Symphony KV Anh. 216 (Mozart)
The Symphony in B flat major Köchelverzeichnis, Appendix 216 , was possibly composed by Wolfgang Amadeus Mozart around 1771.
General
The work (along with a few other symphonies) was only known to Köchel because of its incipit in a Breitkopf & Härtel catalog and listed as "Appendix 216" in the Köchel directory. At the beginning of the 20th century a set of parts was found in the Prussian State Library in Berlin and published in 1910 by Breitkopf & Härtel. However, this set of parts has not survived.
The only source of this symphony is the reprint, which Breitkopf & Härtel published in 1910 as a single score without further information on the original; a further edition as part of a supplementary volume to the Old Mozart Edition was planned, but was probably not implemented. On a Breitkopf & Härtel newsletter from March 1910, Max Seiffert, who edited the symphony, wrote in an advertisement entitled "An Unknown Symphony by WA Mozart":
“In an old handwritten catalog by Breitkopf & Härtel, 10 Mozart symphonies are listed, which were formerly in written parts among the holdings of the old Breitkopf Verlag, but had to be considered lost for the complete edition of the works. So Köchel was only able to provide the opening bars of these symphonies according to the old catalog as Appendix IV No. 214-223 in his directory. (...) Recently, two of these are now in the Berlin Kgl. Library the old edition parts of Breitkopf's provenance have been found again; Nos. 214 and 216. Both are youth works, according to the version of the inscription, created in Italy 1770-1771. The musical quality corresponds to this determination of time: they still lack the thematic development; the motifs are still (...) casually linked to one another. These symphonies, along with other additions to the complete edition, will find their place in a future supplement volume. In the meantime, no. 216 will welcome conductors in a special edition. In the thematic invention, it is characterized by fresh momentum, which is particularly evident in the quick corner clauses. This symphony is due to be performed in Berlin, Bremen and Dresden. "
Alfred Einstein then said in the third edition of the Köchel Directory (1937) that the work was composed “between the two Italian trips in the early summer of 1771 in Salzburg” , gave him the KV number “74g” and expressed no doubts about Mozart's authorship . The authors of the sixth edition of the Köchel Directory (1964) referred the symphony to Appendix C (dubious and inauthentic works) under the number 11.03 and believe that for “internal reasons it is hardly real” .
As explained above, the work belongs to a series of symphonies that were originally only known through the incipit in a Breitkof & Härtel catalog, until later the above mentioned symphonies. Copy appeared. The symphonies KV 19a (Appendix 223) and KV 45a (Appendix 221) were subsequently confirmed as genuine Mozart compositions through the discovery of autographs , while Leopold Mozart is considered to be the author of the symphony KV Appendix 219 through the discovery of the autograph .
“A few other symphonies are still missing, and others that were not listed in the Breitkopf & Härtel catalog (...) were placed between the authentic works by Köchel without knowledge of authorized manuscripts. However, since the seven last-mentioned symphonies as well as KV 45b , the autograph of which was discovered later, were viewed as probably authentic due to their proximity to Mozart's style, despite all the obscurity of their sources, logically either all of these symphonies would have to be considered dubious or KV 74g among the probably authentic ones be classified. "
The New Mozart Edition has KV 74g in the supplement “Works of Doubtful Authenticity” and closes a detailed discussion of the sources and authenticity with the fact that the symphony “with all due caution can be granted a possible authorship by Mozart as well as the others "Uncertain" symphonies (...). "
The Old Mozart Edition (published 1879–1882) contains 41 symphonies numbered 1 to 41. Further works were published in supplementary volumes or separately until 1910 (see above). These works are sometimes labeled with the numbers 42 to 55 (KV 74g has the number 54), 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.
The symphony was z. B. recorded by the Academy of Ancient Music or the English Concert .
To the music
Instrumentation: two oboes or two flutes, two horns in Bb, two violins , two violas , 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. The two violas should be emphasized (instead of the usual one).
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 the Symphony KV Anh. 216 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, 160 bars
The first theme consists of two opposing parts: the first, front-movement-like passage (forte) with a powerful character is characterized by large leaps in intervals and accents in the leading violin and the winds over a tremolo carpet of the other strings and is somewhat reminiscent of the opening of the first Movement of the Symphony KV 48 . The second, following-like passage catches the eye with its tone repetition (piano) and the virtuoso sixteenth run upwards (forte).
The following passage (bar 14 ff.) Changes to the dominant F major with chord breaks in tremolo and its tone repetition motif with trills in the vocal-leading oboes and violins (in combination with up and down movement in the bass) . Chord strokes on F and a general pause herald the second theme (bars 28 ff.), In which the 1st violin and bass play a triad motif with a lead in dialogue. Interrupted by a tremolo fanfare, the theme is repeated and then unexpectedly ends (bars 42 ff.) In the renewed appearance of the first theme, now in the double dominant C major. Instead of the “epilogue”, however, the relatively long, energetic final group immediately follows (bars 48 ff.), Which - again - is characterized by tremolo over an upbeat bass motif, an upward unison tremolo movement and a cadence phrase with trills.
Instead of a development that uses the material of the first part, there now follows a calm-singing passage (in relation to the "noisy" first part with its many tremolo) with a dialogue between viola / bass and 1st violin. The eight-bar figure is repeated in D minor with wind accompaniment and a brief clouding.
The recapitulation (bars 90 ff.) Is structured according to the first part. A short, four-bar coda ends the movement.
Second movement: Andante
E flat major, 2/4 time, 70 bars
The first theme gets its characteristic, striding character through a separate, accentuated figure in the leading violin, the pizzicato bass and the alternation of forte and piano. Violas and 2nd violin accompany in tremolo, the wind instruments with single notes. The main motif is repeated and then merges into a chromatic sixteenth-note movement of the parallel violins. Chord strokes on the tonic E flat followed by a eighth rest cause a caesura, which is followed from bar 19 by further small motifs with alternation of pizzicato and legato , again with a flowing, singing sixteenth note movement in parallel violins. With a passage based on a one-bar motif with economical but effective wind accompaniment, the first part ends in bar 31 in the now established B flat major.
The “development” (bars 32 ff.) Is based on the motif from bars 19 ff., Which the violins throw at each other in dialogue. The recapitulation (bars 40 ff.) Is structured in a similar way to the exposition. Both parts of the sentence are repeated.
Third movement: Menuet
B flat major, 3/4 time, 16 + 24 bars
The powerful minuet has a typically dance-like character and is kept in forte throughout. It is based on his one-bar, emerging motif, which is contrasted with another motif at the beginning of the second part.
The trio (F major, strings only), on the other hand, is entirely in the piano. It is characterized by the even, detached movement in quarters with clockwise stops.
Fourth movement: Allegro molto
B flat major, 2/4 time, 150 bars
The movement, which, as is typical for symphonies of this time, is kept in the "kehraus" character, opens in the first theme with a rising figure, which is answered in the aftermath by a sixteenth run down with a closing phrase. The following section with trills then leads to the second topic. This fluctuates between C major and F major and consists of a "question" repeated twice, which is only "answered" in the third attempt. As in the Allegro, the first theme is taken up again, ending the exposition in bar 56 with chord strikes in F major.
The second part of the sentence begins as a transition-like passage, which already after eight bars seems to lead back to the first theme like a reprise (mock reprise). However, the harmonic sequence is changed by a key change in the first theme to C minor and G minor, the oscillation of the second theme in the circle of fifths up from D major to G minor, C major and F major to the main key of B major “Moved”, in which the full recapitulation starts from bar 95. Both parts of the sentence are repeated.
Individual references, comments
- ↑ a b Dietrich Berke : Symphony in Bb KV Anh. 216 (74g; KV 6 Anh. C 11.03). In Dietrich Berke: Wolfgang Amadeus Mozart. Series X. Supplement, Work Group 29: Works of Doubtful Authenticity, Volume 3. New Mozart Edition, Bärenreiter-Verlag, BA 4613, Kassel 2000, pp. XXIII-XXVI. The source is available on the Internet (as of December 2009), see under web links.
- ↑ in the following from Berke (2000), unless otherwise stated
- ↑ Breitkopf & Härtel write in a letter to the editors of the New Mozart Edition of February 5, 1997: “Since these manuscripts have verifiably not reached our publisher's archive, they can only be located in Berlin or have been lost after being relocated to Marburg . "
- ↑ To date, no editions of the symphony have survived in the supplementary volume to the AMA.
- ^ 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.
- ↑ meaning the symphonies KV 19b, 66b, 66c and 66e
- ↑ KV 75 , KV 76 , KV 81 , KV 95 , KV 96 , KV 97
- ^ A b c Neal Zaslaw: Symphony in B flat major KV Anh. C 11.03 / 74g / Anh. 216. 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.
- ↑ From the Breitkopf & Härtel catalog (see above), flutes are mentioned instead of oboes, while the source of the Old Mozart Edition provides for oboes. This is possibly explained by the fact that the flutes represent the oboes in the slow movement (or vice versa), as in other early Mozart symphonies, e.g. B. KV 43 or KV 73.
- ↑ a b The repetitions of the parts of the sentence are not kept in some recordings.
Web links, notes
Symphony KV Anh. 216 (Mozart) : Score and critical report in the New Mozart Edition