Symphony, K. 81 (Mozart)

The Symphony in D major Köchelverzeichnis 81 ( 73l ) may have been composed by Wolfgang Amadeus Mozart in 1770 in Rome.

General

For the four D major symphonies Köchelverzeichnis (KV) 81 KV 84 KV 95 and KV 97, which should all be taken during Mozart's first visit to Italy, the authenticity is not completely clear, inter alia because no autograph exists. A copy of the work that is dated April 25, 1770 wrote to the symphony Wolfgang, but was also associated with Leopold Mozart. In a letter of April ( also ) 25 1770 Wolfgang had his sister reported that Leopold just transcribe one of his symphonies to the notes do not have to give out of the house.

A catalog of the publisher Breitkopf & Härtel from 1775 leads to Leopold as a composer, but what could possibly be that Leopold is the publisher opposite occurred as a contact.

Alfred Einstein ( 1937) rejects the authorship of the father: "It would be strange if Leopold would have tried in Rome again as a later rival of his son; and even stranger, helps me to get a result of the most charming and most brilliant of the Italian symphonies from 1770 of him. "

Bernhard Paumgartner (1945 ) suggests that " convinced the assignment to Wolfgang"; similarly expressed Gersthoferstrasse Wolfgang (2007): "Of course, the four works in question, not only in a quite homogeneous group, so that probably to be expected with the authorship of a single composer; also can be with respect to a number of features similarities to find authentic Italian Symphony Corpus Mozart (...). (...) In short, from an authenticity of all four D Major - Symphonies KV 81, KV 84, KV 95 and KV 97 might be assumed with reasonable probability. "

While Alfred Einstein ( 1937) 81 KV highlights as "one of the most charming and most brilliant of the Italian symphonies from 1770 " (see above), says Neal Zaslaw (1986 ) from a " bright, superficial and conventional" symphony. Of form and character Bring the portion corresponding to the Italian Symphony and Overtures - type: three movements, with the first set going through without repeats, and the finale of the " Clean Sweep " type. The rates are based on a series of short and usually once each repeated motifs.

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 81 has the number 44), even if it is 551 from 1788 is earlier works as Mozart's last symphony KV, which bears the number 41 after the Old Mozart Edition.

About the Music

Instrumentation: two oboes, two horns in D, 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 10 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 subject to restrictions on the Symphony KV 81 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

D major, 4/4-time, 106 cycles

The first theme consists of three elements ( like structure with the other above-mentioned Italian symphonies ):

• Forte unison fanfare- like ascending D major - chord (inversion of that chord opened the third set );
• Piano phrase with the proposal in the vote leading first violin;
• Forte "answer " with a broken chord in unison at the end.

After the repetition of the theme (without Eingangsfanfare ) the unison chord after enrichment with Akkordmelodik is out shortly to the dominant A major. Chord strumming and a quarter - break as a caesura announce the second theme. This starts on a carpet-like, remote quaver movement of second violin and viola ( also primed bass tones). It's like the first theme created rather stereotyped and characterized by the upbeat, contrasting interval leap of voting leading 1st violin, reminiscent of the main theme from the second set. Below you will close more smaller, each repeated motif on:

• Forte Passage with guided in the tremolo melody line; the motif is repeated two times of A and E from;
• Piano passage with separate movement and a characterizing sixteenth - run upwards;
• Closing group of exposure, in Forte of the entire orchestra, based on eintaktigem motif, change of D major and A major ( Akkordmelodik ).

After a general pause, a transition section up to bar 58 connects, in which the four-fold in unison fitting A noticeable. The " Reprise" from bar 59 corresponds largely to the exposure. The whole movement is executed with no repeat sections.

Second movement: Andante

G Major, 2/4-cycle, 73 cycles, silent horns

The main theme starts as a two-bar motif dialogue between the two violins, the second violin occurs ( when listening not readily noticeable ), followed by a final twist with trill as an echo of the first violin. The oboes accompany sustained chords, the viola as a sixteenth - tone repetition and the bass with a staccato figure. After the repetition of the subject is also the oboe part in the "conversation", the portion of bar 15 ff is also repeated from bar 23 and ends with a short circuit turn the first part in measure 35.

The second part is a variant of the first dar. Both parts are repeated. In particular, the oboe creates a serene pastoral tone.

Third movement: Allegro molto

D major, 3/8-time, 122 cycles

The Allegro molto is in character a scale as " Clean Sweep ", composed with numerous triad - hunting horn signals Gigue, "but finds the hunting audible withdrawn from the morass and tumult of such an event in the salon instead. " The sentence begins with the reversal of the D- major - triad, the already opened the first set. Together with other Akkordmelodik created the eight-bar " first subject " which is repeated. This is followed by several smaller motifs. The second theme (bar 49 ff ) is in A major and is initially presented only by the strings in the piano: play over a walking bass violins staccato short dance phrases. In the repetition (cycle 57-65 ), the material is varied and accompanied by the brass. The design of the final group (cycle 65 ff ) ends the exposure in clock with 76 chords, to A.

As in the first movement is followed by a short transition passage that initially continued spins the material of the second subject and from bar 85 with further Akkordmelodik leads to the " Reprise". This is in a clock 95 with the second issue and is constructed in the course such as exposure. Exposure as well as reconciliation and recapitulation are repeated.

References, notes

Notes, links

• Symphony KV 81 (Mozart): Score and critical report in the New Mozart Edition
• Wolfgang Amadeus Mozart: Sinfonia in D, K. 81 PR 806, Ricordi publishing house, Milan, 1955 ( pocket score ).