Symphony, K. 45b (Mozart)

The Symphony in B flat major Köchelverzeichnis Annex 214 ( 45b) may have been composed by Wolfgang Amadeus Mozart in Vienna around 1768.

General

The work was (among other symphonies ) Ludwig von Kochel known only because of their incipits in a catalog of Breitkopf & Härtel and listed as "Appendix 214 " in Köchelverzeichnis. Alfred Einstein discovered then in the Berlin National Library a set of parts from the 18th century with the title "Symphony Ex Bb, à 2 Violini, 2 Oboe, 2 Corni, Viola e Basso / Sig Del Cavaliere Amadeo Wolfgango Mozart maestro di concerto di SA à Salibsurgo. "Mozart had obtained the post of a third concertmaster at the Salzburg court on 27 November 1768, was appointed on 8 July 1770 in Rome, a Knight of the Golden Spur, whereupon he" Cavaliere " allowed to call. But Einstein said probably due to style comparisons that the symphony could not have been composed later than 1768, took as a composition period " beginning in 1768 in Vienna " and gave the work the KV number 45b. The above-mentioned names on the Berlin copy must not necessarily the date of composition, but can also refer to the status of the composer at the time of the copy. Origin, time, and possibly the composer, however, has not been unequivocally ascertained.

The Alte Mozart Edition ( published 1879-1882 ) leads 41 symphonies with the numbering from 1 to 41 More works were published until 1910 supplementary volumes. The symphonies are sometimes contained therein with the numbers 42 to 55 referred to (KV 45b has the number 55 ), even if it is earlier works as Mozart's last symphony KV 551 of 1788, which bears the number 41 after the Old Mozart Edition.

About the Music

Instrumentation: two oboes, two horns in B, 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 use to enhance the bass voice, or the basso continuo instrument.

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 can be transferred from there to restrictions on a composed around 1768 plant. Sentences 1, 2 and 4 correspond more 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

B flat major, 3/4-time, 102 cycles

The set opens with the first theme, the introduction of chord ( forte), stepped movement of the violins in Sesto with tone repetition in the bass on B ( piano) and final formulation with running over an octave up ( forte, " running motif" ) is. This eight-bar theme is repeated. In the subsequent passage of the walking motive becomes independent to the dominant. The passage ends in C major, the dominant effect table for F major the following second theme.

The second theme (bar 25 ff ) is based on a four-bar motif in the strings and is repeated with wind accompaniment. In the bass Mozart used it a four-note motif that esp. from the finale of the symphony KV 551 is known ( see details there ) and, for example, in the second movement of the Symphony KV 16 occurs. Some authors see this as " Mozart's motto", but this is seen by other authors critically. Neal Zaslaw (1988 ) writes: " Much ado has been beaten about the fact that the well-known motif do-re -fa -mi from the final movement of the Jupiter Symphony appears in the bass voice of KV 45b, but little has been said about that it too often and sometimes appears awkward in the intervals distorting transposition. "

The final group ( Takt33 ff ) then again brings the whole orchestra in Forte with a lot of tremolo and chromatics. The first part of the sentence ends in bar 40 in F major and flows seamlessly into the second part. This first runs according to the exposure: The first issue is presented in the now established in F major, in the subsequent passage now appears, however, a variant of the running motif, which is sequenced (cycle 54 ff.) It is followed by three performances from the second theme, also (down) sequenced: G minor, F major, E flat major (with the four-note motif in the bass ). About a tremolo passage analogous to the final group of bar 33 ff Mozart returns to the tonic B flat major, in the ff heard the second theme in measure 80. After another short tremolo passage is the first theme " later". The movement ends with the barrel motif and a short Hornfanfare.

Second movement: Andante

E-flat major, 2/4-cycle, 48 bars, without horns

The set begins with his rising, cantabile theme "(...) with the remote foreshadowing a later Figaro - turn (from the Duettino Count / Susanna at the beginning of the third act ). " Below you will close more small motifs, which by syncope ( clock 5 et seq ) and chromaticism in conjunction with abrupt forte -piano- change ( clock 9 ff ) are marked. The first part of the sentence ends in measure 20 in B flat major.

In a short transition section (bars 21-28), the two initial motives of the first part of B flat major from are presented, from bar 29 is then followed by the " Reprise" in E flat major, which is similar in structure to the first part.

Third movement: Menuetto

B flat major, 3/4-Satz, 28 18 bars

The vigorous minuet is marked by the haunting emphasis on the principal tone B and a falling triad figure. In the middle section, however ( only in the first violins ) occurs in an ascending movement in the " Reprise" which opens in measure 19.

The trio consists of two motives: the first is sanglich - restrained and gets through the accompaniment of the second violin in syncope a floating character. The second is through interval leaps and forte - piano - in exchange. The second part of the trio is similar to the first, but the first with chromatic motif.

Fourth movement: Allegro

B flat major, 2/4-cycle, 144 cycles

The first theme (bars 1-16) is harmonic as a cadenza -like alternating tonic ( B) - subdominant (Es) - tonic and dominant (F) designed with the three times repeated motif of ascending triad, a falling figure with dotted rhythm follows - the all backed by Tonrepetitionsbass on B or F. the subsequent passage changes with their new design, after all, only the final two tones left over from the, to the dominant F, in the from bar 26 begins the second theme.

This initially consists of a dialogue between 1st violin ( syncope - phrase ) and second violin / viola ( " response ": three ascending eighth ), then follow nachsatzartig Forte ascending and descending Sechzehntellläufe with tremolo. In the final section (bars 38 ff ), the tremolo with Provision is first in the violins, then the bass away and goes to a remote quaver figure. The exposition ends at bar 55 with chords, on F and is repeated.

At the beginning of the second part of the sentence ( " implementation " ) occurs in the initial motive from the first subject first in F major, then switches over a tremolo passage from D major to G minor / G major, and from here on C- major to F major. A bit more reserved section with a quiet neighborhood movement and chromaticism (cycle 81 ff ) leads back to the " Reprise" (measure 92 et seq ), which is similar in structure to the exposure. The second part of the sentence is repeated.

References, notes

Web links, notes

• Symphony KV Anh 214 ( Mozart): Score and critical report in the New Mozart Edition