Symphony, K. 45a (Mozart)

The Symphony in G major Köchelverzeichnis Annex 221, by Wolfgang Amadeus Mozart in 1766 in The Hague. The plant is sometimes referred to as " Old Lambach " Symphony.

General

Beginning in January 1769, the Mozart family did on their trips between Salzburg and Vienna, among others, in the Upper Austrian Benedictine Lambach rest. As was customary for many Bavarian and Austrian monasteries, offered the monastery of Lambach rooms and meals for travelers and maintained a small chapel for the liturgy and for entertainment. In the family correspondence of the Mozart this residence is not mentioned separately, so that it is known only through notes in two symphony manuscripts of stay.

These manuscripts were found in the early 20th century as copies in the archives of the monastery of Lambach and probably make a donation of Mozart in recognition of the hospitality Represents the one wearing the title " Del SIGRE: Wolfgango Mozart. Dono authoris 4.ta Jan. 769 " ( colloquially " Alte Lambach " ), the other called" Leopoldo " with the same date ( colloquially " New Lambach "). Alfred Einstein assumed that the Wolfgang attributed to work was composed during the Vienna residence of 1767 /68, as they ranked according to the date of Lambacher manuscript in the chronology of authentic works, and gave her in the third edition of Kochel directory ( KV ), the number 45a, indicating the beginning of 1768. In subsequent editions of the directory Köchel this information has been retained.

In 1964 Anna Amalie Abert, a new hypothesis, according to which the two Lambach symphonies had been accidentally reversed. Their theory is based on an extensive study of both plants as well as comparisons between these and other symphonies, of which one assumes that Leopold Mozart and Wolfgang composed at the same time. As a result, Abert came to the conclusion that KV 45a in the style archaic and from an aesthetic point " less good" than the Leopold was attributed Symphony why Leopold must have composed as the elderly, the More conservative and even less talented KV 45a. In addition, the comparison of formal and stylistic marks had shown similarities between the first sets of KV 45a and other symphonies of Leopold and the first few sentences of the New Lambach symphonies and other Wolfgangs. Furthermore, the mono theme of the first movement (ie, using only one instead of two subjects ) of KV 45a, certain structural features ( frequent combination two-bar phrases, strong use of sequences) should point to Leopold, while the more continuous spun and varied melodic ideas more on Wolfgang point.

The previously unreleased " New Lambach " Symphony was then published as a work of Mozart and was also part of some complete recordings ( Berliner Philharmoniker Karl Böhm, Academy of Ancient Music, Jaap Schröder with ).

However, Neal Zaslaw says the following reasons that the original assignment was correct:

  • The use of the Fort spin -drying type of new Lambacher is more of a feature of the late Baroque period, the construction of two-bar phrase has, however, point to the more modern style galant.
  • The two manuscripts were made by the Salzburg copyist Estlinger. This means that they must have been copied in Salzburg before leaving for Vienna in September 1767. The sooner but KV 45a is now dated, the more understandable is the " archaic " style of Wolfgang.
  • Since he recorded on his travels a large amount of musical impressions in itself, Wolfgang claimed (rightly ) of to be able to compose in any style.
  • Underestimation of Leopold Mozart.
  • Since KV 45a as well as composed in London and The Netherlands symphonies has only three and not preferred in Vienna four sets (such as KV 43, KV 45, KV 48 ), Vienna seems doubtful as the source.
  • It is unlikely that the two manuscripts of Mozart from a fellow scribes accepted out more than a year with it, used at concerts and have finally given the Lambach monastery ( where subsequently a Lambacher monk could have entered the date of 1769 ) without that the otherwise so pedantic Leopold would have corrected the error in the name.
  • In 1767 Leopold copy six early symphonies by Wolfgang and send it to the Prince Wenceslas to Donaueschingen. Among them was probably KV 45a.

In February 1982, the original orchestral parts of KV 45a with manuscripts by Leopold, Wolfgang's sister Nannerl and a copyist were discovered in the Bavarian State Library in Munich. Leopold wrote on the front page next to Wolfgang's name also "à la Haye in 1766 ." Thus was KV 45a by Wolfgang during the stay in The Hague composed -. Possibly for inauguration of Prince William of Orange on March 11, 1766 The Mozart then took the work with them on their travels, with a few changes have been made, especially in the middle voices.

About the Music

Instrumentation: two oboes, two horns in G, two violins, viola, cello, double bass. In contemporary orchestras, it was also common, even without separate listing bassoon and harpsichord (if available in the orchestra ) to reinforce the bass line or use as continuo.

Duration: about 14 minutes.

In the terms used here based on the sonata form is considered that this scheme was designed in the first half of the 19th century (see below) and therefore only with restrictions, this symphony can be transferred. The sets correspond more to the two-part form, in which the second part of the sentence is considered as a modified run of the first ( " exposure "). - Note that this description and structure of sentences is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.

First movement: Allegro maestoso

G Major, 4/4-time, 84 cycles

The set begins at Forte with the first theme ( main theme ), whose melody is accompanied in the bass with dotted rhythms and trills of a planar tremolo of the violins / viola and sustained chords of the wind instruments. The main idea is viertaktig, but a dreitaktiger postscript follows, so that the main theme is unusual in seven instead of the usual eight bars long.

After the piano passage (bars 8-10) floating character followed by a longer Forte - section, which takes up the idea of the main theme again and continues to spin. The issue occurs on both the violins as in the bass. The following motif measure 23-26) is the main theme of his dotted rhythm derivable ( at Zaslaw interpreted as a secondary theme ). The final section (bars 27-36 ) is characterized not only ease of Kadenzmelodik by downstream transit figures.

The second section of the movement begins with the main theme in the dominant D major (bars 37-43 ). In the further course small, usually once repeated motifs connect with überleitungsartigem character. The " Reprise" ( bar 59 ff ) begins with the main theme in the violins (not bass), and is otherwise similar exposure structured. Both main sections of the record are repeated.

Second movement: Andante

C major, 2/4-cycle, 84 bars, Strings with dampers

The exposition consists essentially of three successively added sections that could be interpreted sonata form as the first theme, second theme and final group within the meaning of the (then not typically trained ). The "issues " but are rather pronounced like motif:

  • The first theme (bars 1-10) is based on a two-bar idea in the first violin, accompanied by " mumbling " semiquaver movement of the second violin / viola and pizzicato basses ( no pizzicato in the first version of The Hague, see below).
  • The second theme (bars 11-22 ) also includes a two-bar basic structure with the same accompaniment form, its rhythm, however, is characterized by triplets. The six-bar theme is repeated.
  • The final section (bars 22-30 ) starts as a two-bar motif of horns in Forte and will be answered by a likewise two-bar motif in the piano strings. Both motifs are repeated together.

The second part of the sentence begins with the main theme in the dominant G major. From bar 39 the topic is moved to the dominant parallel E Minor, in the ab cycle 43, a new motif with staggered use between first violin and bass occurs. This four-bar motif is repeated then moved to G major. A short transition leads to the recapitulation ( starting at measure 57 ), which is similarly structured exposure. In the final group, however, the horns are not more vocal leader involved. Both phrases are repeated.

The Andante in Lambacher version uses a sound effect that Mozart preferred was to use in the slow movements of later symphonies mention The woodwind or be used sparingly, the violins play with mutes, cellos and double basses pizzicato. Damper and pizzicato are not prescribed in the Hague Act; some slurs in the bass voice even suggest that the ten- year-old Wolfgang then explicitly wish no pizzicato.

Third movement: Presto

G Major, 3/8-time, 112 cycles

As was customary, the last movement of the symphony is created according to the " Clean Sweep " type. The eight-bar main theme from the beginning of the sentence (consisting of two four-bar or four two-measure units) is repeated. Seamlessly followed by another motive, which can be interpreted by the melodic forth as Fort spin drying of the previously presented idea. Sixteenth-note runs and chords lead to the final section (bars 33-43 ), whose four-bar motif is also repeated.

The second part of the sentence beginning as a transition section of two motifs: motif 1 (cycle 44-62 ) with chromatic line downward and upward unison phrase, motif 2 (cycle 62-70 ) with down - sequencing and use an offset between the violins and bass. The " Reprise" (bar 70 ff ) is similar to the exposure structured. The final group but will be retried once one octave lower. Both phrases are repeated.

References, notes

731926
de