Symphony, K. 97 (Mozart)

The Symphony in D major Köchelverzeichnis 97 ( 73m ) is a classical symphony in four movements, which may have been composed by Wolfgang Amadeus Mozart.

General

On April 25, 1770 Mozart mentioned in a letter from Italy to his sister, inter alia, two symphonies. Alfred Einstein ( 1937) believes that this is to Köchelverzeichnis (CT) 95 and CT 97 is, which could be described as " twin symphonies " ( Einstein also refers to the key and the structure of plants) and the Mozart was probably composed in April 1770 in Rome. This view is, however, doubted by other authors, since both symphonies no autographs have survived.

And for two more D major Symphonies, KV 81 and KV 84, which is said to have Mozart composed during his first trip to Italy, the authenticity has not been established beyond doubt. Wolfgang Gersthoferstrasse (2007) takes into account other, safe incurred by Mozart during this time works of authorship thereof for the Symphonies KV 81, KV 84, KV 95 and KV 97 " very likely " to.

Whether the Symphonies KV 95 and KV 97 originally - according to the Italian type - were in three movements and later Mozart minuet nachkomponierte is unclear.

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 97 has the number 47 ), 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.

About the Music

Instrumentation: two oboes, two horns in D, two trumpets in D, timpani, 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 11 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 can be transferred 97 to restrictions on the Symphony KV. 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

D major, 4/4-time, 94 cycles

The set is decorated in the style of an Italian overture without repeating parts. He has no distinct melody, but is more of an "Essay of orchestral sounds " with lavish character.

The set opens to fanfare-like figures made of strong forte chords in alternation with detached eighth notes in the piano, as he finds himself similarly also in KV 74 and KV 95. The subsequent passage is marked by Tremolo and forwards over the double dominant E major for the second theme: towards (rather motif). This (measure 20-25 ) is in the dominant A, is held in the piano and is based on a short phrase in the violins in the third interval. The final group to measure 37 contains a lot of tremolo and changes in the balance between tonic and dominant of D major A major.

A transition portion ( 38-58 clock, no implementation because without processing the material of the first part of the sentence ) begins after three quarters pause as surprisingly fitting, out -preserved unison -C. The section from 39-52 clock is broken by rhythmic syncopations in the second violin and passes through the subdominant G major, followed by E minor and B minor. With a tremolo section beginning in bar 59 Reprise announced that largely compensates exposure in their structure.

Second movement: Andante

G Major, 2/4-cycle, 36 bars, strings only

The first theme is built viertaktig and is based on a Terzfigur the two violins. After a brief reconciliation measure 5 and 6 follows the second theme, which is characterized by sixteenth - Triolenläufe the violins in Staccato and also structured viertaktig. The exposition ends in measure 14 in the dominant D. A short " development section " from clock 15 to 22 leads the main motive of the first theme to G, E, A and D major. The clocks 19 to 22 contain a new fort spin drying motif and announce the beginning in measure 23 recapitulation.

The entire set is constructed almost minimalist and develops a calm, serene atmosphere. Neal Zaslaw (1986 ) assigns the sentence a " sham attractive naivety" to.

Third movement: Minuetto

D major, 3/4-time, with Trio 40 cycles

The pompous minuet with the characterizing, fanfare- like ascending unison triad based on Akkordmelodik in the alternation of tonic and dominant. It is mainly held at the Forte.

The Trio in G major with a two-bar motif forms in its cast for strings and the rugged change of accents or short Forte inserts a stark contrast to the minuet and is similar in tone to the second set.

Fourth sentence: Presto

D major, 3/8-time, 173 cycles

The movement begins with a fanfare-like Forte chord progression of D major and A major, followed by seven bars of staccato eighth notes of the violins. This " first theme " is repeated before a dominated by Tremolo Reconciliation section begins in measure 25 to the second theme. The second theme ( from bar 40, A - ​​flat major ) is held sanglich and is repeated in a minor key. It has similarities to the main subject of the first movement of Ludwig van Beethoven's Symphony No. 7:

" Spooky is the anticipation of a passage in the first movement of Beethoven's 7th Symphony, not only because of the subject but also because of its immediate repetition also in minor. Beethoven can this unpublished work not have known. We must either believe in an amazing coincidence, or assume that they were both inspired by a work from an unknown third party. "

The final section (bars 57-71 ) is again characterized by Akkordmelodik and tremolo. The exposition is not repeated. It also follows no implementation, but - as in the first sentence - a transition section with new designs. Noteworthy is a horn pedal on A clock 72 to 86 until the beginning of the recapitulation in measure 101, the known chord progressions and tremolos dominate. A brief coda with Dreiklangsmelodik ( clock 170-173 ) end this gigueartigen sentence.

References, notes

Web links, notes

• Symphony KV 97 ( Mozart): Score and critical report in the New Mozart Edition
• Wolfgang Amadeus Mozart: Sinfonia in Re, K. 97 PR 809 Ricordi, Milan, 1955 ( pocket score ).