Caitlyn Vergara

The articles chosen, while all documents are about 18th century and Mozart, one of the

journals found contains articles of early world music, ranging from the 17th and 18th century. For

example, alongside the article ‘Another Look at the Corrupt Passage in Mozart’s G Minor

Symphony […]’ the journal also includes articles about things such as Early Scottish Music,

New World Polyphony, Baroque music concertos and piano concertos by Mozart and Beethoven.

For the other article, ‘Mozart’s Symphony in G minor’. The journal contains articles, reviews

and articles of correspondence, such as reviews of Beethoven, Tchaikovsky and Handel.

In the first article, the author analyzes the apparent ‘corrupt passage’ in Mozart’s

Symphony in G minor. He notes that famous composer Robert Schumann was the first to realize

the passage as a mistake, saying that this passage was unlike Mozart, saying that it was

impossible that Mozart had intended to write this and would’ve taken many musicians by

surprise.1 It also talks about how the passage that was recopied is supposedly intended to be a

replacement for the original, rather than an alternate version of the text.2 In addition, the author

meticulously points out the small details that are supposedly part of this correct passage, saying

that the copyist cancelled multiple notes that should have been cancelled and failed to cancel

notes that should have been.3 In short, this article gives a new perspective on how this symphony

can be viewed, showing that even great 18th century pieces could have flaws or, in this case,

corrupt passages.

1
Cliff Eisen, “Another look at the ‘corrupt passage’ in Mozart’s G minor symphony,
K.550: Its sources, ‘solution’ and implications for the composition of the final trilogy” Early
Music 25 no. 3 (August 1997): 373,
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2
Ibid., 377.
3
Ibid., 378.
1
Caitlyn Vergara

In contrast to the first article, the second article describes Mozart’s Symphony in G minor

in full detail, claiming that the symphony is unique not only to Mozart, but also unique in sound

to other composers. For example, the author writes that not only is the symphony unique from

other composers of his time, but also the “most individual and most free” compared to the rest of

his works.4 As well he wrote that because the G minor symphony was so well written, it deserves

to be recognized as a work that is extremely imaginative and touching by ‘those who can judge.’5

Overall, this article excitedly praises this minor symphony, making it known to music activists,

musicians and non-musicians alike how amazing the symphony is.

4
George Grove, “Mozart’s Symphony in G minor” The Musical Times 48 no. 767 (Jan
1907): 25, https://www.jstor.org/stable/903808?seq=1#metadata_info_tab_contents
5
Ibid. 26.
2
Caitlyn Vergara

Bibliography

Eisen, Cliff. “Another look at the ‘corrupt passage’ in Mozart’s G minor symphony, K.550: Its
sources, ‘solution’ and implications for the composition of the final trilogy” Early Music 25 no.
3 (August 1997): 373.
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George Grove, “Mozart’s Symphony in G minor” The Musical Times 48 no. 767 (Jan 1907): 25.
https://www.jstor.org/stable/903808?seq=1#metadata_info_tab_contents

Appendix
“Another look at the ‘corrupt passage’ in Mozart’s G minor symphony, K.550: Its sources,
‘solution’ and implications for the composition of the final trilogy”
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=rih&AN=A193169&site=ehost-live&scope=site

“Metric and hypermetric dissonance in the menuetto of Mozart's symphony in G minor, K.550”
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“Mozart’s Symphony in G minor”
https://www.jstor.org/stable/903808?seq=1#metadata_info_tab_contents
“Strangeness and beauty: The opening measure of Mozart's symphony in G minor, K.550”

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b=rih&AN=A218311&login.asp&site=ehost-live&scope=site