Mozart - Sinfonia Concertante in E-flat major, KV 297b

Mozart

Sinfonia Concertante in E-flat major, KV 297b

1778년 4월 5일-20일 사이에 파리에서 작곡된 것으로 원곡은 만하임의 4인의 관현악 주자,풀루트의 웬딩 (Wending), 오보의 람 (Ramm), 혼의 푼토 (Punto, 본명은 Wenzel Stick), 파곳의 릿터 (Ritter)에게 연주 시키려고 만든 것이었는데, 이 평성에 의한 원곡은 소실되고 지금 남아있는 것은 플루트, 오보, 혼, 파곳의 네 가지 관악기와 관현악(오보 2,혼 2,현)을 위한 악보가 남아 있을 뿐이다. 악식 적으로는 교향곡 형식에 따르고 있지만, 음악 내용은 합주 협주곡에 가깝다.

신포니아 콘체르탄테는 협주 교향곡이라는 뜻이다. 고전파 시대에 널리 퍼져 있던 양식으로, 바로크 시대의 콘체르토 그로소 양식과 고전파 교향곡 양식의 하이브리드로 볼 수 있다. 여러 독주 악기가 대화를 나누어가면서 오케스트라와 어우러지며 관현악과 다른 주제를 연주한다는 점에서 협주곡과는 별개의 장르이다. 이 작품은 청년 시대 모차르트의 대표작이며, 신포니아 콘체르탄테 장르의 최고봉으로 평가받고 있다. 1778년 3월 23일 모차르트는 파리에 도착했다. 종교음악회의 지배인 장 르 그로를 알게 된 모차르트는 르 그로를 위해서 교향곡 제31번 K297과 신포니아 콘체르탄테 K297b을 작곡했다. 4개의 관악기를 독주악기로 하여 작곡한 이 곡은 르 그로의 의도적인 불성실함 때문에 연주되지 못했다. 당시 조반니 마리아 캄비니라는 작곡가가 자신의 작품과 모차르트의 작품이 나란히 연주되어 서로 비교되는 상황을 우려해 르 그로에게 연주를 하지 말라고 로비를 했기 때문이었다.  이 때문에 화가 난 모차르트는 신포니아 콘체르탄테 장르에 대한 관심을 지워버렸다고 한다.

 

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Opening of the first movement

	Sinfonia Concertante for Four Winds, K. 297b 1. Allegro Menu 0:00 2. Adagio Menu 0:00 3. Andantino con variazioni Menu 0:00 Performed by James Caldwell (oboe), William McColl (clarinet), Robert Bonnevie (horn), and Arthur Grossman (bassoon), with the Casals Festival Orchestra, conducted by Alexander Schneider. Recorded at the Casals Festival by Voice of America in June 1964.
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The Sinfonia Concertante for Four Winds in E flat major is a work thought to be by Wolfgang Amadeus Mozart, for oboe, clarinet, horn, bassoon, and orchestra, K. 297b (Anh. C 14.01). He originally wrote a work for flute, oboe, horn, bassoon, and orchestra, K. Anh. 9 (297B), in Paris in April 1778. There is considerable debate about the relation of the work as it is performed today to this original work.

Instrumentation[edit]

The Sinfonia Concertante is scored for solo oboe, solo clarinet, solo horn, solo bassoon, and an orchestra of two horns, two oboes, and strings. A typical performance lasts about 28 minutes.

Movements

1. Allegro, in common time. This movement is in sonata form with three expositions rather than two – one played by the orchestra, the other two by the soloists. It contains a written cadenza before the coda.^[1]
2. Adagio in common time, with "gentle exchanges of thematic material".^[1]
3. Andante con variazioni, a theme with ten variations and a coda. Each variation is separated by "identical, basically decorative orchestral ritornelli".^[1] This movement is in 2/4 time until the end of the last variation, where 6 adagio bars in common time lead to a coda in 6/8 time.^[1]

Authenticity[① 확실성 ② 신뢰성 ③ 출처가 분명함]

Mozart is known through letters and concert announcements to have written a sinfonia concertante for flute, oboe, horn, and bassoon, the original score of which is lost. There is considerable debate about the authenticity of what is performed today, and whether the extant piece is even related to the original work.^[1][2] Various scholars have conflicting opinions, and some say the composition is currently in a corrupt form. Stanley Sadie, for instance, is dismissive.^[3] Alfred Einstein considered it genuine.^[2] Some have the opinion that it is inconceivable that Mozart wrote a homotonal concerto (i.e. with all three movements in the same key; here E-flat major).^[4] The Mozart Project considers this piece as "spurious or doubtful", and it does not appear on the project's listing of concertos.^[5]

Mozart displayed affection and prominence for the wind instruments in his operas and concertos. Noteworthy wind passages are in the fifteenth and seventeenth piano concertos, with memorable dialogues with the soloist; flute, oboe and bassoon.^[6] In opera there are many arias with similar woodwind and French Horn passages, such as Fiordiligi's "Per pietà, ben mio, perdona" from Così fan tutte. Some authorities^[who?] believe that these outstanding qualities are also displayed in this piece.

The Sinfonia Concertante is popular today, and regularly performed. It is well regarded by professional musicians^[who?]. Robert Levin, who wrote an entire book about the piece, considers the orchestral part and the first movement cadenza to be spurious, and the soloists' role to have been modified by others from the original without having had the orchestral parts as reference.^[7] Levin has made a reconstruction of the original piece based on his research. The writing for wind instruments here is of such quality that it is only surpassed by the later "Gran Partita" in B-flat major, K. 361.