Symphony KV Anh. 214 (Mozart)
The Symphony in B flat major Köchelverzeichnis, Appendix 214 (45b) , was possibly composed by Wolfgang Amadeus Mozart around 1768 in Vienna.
General
The work was known to Ludwig von Köchel (along with a few other symphonies) only because of its incipit in a Breitkopf & Härtel catalog and listed as "Appendix 214" in the Köchel directory. Alfred Einstein then discovered a set of parts from the 18th century in the Berlin National Library with the title “Symphony Ex Bb, à 2 Violini, 2 Oboe, 2 Corni, Viola e Basso / Del Sig. Cavaliere Amadeo Wolfgango Mozart Maestro di concerto di SA à Salibsurgo. ”On November 27, 1768, Mozart had received the post of third concert master at the Salzburg court and was made Knight of the Golden Spur on July 8, 1770 in Rome, whereupon he was allowed to call himself“ Cavaliere ”. However, Einstein thought, presumably on the basis of style comparisons, that the symphony could not have been composed later than 1768, assumed the composition period was “early 1768 in Vienna” and gave the work the KV number 45b. The above Designations on the Berlin copy do not necessarily have to indicate the time of the composition, but can also indicate the status of the composer at the time of the copy. The place and time of origin and possibly also the composer have not yet been clarified beyond doubt.
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 45b has the number 55), 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 Bb, two violins , viola , cello , double bass . In contemporary orchestras it was also customary, even without separate listing bassoon and harpsichord (if available in the orchestra) to reinforce the bass part or as a basso use -instrument.
Performance duration: approx. 14 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 a work composed around 1768 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
B flat major, 3/4 time, 102 bars
The movement opens with the first theme, which consists of an introductory chord (forte), stepped movement of the violins in sixths with tone repetition in the bass on Bb (piano) and a final formulation with a run up an octave (forte, "running motif").
This eight measure theme is repeated. In the passage that follows, the running motif becomes the dominant one. The passage ends in C major, which has a dominant effect on the F major of the following second theme.
The second theme (bars 25 ff.) Is based on a four-bar motif of the strings and is repeated with wind accompaniment. In the bass, Mozart uses a four-tone motif that v. a. from the finale of the symphony KV 551 is known (see there for details) and z. B. also appears in the second movement of the symphony KV 16 . Some authors see this as “Mozart's motto”, which is viewed critically by other authors. Neal Zaslaw (1988) writes: “Much ado has been made about the well-known motif do-re-fa-mi from the final movement of the Jupiter Symphony appearing in the bass part of KV 45b, but little has been said about it so far that it appears too often and sometimes in clumsy transposition that distorts the intervals. "
The final group (bars 33 ff.) Then brings the whole orchestra again in forte with lots of tremolo and chromatics. The first part of the movement ends in bar 40 in F major and flows seamlessly into the second part. This initially proceeds according to the exposition: The first theme is presented in the now established F major, but in the following passage a variant of the running motif appears, which is sequenced (bars 54 ff.). This is followed by three appearances from the second theme, also sequenced (downwards): G minor, F major, E flat major (each with the four-tone motif in the bass). Via a tremolo passage analogous to the final group from bars 33 ff., Mozart switches back to the tonic in B flat major, in which the second theme sounds in bars 80 ff. After another short tremolo passage, the first topic is “handed in”. The movement ends with the running motif and a short horn fanfare.
Second movement: Andante
E flat major, 2/4 time, 48 bars, without horns
The sentence begins with its ascending, singing theme "(...) with the distant premonition of a later Figaro turn (from the Duettino Graf / Susanna at the beginning of the third act)."
This is followed by other small motifs, which are characterized by syncopation (bars 5 ff.) Or chromatics in connection with abrupt forte-piano changes (bars 9 ff.). The first part of the movement ends in bar 20 in B flat major.
In a short transition section (bars 21-28) the two opening motifs of the first part are introduced from B flat major, from bar 29 the “recapitulation” in E flat major, which is structured similarly to the first part.
Third movement: Menuetto
B flat major, 3/4 movement, 28 + 18 bars
The energetic minuet is characterized by the haunting emphasis on the main note B and a falling triad figure. In the middle section, on the other hand, there is an ascending movement (initially only in the violins), which ends in bar 19 in the “recapitulation”.
The trio consists of two motifs: the first is sanguine and reserved and gets a floating character through the accompaniment of the 2nd violin in syncope. The second is characterized by leaps in intervals and forte-piano changes. The second part of the trio is similar to the first, but with the first chromatic motif.
Fourth movement: Allegro
B flat major, 2/4 time, 144 bars
The first theme (bars 1–16) is harmoniously designed as a cadence-like alternation tonic (B) - subdominant (E-flat) - tonic and dominant (F), with a falling figure with dotted rhythm following the threefold motif of an ascending triad - that entire underlaid by the tone repetition bass on B or F. The following passage changes with its new motif, of which only the two closing tones remain, to the dominant F, in which the second theme begins from bar 26.
This initially consists of a dialogue between 1st violin (syncopation phrase) and 2nd violin / viola ("answer": three ascending eighth notes), then follows in the forte, ascending and descending sixteenth notes with tremolo. In the final group (bars 38 ff.) The tremolo continues with a lead, first in the violins, then in the bass and changes into a detached eighth-note figure. The exposition ends in bar 55 with chords on F and is repeated.
At the beginning of the second part of the sentence (“development”), the initial motif of the first theme appears in F major, then changes over a tremolo passage from D major to G minor / G major and from here via C major to F major. A somewhat restrained section with calm quarter movements and chromatics (bars 81 ff.) Leads back to the “recapitulation” (bars 92 ff.), Which is structured similarly to the exposition. The second part of the sentence is also repeated.
Individual references, comments
- ↑ a b c d e Neal Zaslaw: Symphony in B flat major KV 45b / Anh. 214. Contribution to: Wolfgang Amadeus Mozart: The Symphonies Vol. VII , German translation by Decca 1988. Recording by the Academy of Ancient Music ; Concertmaster Jaap Schröder, continuo: Christopher Hogwood. Decca Record, London 1988.
- ↑ a b c Volker Scherliess : The symphonies. In: Silke Leopold (Ed.): Mozart-Handbuch. Bärenreiter-Verlag, Kassel 2005, ISBN 3-7618-2021-6
- ↑ Zaslaw (1988) gives different data in each case
- ^ 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.
- ^ 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-Verlag, Wiesbaden 1964, 1023 pp.
- ^ Arnold Werner-Jensen: Reclam's music guide. Wolfgang Amadeus Mozart. Volume 1: Instrumental Music. Philipp Reclam jun., Stuttgart 1989, p. 173.
- ↑ The repetitions of the parts of the sentence are not observed in some recordings.
Web links, notes
- Symphony KV Anh. 214 (Mozart) : Score and critical report in the New Mozart Edition