Symphony, K. 98 (Mozart)

The Symphony in F major Köchelverzeichnis 98 was formerly assigned to Wolfgang Amadeus Mozart, according to present knowledge of their composer is unknown.

General

In Vienna, by an unknown person (possibly Franz Lorenz ) a " Sistematisch - Thematic Index of all compositions by Wolfgang Amadeus Mozart" emerged. Here can be found in Köchelverzeichnis (KV) 98 pencil remark: " Nov. 1771 Milan "

Ludwig von Kochel writes to take account of the work in the first Köchelverzeichnis of 1862: " On the authority of Al. Fuchs and Ludwig Gall, which they believed to be genuine, I take on this symphony, as it also has the tools, the scope and perhaps the thought content of similar work in 1770 for themselves. "

Theodore de Wyzewwa & Georges de Saint- Foix (1912 ) do not doubt the authenticity of the work, however, believe that Mozart only sketched, but not quite tender.

Hermann Abert (1955 ) writes in a footnote to KV 98: " The symphony contains much that will not agree with the type discussed so far, such as the suppression of the half-page issue and the new circuit group in the recapitulation, the sentimental, with his sigh wealth Mannheimer reminiscent character of most topics, extending down to the minuet in and after the Mannheim type often quite mannered dynamics. The beginning of the trio brings even a Stamitzsche favorite phrase. "

Partial KV 98 was also associated with Joseph Haydn, Michael Haydn and Leopold Mozart. Neal Zaslaw (1989 ) thinks for a comprehensive critical analysis that KV 98 had come from an unknown author.

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 98 has the number 48), even if it's 551 from 1788 is earlier works as Mozart's last symphony KV, which bears the number 41 after the Old Mozart Edition.

In the third edition of Köchelverzeichnis the symphony is under " Appendix K. 223b " out in the sixth edition as "Appendix C 11:04 ".

About the Music

Instrumentation: two oboes, two horns in F, 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 12-15 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 98 can be transferred. 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

F Major, 4/4-time, 103 cycles

The first theme begins - unusual for a symphony that time - in the piano. It has a symmetrical structure of four measures each antecedent and consequent. The antecedent in turn consists of two two-measure motives which are given by the first violin over oscillating quaver accompaniment. The postscript contrasted by his stressed bass movement in half notes and by the triplet Unisonofigur to measure 8 The theme is repeated (bars 9-16 ) and then goes into a section marked down by his energetic triplet with repeated notes and a run is. The triplet is first sequenced forte and then continued in the dominant of C major. The second theme (bar 29-37, C major ) is viertaktig with two two-bar, set phrases like motifs with voice leading in the first violin. The previously dominant triplet rhythm is now " normalern " of eighth notes replaced in the accompaniment. With the triplet motif of clock 16 ff the final group (cycle 37-44 ) closes the exposition.

The following resources supply with the lead character ( clock 45-56 ) consists of triplet in the two violins similar to clock 16 ff, however, based on broken chords that occur in dialogue between the bass / viola and two violins. Here, the harmonies change: C Major, C Major seventh flatted, F major, D major, G minor.

The recapitulation at measure 57 is structured to an expansion in the final group similar to the exposure. Both parts of sentences ( exposure and central part and Reprise ) are repeated.

Second movement: Andante

B flat major, 2/4-cycle, 80 cycles, Strings with damper

The phrase is mostly used piano with individual accents. As in the previous sentence, the first theme is achttaktig and composed of four cycles antecedent and consequent. For the antecedent, the melody of the violins in thirds is characteristic; the consequent starts with an emphasis on C minor, but then changes rapidly over B flat major to the dominant F major. The topic is with oboes, double the Violin, repeatedly. After four cycles with transfer character to another issue close to (but already at presentation with vocal leading oboe) which is structured similarly to the previous one. The rhythm of the first bars is identical in both subjects: Dotted quarter and two sixteenths. The second theme is repeated. This closes the first main section of the movement in stroke 36

The second main section begins as eight-bar passage (again divided into 2 x four cycles), but no material of the previous section takes up, but new phrases and we have thus rather be regarded as a further reconciliation is (similar to the first sentence ). Already then sets at bar 45 back on the first theme in the usual form. As in the first main section, it is repeated with oboes (up to 60 clock ). The second theme appears but in a modified form with pendulum movement in the postscript. With three bars closing phrase the sentence ends. Both main sections are repeated.

Third movement: Menuetto

F Major, 3/4-time, with Trio 44 cycles

The minuet begins with strong Dreiklangsmelodik Forte and a conventional final formulation for the first part. Vocal leader are the two oboes in the third interval, and both violin and viola. The second part starts, surprisingly, in D major and is broken up by syncope. About G minor and C major is done to reduce rapidly modulating the main theme in F major.

The trio is also in F major and engages the first phrase of the first theme of the Allegro again. Harmonious and structurally it moves in otherwise conventional trains ( simple tonic-dominant - melodic ).

The first part of the minuet ten bars, the second 18 At Trio, a ratio of eight to eight measures results.

Fourth sentence: Presto

F Major, 2/4-cycle, 150 cycles

Characteristic of the entire set is similar to the Allegro, the continuous triplet in two violins, which gets an energetic character through repeated notes. Brass and bass have mostly accompanying character. The first topic is achttaktig with four cycles antecedent and consequent, and is repeated once. In particular, here is the pounding tone repetition in the piano (only the first clock period is every two bars stresses ) striking because the accompaniment ( from bar 17) something lush fails only at the beginning of the next section. This section is composed of several mostly two-bar motifs, each repeated. Also in the second four-bar theme (bar 37-44 ) with the triplet tone repetition is characteristic. It is in the dominant C major, is presented and repeated in the piano. The following is a six-bar passage in the Forte, which is also repeated and after a unison Triolenlauf ends at B, which acts as a harmonic seventh of the dominant matic C- major chord.

After the general rest in bar 60 is at the beginning of the second part of the sentence an a new section in which a four-bar motif with tone repetition and Triolenläufen begins on the start tones A, G and C, and is repeated in each case. Six more cycles with unison runs and some chromaticism lead on to the recapitulation. This (measure 91 ff ) is similar in structure to the exposure. In the reconciliation part, the motifs but has now changed (dominant note repetition of C). The movement ends with a triplet Unisonolauf and final chords. Both phrases are repeated.

References, notes

Music

• Paul von Waldersee: Mozart 's works. Series XXIV, Supplement. Published by Breitkopf & Härtel, Leipzig 1888 ( contains the scores for Quintet KV Anh II No. 80 (Supplement No. 55) and Symphony KV 98 (Supplement No. 56 ), published as part of the old Mozart Edition ).
• Notes to the symphony KV 98 by Wolfgang Amadeus Mozart