Symphony, K. 74g (Mozart)

The Symphony in B flat major Köchelverzeichnis Appendix 216 may have been composed by Wolfgang Amadeus Mozart around 1771.


The work was (among other symphonies ) Köchel known only because of their incipits in a catalog of Breitkopf & Härtel and listed as "Appendix 216 " in Köchelverzeichnis. Beginning of the 20th century, a set of parts was in the Prussian State Library in Berlin found and published in 1910 by Breitkopf & Härtel. This set of parts is however not known.

The only source of this symphony is the reprint of the Breitkopf & Härtel published in 1910, no further details to be submitted as a single score, a further issue in the context of a complementary band of old Mozart Edition was planned, but was probably not realized. On a form of Breitkopf & Härtel from March 1910 to Max Seiffert, who published the symphony, in a display entitled " An unknown Symphony Mozart ":

" In an old handwritten catalog of Breitkopf & Härtel Mozart's symphonies 10 are listed, which formerly were in written voices among the holdings of the old Breitkopf 's publishing house, but had to apply to the complete edition of the works to be lost. So Köchel could in his directory only the opening bars of this symphony after that old catalog inform as Annex IV No. 214 - 223 ( ... ) Recently, there are now two of the same in the Berlin Royal. The old library edition votes Breitkopf shear Provenance been found again; No. 214 and 216 Both are early works, according to the text of the inscription 1770 - 1771 originated in Italy. This timing corresponds to the musical texture: it they still lack the thematic implementation; the motives chains still (...) casually together. These symphonies will find place in a future supplement band together with other additions to the total output. Meanwhile, No. 216, will be welcome in a special issue of the conductors. It is characterized by the thematic invention by fresh momentum from kicking, especially in the outer movements in rapid appearance. Performances of this symphony are imminent in Berlin, Bremen and Dresden. "

Alfred Einstein said, then in the third edition of Köchelverzeichnis (1937 ) that the work was composed " between the two Italian journeys in early summer 1771 in Salzburg ," gave him the KV- number " 74g " and expresses no doubts about the Urherberschaft Mozart. The authors of the sixth edition of the Kochel directory ( 1964) referred to the Symphony in the Appendix C ( doubtful and spurious works ) under the number 11:03 and think that they should be " no genuine internal reasons " from.

As stated above, the work belongs to a series of symphonies that were originally known only by the incipit in a catalog of Breitkof & Härtel until later, the above-mentioned transcript showed up. The symphonies K. 19a (Appendix 223) and KV 45a (Appendix 221) have been confirmed by the discovery of autographs afterwards as genuine compositions of Mozart, while Leopold Mozart 219 applies by Fund of the autograph as the author of the Symphony K. App.

"Some more symphonies are still missing, and others who were not listed in the catalog of Breitkopf & Härtel (...), placed simmer without knowing authorized manuscripts between the authentic works. However, since the last seven symphonies and KV 45b, the autograph of which was later discovered at all obscurity of their sources were considered likely authentic because of their proximity to Mozart's style, would logically be either all seen these symphonies as doubtful or KV 74g at the likely authentic be classified. "

The New Mozart Edition leads KV 74g in the Supplement ( Supplement ) " works of dubious authenticity " and includes a detailed discussion of the source location and authenticity so that the symphony " with all due caution, afford just satisfaction to any authorship Mozart also [ be ] as the other "unsafe" symphonies (...). "

The Alte Mozart Edition ( published 1879-1882 ) leads 41 symphonies with the numbering from 1 to 41 More work has been to 1910 in supplementary volumes, or published separately (see above). These works are sometimes referred to in points 42 to 55 (KV 74g has the number 54 ), even if it is earlier works as Mozart's last symphony, K. 551 from 1788, which bears the number 41 after the Old Mozart Edition.

The symphony was recorded, for example, by the Academy of Ancient Music and the English Concert.

About the Music

Instrumentation: two flutes and two oboes, two horns in B, two violins, two violas, 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. These two violas (instead of the otherwise mostly normal one).

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 the Symphony KV Anh 216. 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, 160 cycles

The first theme consists of two contrasting parts: the first, front sentence-like passage ( forte) with a powerful character is characterized by large interval leaps and accents in the vote leading first violin and the winds over a tremolo carpet the rest of the strings and is reminiscent of the opening of the first set the Symphony K. 48 the second, nachsatzartige passage is striking in its tone repetition ( piano) and the virtuosic semiquaver run upwards ( forte) on.

The following passage (bars 14 ff ) changes with the tremolo out chords and their Tonrepetitionsmotiv with trills in the vocal leading oboes and violins (in combination with on - and-down movement in the bass ) to the dominant F major. Chord strumming on F and a general pause announce the second theme (bar 28 ff ) at which the first violin and bass a triad motif with derivative play in the dialog. Interrupted by a tremolo fanfare, the theme is repeated and then opens (bar 42ff ) unexpectedly in the re- appearance of the first theme, now in the double dominant of C major. Instead of the " Endpaper " but closes immediately the relatively long, energetic final group (bars 48 ff ) that - is characterized by tremolo on an upbeat bass motif, a unison tremolo moves up and a cadence phrase with trills - again.

Instead of an implementation, processes the material of the first part, the following is a (relative to the " noisy " first part with his much tremolo ) quiet - cantabile passage with a dialogue between Viola / Bass and first violin. The eight-bar figure is repeated with wind accompaniment and short turbidity after D minor.

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-cycle, 70 cycles

The first theme gets its characteristic border nature by a remote, accented character in the vote leading first violin, the pizzicato bass and by the alternation of forte and piano. Violas and 2 violin accompany the tremolo, the players with single notes. The main motif is repeated and then goes into a chromatic semiquaver movement of the parallel violins. Chord strumming on the tonic It followed Achtelpause cause a break, followed by stroke from 19 other small motifs with alternation of pizzicato and legato, again with flowing, sanglicher semiquaver movement in parallel violins. With a passage that is based on a one-bar design with economical but effective wind accompaniment, the first part ends in measure 31 in the now established B- flat major.

The " implementation " ( bar 32 ff ) is based on the design of clock 19 ff, which throw the violins in dialogue. The recapitulation (bars 40 ff ) is similar to the exposure structured. Both phrases are repeated.

Third set: Menuet

B flat major, 3/4-time, 16 24 bars

The vigorous minuet has a typical character of dance and is decorated throughout in forte. It is based on his one-bar -and-coming design, which is compared with the beginning of the second part another motive.

The trio ( F major, strings only) on the other hand is completely in the piano. It is characterized by the uniform, stepped movement in neighborhoods with cyclic Provision.

Fourth movement: Allegro molto

B flat major, 2/4-cycle, 150 cycles

The rate of such symphonies for this period typically in the " Clean Sweep " - is held character, opened in the first theme with a distinguished figure in Provision, which will be answered down with final phrase in the consequent by a sixteenth run. The subsequent section with trills then leads to the second theme. This varies between C major and F major and consists of a twice repeated " question", which is " answered " only at the third attempt. As in the Allegro, now followed by a revisiting of the first theme that ends with chord blows to F major exposure in clock 56.

The second part of the sentence begins as a reconciliation -like passage that seems like a reprise to lead back to the first topic after only eight bars (sham Reprise). However, the harmonic sequence is altered by a change of key in the first topic to C minor and G minor, the oscillation of the second theme is the circle of fifths upwards of D major over G minor, C major and F major to the main key of B - flat major " moved " in the then from measure 95 uses the complete recapitulation. Both phrases are repeated.

References, notes

Web links, notes

Symphony KV Anh 216 ( Mozart): Score and critical report in the New Mozart Edition