first theme is eight bars with four bars fore and aft and is repeated once. The hammering tone repetition in the piano is particularly noticeable here (only the first measure is emphasized every two measures), as the accompaniment is only a little more lush at the beginning of the next section (from measure 17). This section is made up of several mostly two-bar motifs, each of which is repeated. The triplet movement with tone repetition is also characteristic in the four-bar second theme (bars 37–44). It is in the dominant C major, performed on the piano and repeated. This is followed by a six-bar passage in the forte, which is also repeated and ends after a triplet run in unison on Bb, which harmoniously acts as the seventh of the dominant C major chord.
After the general pause in bar 60, a new section begins at the beginning of the second part of the sentence, in which a four-bar motif with tone repetition and triplet runs begins on the starting notes A, G and C and is repeated in each case. Six more bars with runs in unison and some chromaticism lead over to the recapitulation. This (bars 91 ff.) Is structured similarly to the exposition. In the transition section, however, the motif has been changed (dominant tone repetition of C). The movement ends with a triplet run in unison and final chords. Both parts of the sentence are repeated.
Individual references, comments
- ^ 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.
- ↑ a b Einstein, A. (1937): Chronological-thematic index 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. Third edition, edited by Alfred Einstein. Breitkopf & Härtel-Verlag, Leipzig, 984 S. Alfred Einstein: Chronological-thematic directory of all of Wolfgang Amade Mozart's sound works. In addition to the information about the lost, started, transferred, dubious and under-written compositions by Dr. Ludwig Ritter von Köchel. Third edition, edited by Alf-red Einstein. Breitkopf & Härtel-Verlag, Leipzig 1937, 984 pp.
- ↑ Theodore de Wyzewa; Georges de Saint-Foix: Wolfgang Amédée Mozart, Sa vie musicale et son œuvre. Volume I / II, Paris 1912, new edition 1936; cited in the sixth edition of the 1964 Köchel index
- ^ Hermann Abert: WA Mozart. Revised and expanded edition of Otto Jahn's Mozart. First part 1756-1782. 7th expanded edition, VEB Breitkopf & Härtel, Leipzig 1955, 848 pp.
- ↑ Reference is KV 73 , KV 75 , KV 110 and KV 112
- ↑ a b c d Neal Zaslaw: Symphony in F major, K. 98 = Anh. 223b = Anh. C 11.04 [= Hob. I: F16]. In Neal Zaslaw: Mozart's Symphonies. Context, performance practice, reception. Clarendon Press, Oxford 1989, pp. 398-401.
grades
- Paul von Waldersee: Mozart's works. Series XXIV, Supplement. Breitkopf & Härtel Verlag, Leipzig 1888 (contains the scores for the quintet KV Anh. II No. 80 (Supplement No. 55) and for the Symphony KV 98 (Supplement No. 56), published as part of the Old Mozart Edition).
- Sheet music for the Symphony KV 98 by Wolfgang Amadeus Mozart