features common to a representative number of pieces - These include the Piano Quartet. K. 478, the String Quintet K. 516 and the Symphony K-550, a number.
Aspects
of
Toward
Mozart's
the
Common Structural
Music
Identification and Features
in
G Minor:
of
Compositional
ii
Aspects
of
Toward
the
Bradley
Submitted of
in
Department
accordance
February
of of
1990
Identification
G Mino
of
Features
Jan L.,
Ph. D.
The University
in
and Compositional
Common Structural
Steven
Music
Mozart's
Music
Leeds
with
the
requirements
for
the
degree
iii Abstrac
literature
The critical distinguished
by as much unsupported
is
no exception
the
significance
tradition
of
received
most
to
tion;
has
writing
particularly
of
key
in
often
as fact
-
in
realm
the
Mozart
that
work
key
is
work
of
has
G minor
of
a
such
respect. interpretation than
ventured little
of
his
The
speculator
usually
itself,
music
is
subjective
the
and although
the
this
interesting, about
speculation
evolved.
in
attention
more
it
and
influence
and
However reveals
this
and their
on composers
the
object
sincerely
it
from
an
value
ultimately of
is,
in
speculaterms
of
epistemological
standpoint. This
study
G minor,
several
of
and
empirical
the
structural
and
String
operatic
arias,
and
of
With sional tempted
is
respect
to
evaluation basis
on the
movements
of
in
other
-
lesser-known
adopting
be studied
in
terms
include
of
works the
and
Piano
K-550,
Quartet a number in
movements
general
a
G
theoretical
methods. these
characteristics,
predominance
keys.
the
of
to
common
Symphony
within
comparisons
minor
by
features
These
analytical
of
will
K. 516 and the
their
subjective
repertory
this
music
pieces
certain
the
Mozart's
viewpoint.
conducted
Schenker's
balance,
least
compositional
Quintet
The inquiry
framework
of
at
obscured
G minor
number
the
minor.
of
have
end,
representative
or
of
aspects
musical
consider
counter,
which
objective
To this
K. 478,
to
and aims
interpretations a more
to
attempts
with
or
exclusivity
a representative
a proviis
atgroup
iv It toward
G minor.
is
concluded
a limited,
that although
in
his
last
increasing,
decade stylistic
Mozart
was moving
definition
of
V
Table
Contents
of
P. iii
Abstract
Note
on Abbreviations,
Symbols
etc.
P. Xiii
Introduction
p. 3
Prologue Subdomain
The Aural/Precompositional 1)
Pitch
P. 9
2)
Temperament
P. 9
3)
Instrumentation
The Consistency
P. 11 of
Key
The Subjective/Conceptual Psychological
Principles
Historical
Aspects
The Nature
of
Subjective
The Objective/Structural
p. 13
Sound Subdomain of
Key Differentiation
p. 17 p. 24
Characterisation
p. 27
Subdomain
1)
Generalised
p. 38
2)
Composer-Specific
p. 41
vi Chapter
One
Preliminaries
Methodology Formal
Chapter Vocal
p. 53
and Outline in
considerations
the
Minor
Mode
Two in
Music
G Minor
p. 73
Introduction
I
p. 56
Solo
p. 75
Arias Synopses
Textual
and
p. 77
Commentary
p. 85
1)
Time
2)
Principal
3)
Organisation
4)
Disposition
5)
Secondary
6)
Dimensions
7)
Thematic
Connections
P. 119
8)
Registral
Invariance
p. 122
Other
Signature
and
Second of of
Tempo
Tonality the the
X Section Recapitulation
Development and
Designation
Proportions
p. 86 P. 91 P. 101 p. 108 p. 115
Solos
1)
Concert
2)
Lieder
Arias
p. 126 p. 132
III
Ensembles
p. 137
IV
Choruses
p. 147
vii v
Treatment
of
Sixth
Augmented
the
p. 163
Chord
p. 167
Summary
Chapter
Three
Minuets
in
the
Key:
Minor
Study
A Comparative
Introduction
p. 175
I
P. 177
Methodology Commentary
on the
in
G minor
Pieces
Pieces
in
III
Tables
of
2
p. 201
G Minor
p. 216
Keys
Pieces
in
Other
Minor
with
Associated
Minuet
or
p. 228
B) Relative
Foreground
C) Thematic
Derivation
Commentary
on Criteria
Formal
Structural
and
D) Fundamental E)
Secondary
F)
Dimensions
Rhythmic
Activity
p. 244 p. 245
A-C
p. 245
Aspects p. 248
Structure
p. 251
Development and
Trio p. 243
Key Relationship
Commentary
Keys
Comparison
Relationship A)
Minor
Graphs:
Analytic
in
Pieces
Other
Investigation
under
p. 183
Graphs:
Analytic
Pieces
Proportions
on Criteria
D-F
p. 252 p. 254
viii 3
Texture G)
Continuo
Bass
H)
Rhythmic
and
Commentary
on
p. 261
Texture Distortion
Metrical
Criteria
G and
H
Four
Cadential
Correspondence
Patterns
p. 274
Introduction Cadential and Pitch Other III
IV
VI
p. 262
p. 270
Summary,
Chapter
p. 262
Correspondence Invariance
Cadence-Related
A Cadential for Model K. 550 I
Patterns p. 277 Progressions
Correspondence K. 516 K. 478 I,
I
Pattern and
p. 288
p. 295
Incidence Patterns
Correspondence of Cadential in other G minor Sonata Movements
p. 297
Incidence Patterns
of Cadential in the Solo
Correspondence in G Minor Arias
p. 307
Incidence Correspondence of Cadential in Sonata Movements in Other Patterns Minor Keys
p. 317
Summary
p. 321
ix Chapter
Five
Chromatic
Descending
Fifth-Progressions
Introduction
p. 327
Chromatic Descending Fifth-Progressions in G Minor Works: Basic Form
p. 328
Chromatic Descending Fifth-Progressions in G minor Works: More Diverse Forms 1)
Interpolation
of
2) Modification
IV
of
Additional
p. 343
Components
Expositional (Mediant) Correspondences with G minor Chromatic Descending Fifth-progressions
p. 352
Common Aspects of the B flat Descending Fifth-Progressions
p. 361
Chromatic Movements
Major
Descending Fifth-Progressions in Other Minor Keys
Summary
Chapter Chromatic
in p. 364
Six Tetrachord
Figures
p. 374
The
Subtype
T. 0
p. 378
The
Subtype
T. 1
p. 379
Permuted Forms; C. V. s other III
Chromatic
p. 370
Introduction I
p. 335
Components
The
Subtype
Combinations
T. 1-a
with
p. 388 p. 395
x IV
The 1)
2)
3)
v
p. 403
T. 2
Subtype
Contrary Motion Counterpointing
between Voice
Tetrachord
p. 404
Recurrent Linear Intervallic Patterns (Principally Similar Motion and Oblique between Tetrachord and Counterpointing Voice)
p. 406
Miscellaneous: No Consistent Pattern between Tetrachord and Counterpointing Saturation Voice; Chromatic
p. 421
C. V. X in
Non-Tetrachordal
Contexts
Chapter
Seven
Development
Sections:
Structural
Organisation
Introduction
p. 440
The G Minor Analytic
Summary II
p. 442
Movements
p. 478
Graphs
p. 496
I
Movements
Summary
p. 428
p. 436
Summary
I
and
II
in
Other
Minor
Keys
p. 499 p. 516
xi Chapter
Eight
Chromatic
in
Processes
the
G Minor
Quintet
K. 516
Introduction
p. 523
I
Theory
p. 524
II
The Proliferation
of
A Flat
p. 533
III
The Proliferation
of
E Natural
p. 544
IV
The
of
A flat
p. 555
"Liquidation"
Conclusion
Summary: Structural in Mozart
Common Aspects and Key Characteristics
Text
Subtext
and
in
Objective/ of G Minor
p. 564 p. 569
G Minor
p. 580
Epilogue
C.Appendiýr6s
Appendix List
One (for of
Introduction/Chapter
Mozart's
Music
in
G Minor
1)
p. 583
xii Appendix
Two
(for
p. 590
Introduction)
in from Extract Steblin A Historv of Kev Characteristics 18th 19th Centuries, 1983. A: Catalogue Appendix and early Characteristics Imputed to Keys: G Minor.
Appendix
Three
(for
from
Mies
Appendix
(for
Chapter
Four
Texts
Appendix
and
Five
Minuets
Bibliography
p. 594
Introduction)
Extracts 1948. suchuag,
Der
the of
Character
der
Tonarten:
Eine
Unter-
2)
601
3)
619
Translations
(for
Chapter
and Trios
in
Other
Minor
Keys
p. 621
xiii on Abbreviations,
Note
Symbols,
etc.
Abbreviations
bar
,
bs.
bars
Ex.
example
Fig.
f igure
Example, indicated ample
figure
by
decimals;
Chapter
of
Harmonies
and
lower is
indicates
G minor square
and minor
the
chromatic
brackets Figured
thus:
placed Vertical onal
slash
third
ex-
in
the
of
cases
scale
dominants
Applied
are
"0"
Here,
'IV$"
degree
the
where
the
before
An accidental
major.
by upper
graphs. and
minor
conventional
chro-
a numeral
(e. g.
ývi
in in
enclosed
(V]. in
numerals
voice
scale
above
the
alignment ("/").
the
Schenkerian
dominant
E minor).
bass
the
represented
except
of
alteration
chromatic alteration 1 4-3", '17-5-natural sharp
Upper
context
by
being
chords
respectively,
dominant
represents
indicated
are
diatonic
matically-altered indicates
regions
in
the
to
refers
etc.
symbols
used
5.3"
is
chapters
within
numeration
"Ex.
thus
major
case
dominant
5, and
Roman numerals,
table
and
indicated
the
text
hyphenated,
are e. g.
verbally,
with
6-3",
"flat
116-
3".
degrees degree
number.
is
indicated
Thus,
for
by the
indicated
are
in
example,
the the
text
caret
by
the
symbol
diag-
pre -interruption
x1v
degree
supertonic
References K3
(K6 ).
are
of
indicated The
to (K3.
Numeration
harmony
dominant
supporting
is
A "211/V
by
represented
its
with
Kbchel A.
ed.
Einstein,
is
K7 and
for
used
format
established
1947. )
supplement, Movement
K8 .
K. 550
(e. g.
by Roman numerals system
the with
in
K6 i s maintained
Helmholz
follow
numbers
numbers
I).
register-specific
pitch
references:
7: cl
Non register-specific
notes
references
are generally Beat-location
"b.
243..,
bar
Footnotes
within
bars
twenty-four, are
are
to
referred
numbered
third
C3
C2
in
by capitals;
bass
by superscript,
e. g.
indicated
this
is indicated
way.
beat.
consecutively
within
chapters.
Introduction
2 Introduction
Contents
p. 3
Prologue
I
1)
Pitch
P. 9
2)
Temperament
P. 9
3)
Instrumentation
The
Consistency
P. 11 of
Key
The Subjective/Conceptual Psychological Historical The Nature
III
Subdomain
The Aural/Precompositional
Principles
p. 13
Sound
Subdomain of
Key Differentiation
p. 24
Aspects of
Subjective
The Objective/Structural
p. 17
Characterisation
p. 27
Subdomain
1) Generalised
p. 38
2)
p. 41
Composer-Specific
3 Prologue
is
There masters
the
of is
works
a
has,
lation
in
compositional
with
key is,
this
unspecified
is
of
F minor,
composition
and expression
not
apprehended
always
fruitful
criticism
commentators
of
relationship, these
- to
the
all
has
See Sadie
result
become
1982,
have that
whole
and
2 key,
therefore, from
which
Consequently
proceed.
the
ambiguous
pp.
clarity
often
Mozart
between and,
are
example,
with
study.
relationship
can
in -
keys
for
C minor;
necessary
'
critical
"special"
Haydn,
complex
a
key,
to
the
as
this
is
importance.
The minor
of
profoundly
generally
composer
in
seen
is
upon
specu-
ascribed
them.
it
the
now
this
with
analysis
persuasions the
are
subject
the
with
for
is
considerable
Beethoven
and
with
elements
2
manner
is
it
associated
which
intense
most
significance
however,
Unfortunately,
of
keys
G minor,
course,
of
key
relevance:
with
the
their
Of these,
written.
are
three
emphasis
particular
result,
become
particular
of
to
factor
have
whom discussion
they
general
particular
ascribed
this it
to
the
a
as
concept
composers
some usually often
the
addition
literature
by
subject
and expressive
individual
for
which
and
respect that
acknowledged
In
been
arguably, this
in
key
the
notably
composers,
characterised
concerning
Mozart
of
style,
classical
frequently
matters
group
small
misunderstood area
confusing.
occupied Take,
this by for
132-133.
See the citation from Keller in G minor Mozart's is listed music
2 Section 1956 in Chapter in Appendix 1.
4 instance,
following
the
by Einstein
passage
Is "special"
on Mozart
key: is for Mozart G minor the key of fate, as we know from the wild the symphonies and and a string quintet; (of the Piano command that movement opens the first be called the "fate" Quartet K. 478], unisono... might as the fourmotive with exactly as much justification Symphony. Fifth note motive of Beethoven's (1946, due
With
for
statement, in
ciation verbally
to
respect
these
between
works
reported
comment. for,
understandable
this:
as
is
there
"fate"
and such
ate
Beet-
with
compare
remarks
as Hildesheimer
asso-
no explicit
structures to
Einstein's
spurious
an entirely
compositional
concepts 3
is
this
"know"
we cannot
articulated
hoven's
Einstein,
264-265)
pp.
nevertheless
notes,
Hardly any serious student can have avoided of Mozart for it is fruitthis playing game of key speculation, ful and open to all; everyone can play and, by sharing his experiences, himself can consider a winner. (1983, Consequently, of
writing,
of
solid
facts
the I
hensive in
3
in
do
grand
not
theory
but
phrases key,
structures
-
is
literature
Mozart
linking
complex:
its
all
in
rich
compositional call
the
dealing
kind
by this
poverty
an attendant
and
concepts
articulated
verbally facts
with
plagued
170)
p.
what
with
one
might
"Key-Expression-Structure". in
propose
this
elucidating
aspects.
"Thus fate Solomon 1977, p.
knocks 205.
I
at
offer
a compre-
key-expression-structure
the
Rather,
to
Introduction
should
the
doorl"
instead
like
(to
Anton
complex to
give
Schindler),
an
5 overview to
order up
the
of
context here
with
respect in
this
of
the
discussion
the
G minor
for
the the
whether
deep-seated This analysis, Mozart's
by
the
following
factors
than
to
restricted stylistic of
illustration:
a tiny
the -
for
the
common to
in
or
minor exclus-
determine
to
in
terms
more
of
tonic. to
essence,
one the
within
As such
boundaries
define
other
in
order
a corpus
region
such
considering
works
shared
with
be made to
will
in
in
resource.
defining
to
as predominant
amounts,
and
structures
particular
its
G minor
concerned
addition
constitutes simply
of
specula-
largely
an attempt of
key
basis
be
the
set
empirical
considered,
enquiry
of
total
problem
In
features
works music
a more will
key
the
clear
study.
game of
compositional
basis
G minor
line
of
This
- certain
albeit
of
place
own sake,
G minor
in
music
to
this
of "the
of
considered.
their
considered to
its
to
importantly,
considerations
in
threads
tangled
constituents,
most
Mozart's
the on -
provisionally keys
rejection
specific
works
formations
the
repertory. of
various
and, the
the
out
its
of
for
to
establishment
study
ive
is
My aim tion"
ambit
misconceptions
theoretical
the
the
outline
certain
teasing
problem,
it
is
represented
of
style
expanse
confronted by
the
6 Fig.
1.1
l8th-century
Late
18th-century
Late
of
all
nomenal present to
study.
Given
in
doing
understanding
of
the
in
of
this,
the
course mode in
minor
tion "Venn
the
key,
of
factors
propagation to
etical 4
the
at
the
least it
limit innermost
1.2
here
boundary toward
an
Naturally the
of
aspects
of
the
of
myself
encloses.
outline
a phe-
scope
partially,
resources
above of
below.
expression
twelve
to
its
pp.
representa-
in
29-30.
diatonic levels, refers
form
the
represent
circles
"Key"
composition.
"Expression" 1987,
a figurative
The large
two
I shall
complex,
components,
and the
with
transpositional
acoustic.
See Pettit
the to
of
general
boundary,
key-expression-structure
pertinent at
beyond
move,
mentioned
Fig.
clearly
consider-
arise.
interrelation
Diagram",
outermost
aspects
a more will
the
of
the
requires
I am compelled
stylistic
the
overview
"domains" all
to
the
of
to
Mozart
Returning begin
this,
hope
so
by
one
definition
a provisional
and
and
Styleý.
clearly
enclosed
undertaking 4
G Minor
definition
works
Mode Style
Minor
Mozart's
ation
Mode Style
Minor
Mozart's
A comprehensive
Style
and
to
the the
a
the
concerns
systems from
of
their theor-
non-con-
7 crete
aspects
affective
and
concrete
aspects
deep
seated, This
the
three
small the
complex areas
disparate
in
1.2
referred
from
a work
the
all
"Structure"
within the
diagram. enquiry
of
These -
and many others to
as
musical
"Key
the
the
most
to
elements.
by a consideration
key, are
embraces
immediate
most
purely
domain
the
of
the
emotional,
encompassing
be investigated
may best
fields
historical
generally Fig.
conceptual of
a work,
elements.
subsuming
circles
logical,
with
associated
by the
as represented an attempt
scientific, - covered
Characteristics":
to
musical, by the
of
untangle psycho-
aesthetics
8 These of
key,
the
but
I
them
of
II
other
two.
of
the
subject
of
the
affects,
III
physical aural
the
and
characters
Key
and
1)
either
If cisely
the
f igures
niques,
and
2)
or
of
ceptual
subdomains, with
of
of
connection
for
the
con-
moods,
specific
key.
a given
with
in
the
would
aural
be by saying
itional
former
being
latter.
a specific
of
has
that
what
been and
seen
key,
composer.
were to be con-
characteristics"
/precompos the
the
work
tech-
a given
with
connection
subdomain
devices,
musical
specific in
on "key
structural
benefit
relationship
-
keys.
of
in
phenomena
it
summarised,
the
characteristics
reasons
association
recurrence
literature
objective/
-
Key Characteristics.
generally
the
subdomains
Characteristics
concepts
Objective/Structural with
key
acoustical
(causative)
emotions
Concerned
These
bet-
overlap
Key Characteristics
Subjective/Conceptual with
of
area
domain
ambit:
objective
Concerned
the
of
the
Aural/Precompositional
trasting
part
larger
the
within
and
components
with
fall
all
occupy
domain
following
the
Concerned
the
two
principal
have
"subdomains"
latter
the
ween
three
neglected
the in
to
I refer to
as the
subjective/con-
terms
of
a causal
9 I
The
1)
Aural/Precompositional
Pitch
As a fundamental that
the
by
declares,
"That
10).
Clearly
able
recognition
-
objective
2)
Temperament
between
cause
the
of
the
into
system
positional
levels,
variations
in
to
the
major
and
basic
binary
intervallic
the
(1956, be
will
pitch
absolute location
pitch as having
each
that
Keller
as news"
or
different
sizes
scales
division, structure.
contrast 19th
early due
to
two
modes
of
each
tuning intervals
pitches becomes characterised
the the
preserving
non-equal
particular minor
the
variance, Whilst
ing
is
sensitivity
aural
hearing
objective
up to
period
temperament(s). tonal
tonic:
by relative the
of
degrees,
scale
intervallic
of
basis
the
saying
keys
no particular
any
keys
without
of
a differ-
sound.
Another to
with
the
of is
key
defines
goes between
pitch
a listener
component
fined
absolute
pitch
on
ent
enon
the
it
principle,
differentiation
aural
distinguish
to
their
musical
basic
most
engendered
p.
'
Subdo
is
Century, then
the
at give
a
by its
con-
phenomunequal
division
to
rise
same class,
submode,
slight accord-
Each within
own particular
of trans-
twelve
them.
expressing thereby
the
fundamental
systems
one
prevalent
generated
of
keys,
between
of
the the fine
10
Despite late
18th
number
of
the a
the
sharpthe
ates
" Quarter-
the
most
wolf,
Motion quality
the
of
able;
generally
fewest
accidentals
between of
7-8
Kunst
des
triads
arising
738c.
in
fifths
of
keys the
with
One of
Johann
Phillip
Satzes
in
"Kirnberger this
der II".
the
was
but
largest
proposed his
(1771-1779)
variwith
semitone
disseminated by
the
treatise and
to
the
those
-
widely
in
in are
sizes
the
according
a pure
changes
triads
most
to
functional.
are
By categorising
temperament
6 in
tempera-
to
Kirnberger Musik
elimin-
irregular
leads
that
system
more
697c
all
have -
of
tolerable
but
purest
those
tuned
semitone
signature
versa.
a
the
differently
temperaments
from
In
with
Temperament": are
at
out
Attendantly,
major
Reinen as
come
circle
and vice
to
referred
thirds
tuned
thirds.
theorist
ebrated
major
a useless
irregular
these
eight
is
the
around
"Meantone
fifths
are
This
of
of
fifths
the
ments,
and
more.
were
thirds,
the
of
Fifth"
the
tunings
temperaments,
least
tempered
meantone,
comma"
7 386c and
one,
"Wolf
tuning
the
tempered
keys
so-called
keyboard
circulating
or
scale
temperament,
equal
prominent
in
variation
flat-laden
and
most
irregular
C major
the
of
the
related by
towards
movement
Century
characterised those
general
5 in
celD-ig
nowadays
the
thirds
of
the
degree
of
5
is then, "The practical history temperament, of equal its largely its in and respects a matter of various refinement 1630s, by keyboard from the late gradual acceptance musicians by which time it, ' to the 1870s, when Frescobaldi even endorsed (Lindley the conservative English cathedrals were won over. " 1980a, p. 665) 6 7c= interval is given
See Lindley
1980b.
cent, of which there are 1200' to the octave. is expressed fl: f2, its as the ratio equivalent by I (c) = 3986 multiplied by log 10 (f2/fl).
When an in cents
11
deviation triads iv, which
1982,
345 and p. For
of
346,
into
tonic, three
divides
Kirnberger See
the
Kirnberger
ibid.,
2.4,
major;
dominants)
their
with
and
in
V and VI
IV,
groups.
2.3
Tables
consideration
pp.
343-
music,
see
respectively.
an outline
1980,
is
his
and
iii, together
minor,
mode
into
taking
and (ii,
triad
each ff.,
336
pp.
Hall
in
and VII
a particular keys
twelve
each,
scale-degrees
VI
v,
in
purity
on other
III, of
f rom
the
of
Chapter
18.8,
tuning 451
pp.
ff.,
Mozart's
of
context and
b and
1980a,
Lindley
C.
Instrumentation
The is
the
third
factor
goes
into
tic"
key
cause the
of
this
of
objective
acoustic
point
at
as
interaction the ... fingered notes with the vibrations of different sets of in different strings
of
properties
length,
characteristics
aural
defining
the
instruments. what
keys
between
contrasts
Keller
he terms
"acous-
of
result
instruments' the of stringed their and partials characteristic let the the alone open strings, fingerings, of open and placing keys ... (1956, r p.
this
leads
to
colour ... objective played on stringed the piano.
between the keys from, as distinct
differences instruments
when say, (ibid.
Here synaesthetic
6)
"colour" sense,
is but
to
be
understood
rather
as
a
not necessarily
in
a
subjective, metaphorical
)
12 to
reference
contrasts
aural
which
linguistic
objective
elude
representation. despite
Consequently, quarters and that in
rise
a tone
of
his
are
not
with
and
the
is
concept
of
relationships
in
as
produced
To illustrate
C major.
the
in
sound
literature K. 364
produced
at
Returning objective made
by
between he admits
validity
of
the what
the
remained
same"
aC
major
the
-
in
(320d), the
pitch to
the
As
to of
time, in
aural
of
visual
metaphors
strings
and
the
concept
term
"darkness"
(in
the
but
pp. for
traditional
properties of
tuned
so
from
rather
ConcerD major
13-14). essentially association,
of
instruments,
"brightness",
metaphorical
"Jupi-
pitch/aural
effect
matter
aural
this
he
"authentic"
of
(ibid.,
the
an
Sinfonia
E flat
on
but
the
of
the
the
of
major
level
commentators
accommodated
opening
D flat
sub-
of
qualities
scordatura
rejects
is
transposable"
contrast
the
be
can
the
such,
key
a given
this
Keller
the
degrees
example
phenomena,
open
scale
principle.
as for
which
of
the -
work
another
viola
a fixed
fundamental
the
hypothetical
not
of
latter
a strong
he gives
principle
sounds
of
"necessarily
C, producing
dichotomy,
tante,
to
instruments.
the
from
Later,
quality
strings
the
degrees
K. 551 - fingered
Symphony,
as to
the
the
stringed the
such
an example
ter"
with
of
upon
changing the
preserving
takes
intact
largely
between
of
importance;
whilst
based
by
locus
pitch
sidiary
has
C major
our
has risen
relation
them
upon
structure
absolute
it
of
sound
6).
Thus
key
the
the
three-
of
pitch
concert
day,
dissimilar;
11... because
p.
a
in
rise
Mozart's
since
pitch
happens (ibid.,
of
the
although sense
defined
is
13 in
above) flat its p.
is
major
a veiled
on the
colour
1953), the
his
Introduction
wealth
the
of
K-551
"D
above,
to
owing
primarily
again
absolute
that
pitch
level"
of
Music
(ibid.,
tone
is
tics
does
the
acknowledges one conceivable tone
by
violated between
in
terms
of
of
Key
Sound
poverty
.
his
due
9)
key
lack
of
characterisfor
he still
but. rather
of
as
not
notes,
and stopped
"brightness",
living
the
statement,
open
being
of
to
acoustic
this
unrelated,
strings
open
"relative p.
whereas
strings, are
this)
(ibid.,
contrast
open
to
related
variance
quality.
The consistency
Given
the in
sistency tonal
by
underlying
however,
not,
dispute
not
modulation"
the
"brightness"
and
contrary
The principle
vibrato.
by
(London,
is
"brightness"
that
overtones
the
on
Psychology
generated
(he
overtone-rich
and
the
had maintained
believes
tone
to
overtones
characterised
above
the
is
points,
objective
it
aural
to
possible
identify
of
qualities
keys
con-
any during
the
period? Although
acoustic
and
key,
its
not
from
example
dark
and
strings,
G. Revesz
Keller
lute
the
6). In
in
in
cases:
certain
key
terms, that
separate.
rejected
insignificant
characteristics, risen
of
as
the
the
considerably; late
18th
factor our
Century
by
Keller's
of
pitch
experience are,
in
these
concept has,
Of
in
a given terms,
of
absokey quite
1ý
14 Secondly, result
of
unequal
operative
were
there
were
given
key
not
many
Additionally,
is
given
can
sound
complicated combined degree
to
for
- as,
the
acoustical orchestra in
example, orchestra
Mozart's
Piano to
accommodate
effect,
in
which is
an keys
further
instrument
Concertos;
the
pre-
in
The matter
a tempered
and
section
fixed,
a
temperament
purity.
each
on orchestral
having,
8
a
in
earlier
require
orchestra
ever-changing
the
when
would
pitch
and
close
the
1,2
therefore
character that
a
when
Section
available
instruments
system,
subtle
made in
not
as
even
and
aural
gradations
keyboard
in
noted
as
a different
pitch
and
went,
and
temperament
unequal
had
fine
the
tuning
infinitely
for
a point
only
established
standardised,
have
would
instruments,
came
of
keys
between
temperament
species
system. that,
differentiations
submodal
are to
what
instrument's
solo
organisation? Thirdly,
by the
properties
Keller's
acoustic
possible
based
outlined
in
tions
of
C -are
the
notes
stopped
8
will
his
long
played any
be devoid
of of
the
not being
acoustic
to the
deficiencies
necessary
(1956,
the
performed
excep-
'cello's
and
strings
utilizing
is
critique
the
viola's
key
engendered Consider
immanent
- with
as unstopped
piece
capable
notes
as
variable.
due
that,
G and
open
not
and
highly An
comment
1,3,
violin's
Consequently,
is
characteristics. on
keys
between
instruments
of
Section
generally
open
differentiation
aural
open p.
7).
aforementioned
with
characteristics.
all
others Like-
"A good orchestra in equal does not play temperament any more than does a bad one". 1978, p. (H. Boyle, Lloyd/Boyle 164) Presumably the in Mozart's for time the nonsame held tuning equal systems.
15
the
wise,
acoustic to
according key
characterisation
the
potential
be performed
to
Furthermore different In
fact
this
wholly
giving
connection
yet
there
is
not
string
ensemble
in
matters
ations
also
that
tion
of
contrast acoustic
in
and
tone
"dead"
is
than
spread
are
not
have
the as
circumstances
factors
terms
ency in mental
the
of
aural
realisation
In
subject
to
factors
and
character
of
variance militate
keys
and articulation.
ques-
in
notes, creating
use
this
of
less
wide-
Keller
as
of
historical,
variables.
combinations
all
tech-
characteris-
an array
and specific
techniques,
a
believes
consistent
as
general
tone
the
acoustic
or
in
the
thereby
considerably
short,
instrumental
importantly,
and construction
was
is
stopped
well-known,
compositional
of varying
instrumental and,
is
the
consider-
Keller
strings,
open
delineated
and
in
of
from
performance
above, to
in
performers
respect
modulation"
Century
being
this
in
quality
Historical
mentioned
today.
clearly
us believe,
Indeed
ations,
18th
between
in
that
be rendered
arise
changing
vary in
pieces
complications
of
will
sound
fingering.
sound
case
performance-related
different
a
As
late
the
may also
significant
characteristics.
technique
would
the
note
possibility
as
tone
with
notes.
unanimity
of
which,
of
stopped
more
always
most
vibrato,
"living
gives
tics
the
admit
Perhaps
niques.
it
key
a given
repertory
same stopped
positions,
each.
the
of
using the
of
in
as
a whole,
performance
changing
against respect
situ-
compositional
number, through
the
of
design
any consisttheir
instru-
16 Considering objective ment
aural
during
variability
"signature"
no tangible degree
in
of
is
from
define
certain
a key
to
temperament
said
specific
and
the
concept
period-specific levels
particular and patterns
physical
of
means
has
upon
the
dependent it
accepted, key
aural
great
a consistent
of
and
standards
their
given
through
tempera-
pitch,
-
that,
this,
for
responsible
keys
clear
era,
Having
limited
which
systems
imparted
deviation to
possible
it
tonal
reality.
of
between -
the
factors
principal
differentiation
instrumentation
and
aural
three
the
qualities, pitch,
absolute
of
instrumental
may be
combination
prevail.
ii
The
As
Subjective/Conceptual
mentioned by the
engendered the
subjective,
factors
affective
in
covered
in
key
affects
on
seen
as a preclondition
a loosely-causative
Before
considering of
this
aural
and conceptual
keys
component
the
earlier,
literature
primary
Subdomai
Section as
for this
subdomain
I have
been
the
in
seen with
associated
the to
ascribed
characteristics
relationship;
keys
between
contrasts
former
have
been
latter.
the
relationship must
first
further be dealt
an important with.
17
Psychological
Principles
This
is
component
concerned
may be differentiated rather
from
ity,
a
has
third
Because become
-
Overture
in
lowering
the
minor
effect
states
the
of that
and
motion
in
of
with
number
the
-
weakness
has
minor
as
9
Okr&.% ft,4
linked
the
which
býcj j
Mout.
cf4"
subjective
states,
attendant
increase
its
in
"hard"
to (in
the an
of
concept related
and
increase
dur)
ic
'be-came,
symbols eventually
for
theory.
%'a#-
C
'7
B natural and B flat, our generalised modern
and and
6
in
and the
jormer v),k J14 11-tv-specif
of
traditional
hexachord
medieval
linked
number
the
German
6, Fý gr-J or%,
hexachords
subjective
affirmative
increase
with
from
traditional
the
and brilliance
the
derived
with
intensity
its
mode as
Conversely,
has become -
with
1
no.
signature
in
is
raised
association
Given
- with
sharp
Leonora
C$11.
its
to
negative
key
This
major
(moll),
soft
In
-
darkness. the
with
an increase
become
of
the
in
positive,
its
mode with
third.
C major
in
motion
and
designation
minor
from
of
subdominant-wise flats
the
sharps
concept
with
the
pitch,
the
key
of
specifics
of
led
polar-
sharp-flat
raising
major
sign
lowered
major
of
dominant-wise the
its
mode with
association
flat
the
of
of
"Ouverture
as
but
the
designation
C major,
level
of
on
the
with
keys
here.
principle
effect
Beethoven's
Op. 138,
the
its
of
associated
hence
inclusion the
means by which on an aural
not
inf luential
highly
description. sign
is
other
other
its
among these
concept
with
each
hence
conceptually, Foremost
Key Differentiation.
of
respectively, signs.
9
18
These the
( 40 hard,
symbology
form
together
points,
a rich
complex
a profound
effect
on
The principal
aspects
contemporary
formulation"
are
Fig.
(see
"complete
Musikal
1983,
Steblin
had
qualities.
the
Gathy's
August
has
sches 10
132):
p.
1.3
56V
Major
T I
/hard
Minor
obvious
problem
between
larly
F
system,
keys
sharp it
This a conceptual
admits
theory, link
10
with Gf
and of
in
with
this
six
sharps
lat
two
intervallic The
notion
darkness,
serious-
is
between
the
particu-
terms
the
of
point
flats,
six
and
the
of
solution.
the
major
early
physical
variance of
joy
and. tragedy.
Within
from
evidence
brightness,
system
majors.
no logical
between
differentiation,
instruments.
darkness
Increasing
The
hardness,
irony due to conflict and sharp aspects.
Increasing the minor
/soft
overlap
Increasing excitement.
Increasing softness, nessl gravity.
Silk
key
1835
of
key
after
to
combine.
which
subjective below,
summarised in
all
association of
of
suggestiveness
rounded)
psychological perceptions
Conversations-Lexicon
visual
0 soft,
sharp;
of
the
with
increasingly
18th
Century, of
causes and the
a
objective
properties
complex
Steblin's discusses excellent study range of primary source materials on subjective tions. All the citations from such literature from this are extracted work.
forms
emotional
comprehensive key descripin this section
of
19 states
evoked
objective
the
as
physical
intervals
a key
by the
the
in
as grounded
engendered
further
as one moves
properties
polarity
sharp-flat differences
physical of
C in
from
an
impurity
in
increase,
the
f inds
increases
accidentals
with
Additionally,
systems.
interpreted
of
analogy
within
tuning
number
of
non-equal be
might
between
keys
the
instruments:
stringed
keys the thus the which and used most open strings, ... "bright", "piercing", sounded were the and "noisy", sharp keys D, A, and E; the keys which used the most fingerings, "dead"muted", stopped and thus sounded keys, B flat, E ened", and "sorroylul", were the flat flat, and A flat. (Steblin, A little Ludwig from the
later,
Bührlen, 1825
the author
(ibid.,
p.
overrides
Contrary Steblin, fact
12
to
the
I suggest that
reference
11 relation 12
he
Thus,
changes
in
of
Keller's
to
"bright-sounding"
See Keller's to the stringed
principle
"acoustic"
critique of instruments,
emphasis) Friedrich
betreffend", in
Zeituna, of
been
that
in for
sounding "dull
the
which
changes
and
"bright
have
sounding" prin-
sharp-flat
).
(ibid.
influence
psychological
the
by
Tonarten
been
implies
pitch"
purely
that
keys
her
article
variety
have
flat
the
while
the
keys
sharp
137,
Musikalische
despite
that,
an der
Allaemeiner
the
141).
to
refers
Characteristische
Leipzig
pitch, years"
ciple
"Das
observes
standard fifty
Steblin
p.
guiding key
BUhrlen
here
by is
in (the
characteristics
notwithstanding),
the
inferred
in
idea of "brightness" on pp. 12 f. above.
which
in
Of course in standard given pitch of a semitone a rise the "bright" key of E major (relative "become" to its would starting the "soft" key of F major. point)
20 its and
absolute
pitch
stringed
instrument-generated
The weakness in
discussed brass
and aural
of
Section
vicissitudes
latter
1,3,
instruments
is
point the
namely
are
contradictions
key
objective
this
to
added
the
a system
of
differentiations. due
fact
to
that
a matter when
Weber
not
woodwind certain
group,
string
As Gottfried
arise.
in
rejected
are
maintained:
the (in sense) an objective, physical character ... from the pecukey assumes, which this perhaps or that liar instruments, the nature may be exactly of wind instruthe that reverse of which nature of stringed to it. ments imparts (Versuch einer der Tonsetzkunst p. 139) Here
the
of
a key
sound either
singly
delineated
is
problem
in
or
the
instrumental
various the
and for
quality
lack
when
each inevitably
types
between
consistency
aural
combination,
different
of
of
by
as produced
objective
instruments
one
Theorie Steblin,
geordneten 1817, in
the
choirs,
of
a
clearly of
combinations contra-
produce
dictions. Keller to
refers the
offers
a solution key
as "associative
strings
are
viewed
to
this
in
the
form
what
of
In this
characteristics".
he
concept
as
inasmuch leaders the the of our music, whole of ... ... as the question at all. arises of key characteristics From Bach over Wagner to Schoenberg they are the one body of sound that textural conrepresents a basic in stant, or the chamber music, music, orchestral in oratorio concerto, or opera. (1956, This character
preeminence in
which
imparts a particular
to
the
key
on,
strings for
a
example,
p.
6)
permeative the
piano I
21 "...
is
invested
the
with
in
will
have
this
process
tone
with
that
This
theory
is
latter
point
which
the
aural
qualities
character
the
string
leads
to
a similar
of
the
strings.
quartet
is
keys
of
by are spread ... instruments, board
Presumably and brass
woodwind
of
in
by BUhrlen
proposed
and always
7).
p.
investment
that
exactly
11 (ibid.,
...
has
key
the
which
by the
as produced
strings
to a kind of sympathy and to human voices.
wind
and
key-
("Das Characteristische Steblin, p. 142. ) In tics,
defines
Keller
tified".
BUhrlen
merely other
elements
their
aural
to
flat virtue them.
are
the
factor
of
concepts
which
they
traditional are the
are
is
the
"objecthem
regard
the
of
over
strings
of
predominance
attendant
as so,
clearly
possibility of
key with
ascribed
of a of
the
certain
trumpet.
"pastoral" certain
to
Thus
D and
and
Similarly, quality
woodwind
the
instruments
suited.
as "martial"
characterised
is
differentiation
most
acoustically
usage
suitability
in
associated
frequently
majors of
this
the
admit
and the
an ensemble,
to
Keller
volume-wise,
psychological
transference
after
to
as
characteristics.
Another
C majors
in
also
characteris-
characteristics
contrary,
constructs:
dominance, in
the
in
",
...
key
acoustic key
on
seems
acoustic
keys
"objective"
associative
psychological
whereas
the
his
am inclined,
I
wholly
to
contrast
the
that
He suggested
made explicit.
in
1825,
"festive" kF and B
presumably instruments
by to
22 It
to
remains
"psychological flat
key
polarity
this
for
Mozart.
of
influenced
so-called
by
the
sharp-
by idiosyncratic
illustrated
being
He suggests
These become intrinsic ised into psychological into develop means of
Keller's
section
characteristics",,
and notable
interpretations
in
mention
that
inasmuch as terms of communication.
they are reference
generaland so (1956,
He expands
may be particular
acteristics tency
his
within
logical
analysis
Mozart"
(ibid.,
"primarily
-
the
(of
string
the
is
point
This
is
the
the "tonality"
of
violin,
or
the
is
a psycho-
G minor
for
that
D-
Mozart's
violin; fifth
because
G which, )
a
"more
char-
consis-
assertion
tuned
viola?
of
the
of
being
viola
in
developed
on
"tonality"
their
given
significance
rests
key
psychological
a composer,
"elemental
14).
p.
instrument
accordingly,
Ex.
the
of
that
to This
works.
major"
stringed
(ibid.
by maintaining
this
14)
p.
has,
lower of
the
easily
dark
G
minor"
): I. 1
finger
string
WIN
Now all knows, instrument
the
this most is
the
seems
string
finger
ViO&Jk
rather
natural following:
and
specious, sonorous
for chord
as every available
violinist on
his
23 Ex.
1.2
finger
string
finger
string
IIx
2=
of -I.. VIOLA
is
It the
lowest
two
"in"
violin
just
therefore open
G major
as
to
valid the
strings,
anchored locates
stop
quadruple
Mozart's
correspondingly,
and,
that,
claim
by the C
"in"
viola
major. Nevertheless, minor
pieces
minor
of
open
"an
instruments -
the
third
(ibid. Ex.
the
with
Mozart's that
as
a
the
harmonic
of
means
two
the
character
of
p.
15).
the
violin,
generate
the
childhood first
that
suggests
(ibid.,
unstatedkkey"
of
he asserts
then
Keller
-
"intense
and
G
composer's dominant
the
Taking
the
three
and piano
viola dominant
minor
of
expression"
nostalgic
): 1.3
I
F)APJO
Voi. w
7K kul 10
The problem as it
is,
string
tonalities,
is
compositional minor
harmony
this
with
that,
aside it
finds
-
vast
on the
majority
shaky
no reflection
absolutely
G minor -
ingenious
perversely
f rom resting
Those
practice. the
interpretation,
premise
of
in Mozart's
works
opening
invariably
have
with a tonic
G
24 character
mi
2 Section
is
never
strongly the
question
Historical
in
the
in
vogue,
of
general
impression
minor
that
has
(74a)
(see
the
motion
G minor l tn*-u,
Lastly,
because
Ckmajor
is
an expositional
area
of
precisely
Mozart
"Nel
induce
to
the
listener
to
G minor.
for
to
an anonymous
article
pitch
level"
(Steblin
anticipating
believed
also was
and
the the
Gombosi.
modern
the
out-
location, alleged
1983,
keys
that
cause views
of of
Indeed
p.
affec-
he
and Greek
ancient much
frequently
59)
"higher
the is
his
later
Journal
the
the
between pitch
in
in
that
differentiation
subjective
thereby
the
"explanation"
Mattheson-stated
structure
keys
historical
own particular
Johann
(modal)
between
contrast
1718,
he
of
physical
keys. 1720
of
of
Hornbostel
its
as an
of
a reply
cause
sation
K. 87
Ponto,
aria
the
and
G minor.
enough
of
had
I
Significantly,
as
in
of
causes
Section
Tr6voilz
pal
V-i
of
status
significance
lower
the
articulated
tonic
of
period
In de
give
I
dominant-
a
Aspects
Each
tive
work
(373a)
rý-- di
a dominant
no G minor
Coajor
its
like
K. 379
than
other
sounds
unstated:
lined
- never
having
examples
Mitridate,
I)
anything
rare
eg.
-
from
palpita"
Chapter D-G
the
point;
introduction
orientated sen
this
at
princikeys.
the
not
or
intervallic
scale
affects, such
commentators
subjective employs
characteriterms
used
by
25
whenever
that
it
scales
he is
thinking
in
is
Obviously
in
the
key
Steblin
1983,
p.
the
tessitura
the
of
it
tonic
subjective
modern
is
meant.
between
a par-
which
organisation
no consistent
aural
key
through
that
of
characterisation
it
make
the
registral
therefore,
and,
53)
and register
correspondence or
af f ects
of
when -discussing
tessitura.
a specific
means. Intervallic for
reason
As
a
indisputable,
between
between
contrasts
The arguments disputes
rated
theorists,
pro
between first
and
were
contra
versus
treatises
the
directly was
pitch,
and
subjective
Century's
Rameau
in
out
played
18th
the
Rousseau
to
aural)
keys.
the
some of
never
absolute
rise
gave
are
therefore
were
as with
differentiations
these
conceptual
issue,
at
18th
the
differences
(and
engendered
cited
in
keys
submodal
structural
thereby
The matter
questioned. whether
keys
the
frequently
most between
fact,
demonstrable indeed
the
contrasts
aural
and
contrasts
became
variance
objective
Century.
and
most later
two
celeb-
prominent Kirnberger
Marpurg.
versus In the
cause
each,
pitch
employing or
the
of
can be no general
compositions
these
to
absolute
and
distinction
in
counterpart.
modal
concerning
modes
and medieval
ancient
a perceived
terms
be particular
there
ticular
has
(cited
to
with
Is remarks
Mattheson
he believed keys
key
Greek
ancient
clear
connection
a particular
Whereas in
in
theorists
earlier
his
Nouveau
intervallic characterisation
early
Systýýme (1726), variance to
was the
Jean
In
(1722)
Rameau maintained
Phillipe
responsible keys.
de 11harmonie
Traitd
for the
imparting G6n6ration
and that
affective Harmoniaue
26 (1737),
written
whilst
he denied
from
key
keys"
this
but
sound
Opposing
face, latter's
In
latter
the
declared treatises
of
Germany
the
Friedrich
Wilhelm
his
theories
later
Bach
and
they
allegedly
they manner,
in
ment
these
Rameau and
Kirnberger,
in
the
between
proponent
of
of
J. S.
student key
the
and
affects
unequal
was threat-
temperament,
believers
keys
the
sought
from
each for
a basis
means
other in
other the
an
continued
by which objective endorse-
qualities. in
mentioned f rom
for in
equal
of
of
provide
keys
between
adoption
to
arising
explanation
period
volte-
on
carried
temperaments
distinguished
order
Although
prominent
of
J. P.
and
qualities
be
could
contrasts
follower
differentiation
increasing
subjective
of
his
created.
by the
the
his
expressed
views
was
argument
unequal
of
the
in
Rousseau,
1726.
and
same
on key,
advocate
for
of
59).
p.
Rameau for
castigated
support 1722
Steblin,
see
intrinsically
"intertwining
the
Jean-Jacques
(1768),
characteri-
not
arose
tem-
unequal
affective
from
modes":
Marpurg,
When submodal ened
ly,
view,
his
in
of
latter
the
des
de Musique
and
a cause
compositional
("llentrelacement
Dictionnaire
as
temperament,
equal
differentiation
he believed,
Rather,
sation.
to
conversion
submodal
acknowledging
peraments,
in
his
after
18th-century
the
early
differentiation,
years
temperament
of
properties
subjective
the
sources,
the
of
was
in
19th
decline.
instruments, became Century,
key
objective as much
during
an
more which
27 The
Nature
Subjective
of
Returning tion, on
the
point
premise
subjective,
possess
what
because
the
of
keys
an "immanent
sec-
between
keys
to
induced
in
each:
of
character
aural
the
held
are
character",
contrasting
in
levels
conceptual
different
the
that
be termed
might
listener
and
this
of
differentiation
underlying
is
beginning
the
made at
affective
literature
primary
the
basic
the the
to
Characterisation
Particular (objective are ataural] characteristics is born the faculty tributed to the keys ... From this different the of of arousing chords with emotions keys. various DizioLichtenthal, in 1826, Steblin, p.
(Pietro nario, 160)
is,
This ist"
in
both
in
as embodied
in
purely
expression-
formalism"
"meaning"
as
the
nature,
"absolute
an
"absolute
see musical
non-refer-ential
meaning
terminology,
Whilst
viewpoint.
expressionism" and
Meyer's
musical
"absolute
and
internalised
basically
formalist
absolute
sees
whereas
relationships,
these the (absolute] that argue expressionist would ... same (musical, structural] are in some relationships in the feeling sense capable of exciting and emotions listener. (1956, Whether certain
sound
beyond
objective
emotional
generative key
the
the
states linking
theory with scope
sound
specific of
the
within specific subjective
present
of
a key relates the
states discussion,
causatively
listener,
structural
p.
such
that
configurations could
3) to a of
be derived,
is
as it
does
involving
28 psychological
physiological
and
as
well
musical
purely
as
considerations. Nevertheless Kirnberger's
temperament
an attempt
at
comments
on the
he proposes
in
such
purity
of
Die Kunst
triads
in
may be seen
a connection
from
resulting
(see above,
Section
the
1,2):
it
judging be for basic taken scales can as a rule ... that keys whose thirds the major pure are completely the quality possess mode, most strongly of the major the greatest and that even someroughness and finally keys farlike into ferocity thing those major enter thest The same must also be removed f rom this purity. keys: Those whose thirds assumed of minor are purest have the most gentle tenderness and sadand pleasing but those from this that ness, removed are farthest in blend the most painf ul and adverse purity qualities to this character. (1982, Whether
real
or
hypothetical,
as
subject
may be understood ous
concrete
1)
The
process: subjective
subject upon
and,
to
vari-
it
would
it:
first
the
theoretically
340)
process
a cause-effect
impinging
factors
mediating
distorting
seem,
or
such
p.
of
is
these
objectification
state
into
verbal A flat
also
a concomitant
and
concretisation
of
the
of
causative
induced
any
terms. Major
Pianissimo
it What is that me? rustles around so miraculously in Invisible down. I am swimming wings glide up and in fragrance. But the fragrance an ethereal shines flaming intertwining. They are circles, mysteriously tender in magnifitheir spirits, moving wings golden tones cently voluminous and chords. Hoffmann, E. T. A. musikalisch-]2oetischer in Steblin, c. 1814,
islers Klubb, p. 154. )
Kr
29 Given
the
richness
intracultural
state
finding
is
slight
indeed.
More
state
can
be
only
generation
of
state
-
above
point
can
question
be
the
and
Chief
among
the
fects
these
principles
is in
the
Sharp
the
specific
extracts
Schubart's from
mediate
in
matter
of
sharp-flat
effect
on key pp.
highly
and
Ideen which
are
between
engendered character
on
the
considering
by
this
outlined
much-copied
C. F. D.
(c. 1784),
is
then
the
any
sub-
given
objective terms.
verbal
which
polarity,
seminal list
influential zu einer
its
descriptions,
17 f-A
Asthetik
according example key
of der
of af-
Tonkunst
below: Flat
side
side
C major completely pure G major every gentle and peaceful emotion of the heart
F major complaisance and calm
D major key of the of hallelujahs
B flat cheerful
triumph,
the
-
subjective
variability,
of
representation
a highly
exerted
a key
of
a
meaningless.
presumably
characterisation
sound
this
factors
into
the
And
and
becomes
subjective
process
for
verified. richness
"correctness"
this
of
analogue*
logically
linguistic
on
Psychological
to
verbal
any
"reformatting"
accuracy
"correct"
a
never
of
jective
the
its
by
induced
representation that
given
and
given
any
of
fundamentally,
then
historical
linguistic
a consistent
apprehended
framework,
verbal
its
and
likelihood
the
variability,
subjective
language
of
major love
30 E major noisy shouts
of
B major wild passions, colours anger,
A flat major key of the the death grave,
joy
D flat major into degenerates and rapgrief ture
glaring rage
A minor tenderness of character
E minor innocent naive,
D minor melancholy
B minor calm awaiting one's fate, lament mild
G minor resentment, discontentj uneasiness, dislike
C sharp minor lament penitential
F minor
G sharp wailing
deep depression, of misery groans for and longing the grave B flat minor God mocking the world, preparation suicide
minor lament
Ideen, (Schubart, pp. 121-124) In what
such
Meyer
the
cases
refers
to
sharp-flat
as a "connotation",
is
polarity i. e.
and for
in Steblin,
functioning
as
31 in common by a those which are shared associations ... Connotations the culture. group of individuals within are the result some of the associations made between aspect and extramusical of the musical organisation Since they experience. not only are interpersonal, be common to the the mechanism must of association but the concept given or image must cultural group, have the same significance for all the members of the is to some extent The concept group. must be one that it must be a classin cultural thinking; standardised for, has the same meaning that and produces concept in, the same attitudes members of the group. all'the (1956, It
is
a "pure"
imagery
listener for
requisite
3) ent
the
the
he was triads
i. e.
-
as is
nierung, also
only
to
the
on
the
verticals
in
13 tation
of
"the
faculty
by the of
affects
inseparable
Hoffmann
and
compositional
understood
differ27 above)
p.
isolated
from the as
above
cited
extract
tonic
AuskomPo-
horizontal
to
Consequently,
be
(see of
resulting
must
a pre-
arousing
keys"
the
course
of
sounding,
of
characters
subject
keys 13
various the
not
character
non-compositionallyteristics
connotation.
of
by
displaced
key
lin-
of
assuming
particular
to
referring
articulation.
key
may be
this
chords
implied
compositional ture
spoke
factor
mediating
of
operation
with
not
the
of
of
any manifestation
polarity,
sharp-flat
aware
When Lichtenthal emotions
(the
notwithstanding) of
is
that
suggest
relationship
presentation
powerful
to
unreasonable
cause-effect
guistic
the
not
258)
p.
their
in
sound
primary
literaby
influenced key
ly-mediated
but -
both
charac-
combination.
The objective differentiation of presupposes compositional articulation.
keys
by
instrumen-
COT51
Df fve+"Caor-
tj C,n C.7
32 Whilst presumably the
of
but
real
affective
keys
of
key, of
a key
- are
the
articulations sense
despite -
the
of
no two
that in
perhaps
except
to
refer
expressive
fact
the
discussions
frequently or
is
sources
primary
19th-century
early
some way illustrative
a particular
kerian
18th-century
unstated,
qualities
as in
works
influenceton
the
the
of
specific character
compositional deepest
Schen-
same:
The music lover the best and budding can obtain artist instruction in the characters practical of the keys if he studies the works of our most used by composers best in particular, their composers, vocal compositions. (J. A. Schrader, chenwbrterbuch in Steblin, 1827,
Taken theorists
to such
its
logical
this
conclusion,
as Ferdinand
Hand to
TasKleines der musik, p. 177)
enabled
viewpoint
that
claim
An educated the key of a piece musician will recognise but f rom not f rom the interval and pitch of the tones, the character the composer that of the piece, provided has carefully it. preserved (Asthetik in Steblin, The tinction and
that
question
then
between
a work's
resulting
from
arises
as
subjective purely
to
the
possibility
content
compositional
1837,,
der Tonkunst, p. 151)
resulting processes.
of
a disfrom
key
33 In order to discover the property, the character of a key, one takes in that for their key, pieces searches that character and then believes of when the character the pieces has been found, that of the key has been found-at the same time. But - is the key the only thing determines the which of a piece of character Do not the meter, [and other music? comporhythm factors] sitional also contribute something? "Etwas (G. R. R (unknown) r, .... in Tönen und Tonarten", von der C. F. Cramer's Maaazin in Steblin, 2/2 (1786), Musik p. 118)
Compositionally stood
in
ence, tions",
terms
generated of
Meyer,
derived
from
John
after
J. T.
s theory Dewey's
of
musical
1894
may be under-
content
subjective
experi-
affective
"Conflict
Theory
of
Emo-
MacCurdy.
law is the that of emotion affect which states ... is a is inhibited, to respond evoked when a tendency in general to human psychology proposition relevant all realms of experience. 1956,
(Meyer A "tendency
to
is
respond"
defined
22)
p.
as
or mental of regularly coincident ... a set or series into motor responses as part which, play once brought follow of the to a given response a prestimulus, in inhibited viously ordered course, or blocked unless some way ... all whether automatic patterns, response natural tendenIn a broader or learned... all sense, cies ... are expectations. (ibid., If
a tendency
prevented of
inhibiting
affective
from
-
as activated
reaching factor,
experience,
by
resolution the or
tension
a (musical)
and that
be objectified
stimulus by
conclusion results as
-
is
some form
may give
"embodied
24)
p.
rise
meaning"
to -
34
a purely
ly- located
musical
system
of
re-
expectation-resolution
sponses. Though differentiated they as are psychologically both depend upon the same perception responses, prohabits, the same stylistic the same modes of cesses, mental processes same musical organisation; and the to and shape both types give rise of experience ... but different (These are] ways not different processes the same process. of experiencing 39-40)
pp. The states
nature
aroused
penetrable. tween
two
Centuries, keys
in
to
Estimations
of
from
that
expressive
factors
intrinsic
mentator
as J. J.
such
"a characteristic A flat
major
14 of
of
subjective
a
This
the
the
one
at
nearly
of
and
the
extent
other, in
to
which
a composition varied
that due
entirely keys"
possess,
14
sable"
a rejection
if
to
a comthat
transposed (Ober
die
of the
to
than
rather
who maintained
C major
unrecogni
19th
who believed
of
the
early
relationship
was
might
course,
18th
extreme,
they
piece
a
of
this
"intertwining
Engel,
constitutes, key content.
be-
composition
content
become
relationship
to
of
at
instrumental would
of
content
balance
Rameau,
affective
im-
a sensitivity
the
-
be inherently
in
expressive
and
seem to
concept
evidence
of
the
of
would
the
content
compositional any
alone
in
form
the
contributed
widely, the
key-sound
was much
subjective
any
(tendency-inhibition-affect)
Nevertheless,
the
between
relationship
compositionally
from
any arising
the
of
to musi-
concept
35 kalisch
Malerey,
opinion,
such
in
1780, that
as
Steblin, Antonio
of
96)
p.
15 . held
Vallotti,
intermediate
An that
As necessary, key the wise composer then chooses that he has the kind of composition which best which suits to write. teoriiý -scienza della musica, moderna in Steblin, p. 69)
(Della p=ica 1779,
This
defend
or
Given of
a key
ture,
that in
therefore
subjective
"Mora, opera
Iphiaenia
alters
the
key
maintained
that
of
change. is
affects the
to
Kirnberger's
Iphigenia",
in
in
key
the
submodal its
that
this
oft-quoted major,
view,
from
quality struc-
subjective transposed, key-derived
generated remarks
systems
qualities.
aural
objective
that
override
E flat
tuning
composition
Consequently
using
arguments
unequal
changing
particular
held
by
subjective
of
Take mora,
of
existence
by
content
sitionally.
the
in
keys
temperament
unequal
and
between
transposition
adherents
character, would
refute
illustrated
further
differentiation
submodal to
is
principle
compo-
concerning C. H.
Graun's
(1748):
Just into try D or F major, this and transpose chorus and I will ask each person some diswho has merely it is not the effect criminating that ability: produces in D major to the effect of a student similar in Does it not sound like hunting march? when piece a F major? (Vermischte in Steblin,
15 is read factors tion of
Musikalien, p. 81. )
1769,
Subjective than objective content, rather contrasts, if is so, then compositional to here; as referred this in Engel's would to a posiseem to be relegated, view, little importance.
e
36 In basis
the keys
to
opposition Marpurg's
of
Kirnberger, critique
of
by unequal
as engendered
the
same argument
affective
is
used
as of
characterisation 16
temperament:
If a composition when only produces effect a certain by one particular tuned performed on an instrument it have the desired method, will when performed effect tuned? has been differently on an instrument which More likely, it will to shame, who, put the composer forsaken in the by art refuge and genius, must take things most circumstantial world. of this der theoretis(Anfanasgründe 1757, in Steblin, chen Musik, p. 79) the the composer must character obtain ... formation the the piece, of a passion, from the than expression, sources other hammer or cone. powers of the tuning
his of of power creative
über die (Versuch Tempe atur, schen Steblin, p. 87) Here to
compositionally
4)
Returning
32 above), must
derived
that
override
it
to
Schrader's
is
clear
be admitted with
articulation
of
thus
late
the
the
composer
seen
key
is
the
generally.
directive
subjective by
the
could not, and did thereby created.
factor
the
compositional
structures
of
of
The verbal
those
character
text
associated
" co -mediating"
factor
influencing
of
an
of
(p.
compositions
vocal
content
mediating
assumed
to
reference
that
as capable
perceived
16 He differentiation
the
held
key.
as a powerfully
associated
are
from
is
content
subjective
generated
musikali1776, in
of
chosen
a key
author
of
not,
dispute
a
to
a text articu-
- especially particular
the
objective
if key
37 description of
the
text
Having a
given
to
have
in
some way.
having
pitch-level, strating of
these
that
parameters
variation
in
outlined
above
descriptions
sound
by the
is
key that
is
structures.
complexion,
then
produce
within
and
between
sharp-flat
the
-
and
within
change
demonin
any of
periods
imparted is
to
as
-
key
to
synchronise
description
between
the
relate
time
key
of
given
or
to
as it
polarity,
a
at
a modification
consistency
inconsistencies
collection in
presented
Imputed given
in
subdomain
associated the
structure,
difficult
of
Steblin to
my Appendix
time
on the periods
-
of
key
key
representations A ("Catalogue
Appendix The
of of
characterisations
G
2.
Subdomain
incorporates with
verbal
1983,,
Keys").
The Objective/Structural.
This
submodal
as
to
key
a
if
that
do occur.
Characteristics
III
to
appear
13 ff.
with
A comprehensive
are
-
content
be understood
will
logically
occasions
these
minor
specific
on pp.
not-infrequent
affects
were
would
key
variations
when
state
would
It
state.
such
it
instrumental
the
"complement"
points,
a particular
a certain
to
above
made the
subjective
key
the
chosen
instances
specific
has
a propensity
The
latter
musical to
elicit
may theoretically UNIVERSITN LIBRARY LEEDS
where elements, certain range
a particular in
the
sense
compositional from
the
very
38 general,
such
organisation,
to
the
very
devices
structures, of
designations
as
intermediate
erally
the
of
such
phenomena,
present
in
-
figures,
concrete
association
period study
as
all may
or
or
style
the
work
textural
and
incorporates
and
This
historical
a
tempo,
meter,
specific,
formations.
within
concern
and
of
of
manner
occur is
as
-
genthe
individual
an
composer. It potential
elements
the
only
most
application
determinant
in
tend
which
to
that
certain
of
key characterisation,
the
for
very
specific
function
the
features
widespread
Seen in
such
a compositional
of
invoked
are
are
elements
characterisation.
in
appear
list
above
a predisposition
key
ascribe
the
in
one
key
another.
Generalised
The most
comprehensive in
characteristics der
Tonarten:
its
basis
-Eine
a sample
Classical
Klavier
These
have
within
the complete
the
is
of
by
key-organised
of
advantage
individual
of
piece, of
by
preludes
monograph
Der
Mies
This
Iýaul
cyclical
(Group
periods
brevity,
and consistency (Group
II)
as
Baroque, WellChopin.
and
unity of
takes
Bach's
Clementi
Hummel,
Character
from
works including
I),
relative
Beethoven
key
objective/structural
1948
the
Untersuchuna,
and
works
survey
general
and Romantic
Tempered
The
have
conversely,
to
not
of
objective/structural
composer-specific
we may
that,
suggest
generalised
to
terms,
to
of
and,
restricted
1)
logical
seems
style
of
instrumentation. and
Brahms
(Group
39 III)
are
also
to
enlarge
a key
has
considered
the
scope
the
of
compari-
sons-. According
to
Mies,
a definite
character
if 1. in that key has a a large group of pieces factors (mood, idea) common content and common musical (tempo, melody, rhythm and the like). 2. into if such factors Also, several can be ordered in which perhaps different [aspects] groups, of sides a characteristic, characteristics or even different can appear. 3. The number comparison with
in such groups of divergent is small. the [total] group
4. The choice of works be arbitrarily and cannot the investigation.
examined altered
in
works
has been independent during the course of (1948,
Later, ducing
the
he expands following
the
concept
of
"Key
character"
p.
by intro-
terms:
1. By the Basic Character of a key [Grundcharacter), in a [parI mean if a larger closed group of pieces ticular] key has, in connection with musical elements feelingsuch as tempo, meter and the like, a definite and mood- (expressive] In association with content. different for and slow elements even meter example tempo, key can tempo -a or uneven meter and quick have several Basic Characteristics. 2. is valid If such a Basic fundamentally Character for only a (specific] or for a [specific] composer it is described period, Phase [Stilmoment] as a Style form of expression and stylistic [Ausdrucksstilform) of the composer or of the period. 3. If the Basic Character is valid tal literature the part of under to it as a General shall Basic refer rrundcharacter). meiner
12, m
for the fundameninvestigation, I Character (Allae-
40 4. in a key have - without If the pieces consideration of tempo, meter and the like, on a large scale and in the course of a long period of time - the same then this the expressive content, would represent General Character [Allgemeine Character] of the key. (ibid., Despite
his
to
claims
however
objectivity,
-
"Scarcely has attempted any previous work itself free from chance examples, subjective to such a degree. and preconceived opinions
keep to attitudes " (ibid.,
-
his
definitions to
reference list
his
of
Character
16)
p. is
Nevertheless,
respect
to
mining
is,
which
(4 above),
part.
the
feeling-
particular[
keys
of
a considerable
definite
"a
This
able.
to
are
his
course,
not
so
in
case
in
which
of
is
orientated
features,
musical
factors
objective
also
the
play
no with
material
deter-
toward
restricted
a rather
of
albeit
Allaemeine
the
of
the
verifi-
objectively
investigation
Grundcharacter
concrete
the
by
in
(1
mood-content"
of
228)
p.
compromised
extent
and
16)
p.
nature. The tables
results his
on
translation detailed
Appendix
1
of
the of
Extract
To take
2. in
some by ate,
the uneven
tempi.
The keys;
Appendix.
condensation
these;
works meter, Mies
adds
time to
Group signatures these
this III of
objective
are
is
given
in
in
given
is
keys
minor
contain
186-189
pp.
of
the
176-185
pp.
on G minor
the
f rom
which
of
tables
covering
example
comprising
tables that
The
that an
from
in
collected
are
extracts
3.
on the
commentary
tract
minor
176-189,
pp.
in
investigations
the
of
are
the
key
(Brahms)
is
marked
or
6/8
features
a in
given
table,
2/4
Ex-
B
of
in
and moderthe
sub-
41 jective
interpretation
which
is,
nated
as delineating
for
ultimately,
this
but
"painful,
gentle,
features
These
meaningless. a Stilmoment,
and
charming"
even
therefore
are
desig-
are valid
only
composer.
Composer-Specific
is,
This It
study. validity for
of
a Basic
a (specific]
the
objective/
to
"only
for
(ibid.,
with
which
he
the
present
p.
Style
Mies's
but
the or
composer the
without
distorts
this
of
Phase
a [specific]
16),
period"
purposes
to
or
composer,
of
his
working
subjecthe
attenuates
and
(above,
common to
all
predominant
with to
reference of
the
work
the
this
"very
are
only
the
recurrence
of
composer
a class
in
of
concrete
cases two.
of
work
the be
course,
or
exclusive
only
keys. the
at
mentioned
clearly
the
period
of
minor
other
elements
individualised in
works
specific"
an individual very
his
to
respect
in
made in
not,
key,
the
exclus-
a particular
need
a
as
either
distinction
the
in
works
defined
key
during
features
such
composer's
section,
of
are
5),
to
is
which a specific
or
Referring
p.
the
in
throughout
be
may
structure
employed
either
a composer-specific
study,
characteristic
musical
life.
Prologue
ing
of
predominantly
the
these
key
element
of
latter
of
structural
distinctive
if
essence,
body
main
concept. For
ive
the
of
subject
Character
indefinables
latter
in
corresponds,
of
tive
the
course,
figures
includes self-quotation,
With openwithin
- when
the even
42 I now consider tive/structural
key
conceptual Fig.
the
relationship
of
characteristics
with
Consider
elements.
certain
and
subjective
illustration:
following
the
objec-
composer-specific
1.4
Subjective
objective
J%j
VOCAL 5&(Ar-L
e6c4Fif,
MOOD
Of-
as 5-neva.,
&M07100-N L
ok
oevci-5,
Kil. T&"l mus, lu (- Vi4L4C-5, FATIVIV-Sl,
c(>lctpl
Plrrecr,
ft$SOC'A
CjrAT6
By the or
association
emotional
conscious
or
guished
is
states
meant
subconscious
with
affective,
states
which
may be
induced
by
being
personal
rather
than
mediated
in
mediating
factor
objective
contents
have
defined
vocal
been
it
(although
nature
in
may,
the
of of
is
It
in
the
to
be distin-
or
conceptual
the
mind
(right-hand
connection
a composer.
any
concepts
affects,
specific
a private
- of
from
clearly
key
of
-
emotional
sound
objective
mind
of
a key,
psychological/physiological course,
have
the
composer).
portion)
of
the
functioned The
objective
a
as purely sphere
above.
A means
of
relating
music,
in
which
the
two
compositional
might
be through structures,
the explicit
medium
of
(ver-
43 bally
articulated)
poser
associated
to
concepts a key with
that,
assume
he
text,
particular other,
the
as
if
similar
a
concepts
composer's
I
operatic
This basis
of
of
Werner
states
is
It
important which
key/concept found.
to
the
admit
above, of
any
p.
29),
it
in
Tonartenis
keys
to
occur,
employing represent of may be
exceptions
is
is
music
specificity
to
references
influence
their
tend arias
and
numerous
the
emotional
compromise
frequent
in
of
necessarily
doubtless the
und die
these
that
note
very
vocal
they
Lieder
of
obviously
possibility
1948
220
condensation
refers in
characteristics p.
texts
or
situations,
which
with
gain
association
in
Mozart
the
would
Schubart's
unreasonable
not
on the
of
selection
examples.
Mies
of
I.
any were
key
"characterisation"
connection
(see
characterisations
2 Section
a
as it
same same
such
of
given
the an
study
the
associations:
Furthermore,
LUthy's
1931
to
the
association
concept-key
the
on
generalisations,
key
in
principally
them.
Chapter
which
and concepts
based
in
identification
the
essentially
shall
than
long
as
in
set
identify
LUthy's
in
characteristik,
be
to
in
concept
rather
expressing
a com-
reasonable
This'assumption
so.
texts
of
music
principle
do
found
were
works.
Mozart's
the
number
to
key, text,
that
is
that
of that
setting
feasible
compositionally validity
when
it
concept,
choose
If
synthesised.
articulation
would
tonic
are
a specific
the
given
key
and
the
sets
a
of
the
to
LUthy
works
of
selection appropriate
in
his
Mozart of
(pp.
LUthy's material
of
consideration 219 ff.
His
table
alongside
results from
).
key
his
own
earlier
a
44 tables
of
in
3)
186 ff.
pp. to
order is
It
of
emotional
mixture
for states
of
the
objective
with
a
from
a wide
variety
to
inf luence
ter
(which
part
of
a key the
istics), factor
of
compositional out
by the
text
in
the
and
with
between
the
two
(see
articulation remarks
lat
sharp-f
basis of
above,
concerning
non-
sources
and
principle
p.
17 ff.
terms
of
). an implied charac-
subjective familiarity
the
key
character-
co-mediating
mediated
36).
the
on
key
of
p.
it
be ascribed may -
subjective
characterisations
following
music,
perceived
the
derived of
in
a
together
character,
a general
being
with placed
pieces
above,
prevalent
is
much
be seen
presupposes
assumption
text
(see
may also
composer
this
of
associations
between
their
the
a collection
music,
C and D majors
composer
of
associated
various
correspondence of
to
amounts
from of
irrelevance
the
see
composers,
cases
procedures
comments.
operatic
data
3 (Extract
Appendix
frequently
concepts
other
on the
compatibility of
what
of
the
psychological LUthy's
alongside
composer's
of
in
notably
other
to
interpretation
subjective
- most the
difficult
musical
The f ew points
vocal.
LUthyls
and
in
keys
particular
of
however,
not,
in
given
also
a flavour
give
juxtaposition,
this
is
This
This
by
their
is
borne
C minor:
is on Corresponding dark C minor to its characterl for the representation occasion and of pain employed despair, to the key is entrusted and in many cases dark thoughts of death. (1931, As sonal select
stated association a certain
this
earlier,
key
is
which
may
for
particular
quite have
p.
85,
f rom
distinct prompted
situations.
my emphasis)
the
any
composer
perto
45
key
The question
then
arises:
associations
be
transferred
Mozart's
instrumental
heimer's
injunction
to
what
the
to
-
key
kind
of
In
the
to
understood
the
texts of
as in
such
pieces
with
such
some
way,
which a
Hildes-
mind
an
for in
in
form
is
the
(1983,
p.
repre-
emotional
certain
of
be
then
which
composer
objectification
some
vocally?
might
work
164)
a 11subtext#@
of
associated
the
to
the life
as making
the
key
the
to
a clue Mozart's
interpreted
connection
"symbol"
a private
be
perhaps
statement,
context
sents,
in
choice
aesthetic
analogous
in
that
looks Whoever to the choice of key expression of emotional experience be on his guard. should
can
to
realm,
non-vocal
Bearing
compositions?
personal
such
can
extent
states. In LUthy's
his
to
response
an
implicitly
HI mit-King
study,
article
by
F. O.
takes
"Reminiscences in operatic of methods have guided in his Mozart selection instrumental great works. "
up this
marks
on the
which
have,
two
of
C minor
he believes
such
may his
1933,
p.
203)
but some of highly probable, to be reconsidered and require instruto his can be extended
is
ý14jp: tE-King As an example
point:
situations of keys for (Souper
is correct That this Dr. LUthy's conclusions before this modified mental works.
discussing
Souper
"modification",
Piano
Fantasias,
consider KK. 396
p.
153)
King's
re-
1936,
(385f)
and 475,
46 dark is into a grandeur which resolved something ... is approaching a tragic mood, but the whole impression into that their more passionate outbursts are guided channels of resignation and repose. (ibid., Here
any
basis
on the
subjective, of
security
King,
works.
fusing
the
ter
of
a work
interpretation
key
with
specific
consistency.
between
a particular
"Mozart's
Key that
the
is
deliberately, subjective
key
with
the
association
states is
(1977,
composer
or
uses
pp.
as
content
expressive
perceived
confusion
Choices"
the
the
subjective
A similar
by a necessarily
negated of
haplessly
either
distinction in
is
in
20-24).
of
Mann's Of
con-
charac-
by
signalled
evident
154)
determinable
association
consistency
unempirical
these
asserts
textual
of
key-concept
of
p.
that
textual survey
of he
G minor,
it
for anger in the symphony in 25 173dB, K. Arminda's ... no. 13 of La finta "Tiger, giardiniera; and in Zaide's in the first wetze nur die Klauen", movement of also the K. 478 piano quartet of the and the middle section in K. 466. is the romanze A particular comic usage in Die Ententry song of Osmin, "Wer ein Liebchen" I Uhrun ; there is a hint comedy in the of sarcastic finale think. of the 40th Symphony K. 550, I sometimes Mostly is, G minor for Mozart, key for the nonpareil ich melancholy fUhl's", the Paminals "Ach or pathos first Giunials movement of K. 550 at least, to prayer her father's in the first finale [Lucio] ghost of Silla, Ilia's "Padre, Constanze's "Trauriggermanill, keit". Sometimes is a superficial the sadness melancholy, die "Schon ] schldgt as in Mme. Herz's (sic. Abschiedsstunde" Cund Bastienne] or Bastien no. 14, or the slow movement of the B flat K. 456. piano concerto 23) Once again vocal
works
are
music,
in
addition
subjective
states
baselessly
attributed to
expressed
the
usual
to
subjective
in the
texts
of
G minor interpretations
G minor absolute of
47 instrumental on
4 is
p.
in
A more to
a similar
sense the
whether
articulated
mediation
Einstein
reconciling
the
way
of
the
subjective, in
non-vocal
contexts
of
1946
twof
emotional
textually in
operative
from
extract
cited
above
vein.
empirical
determine
states
The
works.
Mozart's
vocal
composer-specific
attempting
and
conceptual
music to
seems
of
in
are be
me to
some
through key
objective/structural
characteristics. If
a
tive/structural ticular
key
figure
form
of
in
connection
this
for
I shall in
points
the
study,
subconscious
of
significance
a few and
is
it
such
these
that
some
is -
being
then
a matter
of
to
the
ascribed at
associations
will
of
appearance
indicate
might
a par-
with
explicit
association,
degree
identify
this
or
objec-
prominent
associated
the
work
- conscious
as to
connection. priate
instrumental
precondition
interpretation
is then
concept,
an
highly
and
characteristic
key-specific
that
Given
delineated
strongly
be evaluated
made.
approin
the
Conclusion.
Cooke
Lastly
on
from
The
this
Matter,
Language
of
the
consider music:
.
following
remarks
by
48 keys must Memories of the expressive uses of certain by the association themselves together, also attach of feelings, and these groups must also attract memories lifeforming the thereby of and art-experiences, in composers, between well-known associations minds keys and certain Owing to individual certain moods. idiosyncrasies difficult these to associanalyze, but from tend to vary to composer, ations composer is a large there (owing to the measure of agreement historical instruments development of key signatures, f or the " common "C minor, etc. ): the " tragic example, light D major, "brilliant" C major, the and of day" in view of the "luxurious" Naturally, D flat major. this, be attracted basic the various terms with will key areas. to the different greater or less intensity (1983, Here,
the
determined
only
by
the
(see
tonal above various
his
of
in
general
connection basic to
have
terms the
non-vocal
with
Mozart.
will
be
different
designated
a similar
key
objective/
the
In
attracted areas", structural
that
greater is
western outlined
that
suggesting
Cooke
and
the
to to
with
to
an attempt subjective
applying principle
last
expressive
may be seen-as
works,
the
configurations
certain
determine
to
structures
repertory in
with
is
-
in
to
pitch
text, They
of
possibility
referred of
175)
clearly
idiosyncrasies"
a collection
3).
the
and
terms"
with
Chapter
content
intensity what'I
contiguity
compositional
conceptual
are
is
keys"
certain
"individual
, basic
extract
of
polarity, -
The
by
associated, concepts
sharp-flat
to.
of
use
associations
alluded
sentence
use
the
key
personal
"expressive
p.
or
referring
key characteristics.
"the less to
49 Finally, marised 1.5
the
diagrammatically,
overleaf.
points
principal in
the
of form
the of
Introduction a
"mind
are map"
in
sumFig.
ST
COPY
AVAILA
L
Variable print quality
AjýX:-5 I
IC
117 MIA"
'41
I
0.
11
Cl
r
ý
IP
I
cl
Z:
7
tj
IL
JI
5
r
0
"0
z
51
Chapter
Preliminaries
One
52
Chapter
One
Preliminaries
Contents
Methodology
53
and Outline
Formal considerations Minor mode
in
the p. 56
53 I
Methodology
In its to
and Outline
the
common with
inception
as a discrete
contemporary
toward
tendency
investigation
the
repertory.
However
justifiably
held represents
rhythm,
texture
reasons
of
present of
the
I do not
aspects
of
would
surely
provide
material
means discussing
every
study
cover
naturally
paying
music,
arias
piece
the
work
some kind
of
of
if
accommodation
not
1
-
levels
structural
harmonic
Schenker:
framework
analytical
events
See Rosen
love
limitations
or
loathe Here in
1976,
pp.
33-36
in
the
it
by for to which
by no
key,
this
selection, more
stimulating
it, it
is
respect
to
can
music
works
and
ignore
the
one has to
as a basic
taken of
reach
the
concepts
as a determinant
motion held
insights
tonal
decade. tonal
it.
with
of
Although
instrumental
of
particularly
by the
later,
to
and
detail
representative
and contrapuntal
its -
outweighed,
of music
last
composer's
most
all
1.
Appendix
G minor
great
analysis
of
studies.
attention
the of
separate
a
widely
any great
G minor,
section
hopefully
No pitch-orientated theoretical
or
is
chosen
structures
in
in
listed
particular
especially
operatic
is
music
in
myself
for
its
Consequently,
versa.
music
in
- perhaps pitch
Century directed
it
of
vice
Mozart's
19th
early
essentially
18th-century
from
writing,
configurations
address
latter
to
is
study
than
these
aims
the
articulation
and dynamics
The G minor
in
pitch
late
most
more
space,
analytic
much an oversimplification,
that
- music
music
discipline
the
work,
of
be at
provides.
and Narmour
least 1
1977.
balanced,
of
54
in
As stated the
principal
concern
compositional with
Section
teristics"
provisional
III
the
of
G minor.
To this
takes
basic
Surveys
larly, _of of
the
solo
of
arias,
and minuets
G minor
sonata as
These
discussing
features
of
the
of
G Minor
3 constitute
7 surveys
tion.
considered,
works
termed,
Key Characin
predominant
or
discussion
2 and
Chapter
analysis
to
specific
the
G minor
in
music
here
music
forms:
Chapters (mainly)
end,
G minor
the
of
"Objective/Structural
exclusive the
discussion
the
identification
latter,
Comparisons
and
is
study
111,2),
and Section
(Prologue
common to
to the
- aspects
two
this
of
structures
a view
in
Introduction
the
music
in
trios
comparisons
which
of
organisation susceptible
are of
music
of
common funcmethod,
a paradigmatic a
of Simi-
respectively.
sections,
follow
terms
and
structural
spans
generally
Same Type
the
and compares
discrete
chapters the
and
the
of
overviews
development
large,
Pieces
number
of
fundamental
criteria.
Considerations
To examine
Isolated
of
Techniques
f irst
complement
the
particular
localised
minor
music
in
variety
of
genres.
general,
and
Chapters
approach, techniques
drawing
in
Devices
and the
4,5 in
devices
process
from
a
and
6
the
G
wide
55
By
way
preceding minor
of
Chapter
chapters, the
work,
String
non-Schenkerian In
features
necessary
periodically
G minor.
These
of
career,
to
than
for in
the
G. all
is
a large
G
a basically
It the
of
what
Fig.
i. 1 in
I
of
keys
and C and
it
be
will
other
than
the
"Com-
term
which,
the
of
keys
shall
a tonally,
a large
minor
def inition
movements
sample
spans
the
movements
of
is
list,
key and predomi-
exclusivity
begin
from
a group
movements keys
of
to
refer
be drawn
This
contains
movements
of
the
objective/structural
to
representative
tonalities
of
from
1787,
of
Introduction's
an exhaustive
other
is,
the
will
Group".
instrumentally keys
K. 516
question
that
-
border
no means
basis
an analysis
vis-&-vis
the
with
innermost
parison
theoretical
8 presents
Quintet
deal,
to
order
of
the
standpoint.
characterisation, nance
to
contrast
a
by
although
and
chronologically Mozart's of
portion
the
by the
employed
reflects
the
D minors.
It
in
music
composer's composer
predominance is
minor
shown
in
as of
Table
2 1.1:
2
in in
The minuets and trios Chapter 3 are chosen, on similar Appendix 5.
in
other criteria,
keys discussed minor from the list given
56 Table
1.1
Work
Kbchel
String Quartet Piano Sonata Piano Concerto Sonata for Piano and Violin Piano Sonata Serenade ("Posthorn") Sinfonia Concertante Oboe Quartet Serenade String Quartet Piano Sonata Piano Concerto Piano Concerto
K. 173 K. 280 K. 271
IV I, (189e) II
II
K. 304 K. 310
(300c) (300d)
I, I,
K. 320
V
Piano Adagio
ii
K. K. K. K. K. K. K.
Concerto for Piano
Formal
terms
concerned
of
18th
the
briefest
phonic
4
the
III
in
the
in
are
is
in
the
See Ratner See Rosen
it
is
1980,
Mod
Chapters
2,3
n. pp.
the
18-21.
D F C
1775 1775 1777
E A
1778 1778
D
1779
C D C D C D F sharp C B
1779 1781 1782 1783 1784 1785
216.
1786 1786 1788
and 7 These 3
or
in are
context, all
"three-phrase
archetype
conceptions
grandest,,
p.
Date
formal
generally
1,
Key
here.
formal to
1980,
Minor
principal
theme which
IV IV
"two-reprise"
influencing
variation
II III
outlined
so-called
which
II II I, it
I,
material
reference
Century,
allegro,
3
set
with
late
(320d) (368b) (384a) (417b) III I, I, IV II
K. 491 K. 540
to
4 form,
binary.
364 370 388 421 457 466 488
Considerations
In order a few
Number
most termed
in
music
elaborate "sonata
of
the from sym-
form".
57 I shall
briefly
a consideration in
the
Fig
the
of
minor
its
trace
It
mode.
fundamental
deep is
in
aspects
structural
5
follows:
as
constructed
form
the
of
possibilities
frame
to
order
1.1
First
Minor:
i
Major:
Iv
Second
Reprise
Reprise
loxes
III (v) (i)
loxes
Commentary
1)
form
The
three
subsuming ment"
form
rondo
refrain
2)
In
V-
this in
usual
the
of
are and
major
is
almost
the
aria
two
In in
continuous;
key
the
first
and
the normative
are
the -
or
it
in
second regions
repeated.
usually
closes
sonata
may remain
are III
moveminuet,
allegro,
usually
case
"slow
and
aria
sonata
reprise
invariably minuet
the both
theme
variation
the
"reprises",
or
sections
principal
periods.
principal
they
In the minor,
5
consists
allegros in
in
on or
the
- again
and tonic.
almost
After 1980, 12 and 13, and Allanbrook Ratner Chapters 1983, pp. 340-341 These commentators use the term n. 5. often "key area form" in recognition for extended of the applications, factors primacy those of harmonic of theme and and tonal over periodicity.
58 invariable
in
the
minuet
or
i.
3)
-v
With
opening ff.
).
the
This
first
first
of
studied
second
to
that
The 18th-century 1755., saw this
to
one
three
of
Italian
pp.
209 the of
Joseph the
with
motivic
Riepel,
in
structure to
which
in
developmental elaboration. his
Grundreaeln
as often
conforming
he ascribed
pictorial
names as follows:
Ponte:
A (home)
Fonte:
A (sequentially)
It
is
more
background the
theorist
patterns,
the
closing
material
extended,
functions
basic
A (sequentially)
a
when
of
and
recapitulation/restatement
tonal
component
Monte:
in
is,
It
articulating
of
the
aria
(1980,
11X section" the
the
designates
Ratner
from
connection
reprise.
character,
as the
opening
in
and predominant
neutrality,
reprise
the
effects
reprise
the
sonata
a term of
allegro
dominant
fruitful
descending
to
take
fundamental
Consider in
Free
motion
link
Riepells
sense,,
and middleground
minor.
as given
rising
structures
Schenker's
Composition:
to
motion
nomenclature designate
background
recurrent
certain
underlying model
it,
and apply
these of
forms
sonata
in
form,
59 Ex.
1.1
tv
Xýf
(1979,
he maintains,
As the
bass
The in
1.1,
here,
motion
linear
represents
logically
III
and V with
Ex.
1.2
prepare
the
transposed
transfer
of
is
often
51
octave
doubling
in
third
passing
the
C as the
tone
preparation
with the
between of
a brac-
usual
the
an
roots
bass of
iv:
14 vi
5 here
octave"
may function
A
5/i
by
A
"transferred for
of
root
[from
octave
replaced
the
ZAT The
the
progression
filling
G minor)
to
§ 98, p. 39). A #\ 3-51 marked
(1979,
progression"
ascending
Ex.
to
upward
linear
ascending
ket
V,
of
direct
w-
26a,
Fig.
"The
ý
ý
at
the
start
of
the
recapitulation
not
only but
as a also
60 A
as
a cover-tone
This
over
disposition
fundamental
ing
only
Ex.
1.3
line,
the
is
available
the
transferred
tone
as a cover
211/V,
pre-interruption
to
to
A
211/V,
compositions
octave
in
if
present:
such
cised to
the
generally Ex.
the degree interpolated
as a basic
middleground of
elaboration, between
iv
feature,
by interpolated
and V* prepared
eliminate
upon
versions,
is
dominants
additional elements
of
this
1.4
0-T. --....................
ý
PN = passing-note
(ibid.,
Fig.
the
1b
by
the
5-6
in
the
further
gives
way
first,
primacy
articulated
introduce
1),
(590d)).
5 text.
true
the
harmony of 516
bar
to
or stated
a harmony
See Chapter
secured
1 Section
root
harmony
Fig.
1 a,
this
a lower
a dominant-
11,3.
interruption
Ex.
1.9
ultimate
order. these
whether
functioning (173dB)
(KK. 478
and the
A
the
substitute,
G (KK. 159 11,183
by
to
pro-
structural
dominants, I),
on
of a sufficient-
subdominant
bar
pre-double
(K. 183 (173dB)
tonic
implied
or 5
of
tonics
the
principle,
or
Schenker's
structural
the presence
given
subdominant
post-double
same is
fundamental
general
a
and
reduction,
the
of the monte ascent,
well
B flat of
stage
as
in
represented
over
motion
III-(iv)-V#as Indeed
relegates The
second
a motion
gression.
ly
interpretation,
Thus
1
Fig.
IV,
1,312
associated
469
with
Two
further
this
development A
to
sion
5
in
upper 4:
substitute dominant
creating
turally Ex.
II
subdominant
of
a span
is
is
voice.
As
leads
by ascent
of
bs.
music,
in
considered
first
The
section.
the
be
to
remain
points
connection
linear
the
progres-
mentioned to
the
authentic
134-146,
the
above,
sub-
is
that
struc-
function:
subdominant
7.13
4,
r34.-B
I-s+
J4J6
,x* A,. thtAtýL ---b Ni
The linear
arrival
on
in
b flat
2A
Ex.
(3)
b.
146
bs.
141-142,
the
presents 5/V
with as c, A24 is secured
7.13,4
in
in
3A*
progression
shown
iv
appearing
from
A 4 of
in
Fig.
the
bs.
ascending As
134-140
by the
harmonised
1 c)
after.
shortly
(2)
a
latter
the
ibid.,
Schenker
(After
via
mediant
minor. Turning
to
interpretation only
is
the
second
not
a duplication
obligatory graphs,
the
of
point,
the
to
a cover-tone the
register;
there
undivided
Urlinie
no
b.
154
in
Schenker's A
a pre- interruption
tone
primary is
ON 5 of
in
the
octave
interruption
descending
only
211 but
above
the
in
the
shown after
the
opening
470 the
of
This
recapitulation.
later
view,
in
expressed
is
reading
Composition,
Free
that
Only the prolongation a division of lies form. Herein to sonata gives rise between form and song form: the sonata from a mixture result or a neighbouring
(interruption) the difference latter can also note. (1979,
Given their
full
tation
in
that
1926 it
maturity, have
would
read
ideas
Schenker's
may be projected
the
interrupted
exposition,
lation,
latter
the
linear
pitch
reading
of
b.
although
102,
only
as
an
3- f sharp
sharP2
tone
in
its
In
common with
then
connected obligatory
380
(374f)
the
home dominant
II,
the
disintegrate cism.
This
KK. Anh. 109b finale
of
before
the is
exposition a welter
3 d
of
functions
and
'fifth-progression is
pitch
example
employed
alleged
existence
of
resource
of
charges
that
by
serial
Oth- century
dodecaphonic
K. 550,
c in
restated
down
to
The
b.
the
primary
(373a)
I
not
present
bar
disruptive
bs.
techniques
to as
to
become
the the
compositional
therefore and represent
the
only
demonstrate a
and
chromati-
has
125-132,
Schoenbergians
at
mediant
double
the
after
rhythmically
principles
does
7.28,
bar.
composers
379
(15p),
Ex.
double
passage,
standard
3
no.
restated of
remarkable
pre-2
transfer
octave
his
sees
register.
the
in
by
ascending
by the
support
This
course
recapitu-
he
5 as reinforced
103-105.
the
the
graph
reached
interpre-
the
A 5 of
descending
the
to
before
the
consonant
without
bs.
of
and
of
is
have
not
a later
Meisterwer
expressing
appeyfc-UlAk
154
close
the
an exposition it
by
covered
In
progression.
just
on 211
§ 312)
134,,
p.
A 3 during
'5ý'to
A
of
may that
from
a descent
Schenker's
to
contrary
to
refute
an inauthentic,
471 antitraditional
first
of
corruption
to
ascribe
was Heinrich
Germanic
a specifically
Jalowetz,
Composition.
function
serial in
writing
Perhaps
to
this
the
passage
1944:
inventive inner We must resort to an even more boldly line twelve-tone to find ear than Wagner's a genuine in the past: the unison passage at the beginning of the development Symphony in of the Finale of Mozart's G Minor. (he quotes If the passage] this we follow line from C on the third beat 2 (he numof measure bers from the beginning of the development = b. 126] to measure 9 [b. 132] and disregard before the slide 5 [b. 129], measure we get a series of ten tones of the chromatic that are treated as of equal value scale and therefore not as in traditional chromaticism. (as interpretation
This a celebrated passages
article
of
Schoenberg,
Mozart
of and
asserts
cited
is
endorsed
five
years
Beethoven
in
in
serial
Keller, terms
p.
1950.
Dallapiccola
later, in
1967,
Broder
99) In
interpreting in
defence
of
that
Quite Dallapiccola wrongly, speaks of a "series" of ten different Quartet [K-428 notes: as in the E flat (421b)], this panchromatic order or arrangement of is is the notes not used serially row not ... Dallapiccola's but "series", again a three note row in the Quartet's (as he sees earlier first movement, bs. 69-74] diminished fourth the (consisting] of and ... the diminished in which we have just seventh observed the row of the G Minor Quintet's minuet. (1955, This
row,
in
its
Quintet
and
Symphony
forms,
is
shown
p.
below:
16)
472 Ex.
7.14
--T
14%2
l?.24
tic. .ocý r+
el
14101 i)
K. 516
The pitch
tinct
row, 2 in
flat
Ex.
bs.
54-62
principal
least
at
is
text tinuity"
the
of
he
identifies B flat
whilst
tonality
technique
can
statement 132,
the the
overlaps
sharp-F row
At of
with
natural-C
incorporates
D and material
take
end of
as
the
basic
set,
the
only
sharp
bs.
between
E natural, just
still
and rhythmic smoothly
and its
(the
its
the
former
the
local
three
(Ex.
serial
the tonic
tonic
present
the
the
musical and final
fifth
bs.
preceding
the
131-
formf
version notes
that
serial
retrograde
of
the
so
sharp
latter
third
and
of
as
of the
the
of
local
con-
ii),
7.14
natural-G
This
second
and
Consequently
row)
direction
C sharp-F
132-135.
con-
disintegrate,
episode
statement
whose
within
).
note
organisation the
"panchromatic
"unity
the
(ibid.
operative
over
I).
integration
material
set"
is
major
when the
processes.
"basic
sharpi-e
a structure
with
rather
organised
the
(violin
of
episode
chromatic
tonally
surrounding,
but
gl-f
so much the
not
disintegration
organised"
form
by the as a dis-
by Keller
movement is
IV
indicated
sharp2-d2,
retrograde
concern
anti-tonal
tonally
the first
the
of
K. 550
identified
also
in
originating
Keller's or
is
i,
7.14
2_c
b flat
succession
beam in
upper
ii)
II
the
of
G the
pitches
succeeding material
is
473 incorporated tion
between basic
the
of
receives
pitches
logical
a
In
set.
and two
one this
way the
preparation
as
first
the
of
presenta-
restoration
the
tonality
of
serial
processes
wind
down: Ex.
7.15
II
0.7.
ibid.,
(Keller
Between
these fifth
successive
It
is
and
articulates
that the
129, A, bs.
graph
of
the
he supplies preceding succeeding.
fifths,
of implied
succession b.
of
circle
130-131 movement
connecting implied This
Quite
being
and E, bs. (1926,
harmony
and
interpretation
by
the
retro-
basis
of
in
the
an
passage
to
reducible
126, G, bs.
p.
127-128,
a D,
in Schenker's
although
11 to
the
motion
progressions,
132-134
Appendix
harmonies
21)
p.
despite
simply,
ultimately
on C, b.
dominants
the
unison,
harmonic
of
propagated
4,
one much more mundane
disruptive
tonal
is
form
which
explanation.
most
Ex.
by overlap
of the passage,
registrally
his
4).
transpositions
elegant
rhythmically
through
Ex.
interpretation
Keller's
row
generating
Keller's
fifth
these
alternative than
(see
the
transitions,
transpositions
inversion
grade
two
from
153,
Fig.
19 e)
tonic
relationship
to
the
subdominant
relationship
to
the
sees the
passage
as logically
474
rest
of
nant-
demonstrating
to
(and
the
development,
related
or
connecting
introduces
breaking
fifth
step
dominant-wise episode
of
iv,
in
b.
fifth-progression This
now in
E minor,
continued
bs.
in
V in
of
first
set
against
169
and
C sharp sharp
iv
inversion
163,
the
and as
III
of
the
by
the
b.
F
sharp
chromatic forming
fifth-wise
of
notes
b.
171.
emphasising
165, The
major
in
inflexion
A minor,
progression b.
b. is
173,
which
its
outer
of
an augmented
in
subject
opening
woodwind D minor,
B minor,
thus
(VI),
secured
phase
second
sustained
by
sub-
(vii)
statement
4 being
direction,
via
further
E flat
on
-
movement.
F minor
at
structural A
a
b.
the
of
induces
147
voice
episode
154-161.
initiates
sixth
chord,
173-174. The articulation
to
bs.
dominant
to
the
upper
the
b.
up
prepares voices
g2_c2
on G minor,
arrivals
167,
the
resolution
imitation
the
161,
b.
a sub130-131
chromatic
141
emphasis
to
sequentially
subdominant
b. in
A brief
fugato.
of
in
sharps
bs.
of
theme
opening
terminating
motion,
leads
motion,
F
of
the
of
Vý-
of
harmony the
of
motion
music.
"retrograde")
dominant
the
the
to
of
(Keller's
on
back
a variant
introduction
an
135-140,
domi-
either
expanses
figure6
woodwind bs.
by
articulated
large
the
with)
continuity" by f if ths,
motion
which
dominant-wise
the
and
directs
bars,
six
dominant-wise
tight
in
subdominant-wise,
The
The
"unity
b.
190)
6
is,
in
of its
first
the
V of
ensuing phase
bs.
C sharp
175-182,
(functional
strikingly
up remi-
in the corresponding Reminiscent part of the of that first bs. 102-105. transition A similar movement development, in the first on woodwind occurs at the analogous movement point Of the Symphony in C major K. 551.
475
niscent first
of
G minor
Ex.
from
a passage
K. 183
Symphony
in
development
the
finale
the
of
the
(173dB):
7.16
i) K. 183 (see Ex.
(173dB) 7.22)
IV
Li
ii)
K. 550
IV
Although textural in
the
of
the
Further bs.
of
prolongation its
sixth
a dominant-
functioning
leading
passage
phase from
of
final
chord
the
in
parts
C sharp
dominant
as
the
point
and
of
C sharp
introduced in
major
motion,
and the
thirds
rhyth-
intensifi-
later.
the
on F sharp
the dominant
- reiterated
a recreation
appearance
fifth-wise C sharp
in
different,
radically
passages
suggest
Neapolitan
final
voicef
earlier
183-190,
the
lower
rIr-
figure
cation
in
upper
are
contexts
between
similarities
pedals mic
harmonic
the
b.
189.
the
subdominant
furthest
is
Resolution
initiates
of
place
by an arresting
which
in
takes
a third
on and
direction,
harmonic
remove
476
back
to
the
exchange
in
bs.
Turning -*
III-iv-V
of
ascent,
a
b
as
dominant brings
the
"wrong"
harmonic
circle gression
lower
b.
161,4
sharp'
lower
directing
then the
support
the
is
5.
restored
on A2 5,
to
The third , articulates latter for
as
pitch the
c
the
c
,
motion
lower
voice
sharp2,
175,
of
the
b.
191
in
but
of
appearing
b.
third
major
sharp
in these
VIP
and
statement
in
the
C sharp
phase the
After
as
tonal iv
structurally
reharmonized
and
the
overall
between
to
neighbour
Resolution
support.
C sharp-A,
"correct"
voice-
progression,
interpolation
neighbour
fifths
of
by
prolonged
structural
clearly
remarkable
C sharp.
of
201-202,
underlying
the
in
c )/iv
renotated
the
although
around
4 (as
the
to
now
orientated A2A
bs.
203-205.
displays
motion,
in
home dominant
with
the
through
the
third-pro-
bs.
199-200 forming
as the
A
applied is Ex.
dominant
represented
to
the
5/V*of
bs.
202-205.
This
organisation
below:
7.17
x. (After
Schenker
ibid.,
Appendix
11 to P.
153,
Fig.
19 a, b)
477 in
As
exposition
and In
structural with
the
exposition
the
analysis
leading
his of
molto,
with
a
later
sonata descent
Schenker
movement,
descending
with
organisation Allegro
f irst
structure
development,
accordance
development.
the
of
fundamental
undivided
tion.
his
A 5 only
prescriptions form,
one
to
3/111
the
recapitula-
interpret,
might the
A#
via
the
nonte
ascent
to
the
concerning
at
211/V
an
throughout
operative in
reads
at
as
end
of
the
end
the
of
478
3 (15p) Anh. 109b no. 22 II 159 II 183 (173dB) I IV 379 (373a) I 380 (374f) II 478 I 516 I 550 I IV 312 (590d)
K. K. K. K. K. K. K. K. K. K.
The development structural the
intervening
tion ships.
as foreground
points
In
certain
to
those
graphed
are
sections
Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex.
connected
7.18 7.19 7.20 7.21 7.22 7.23 7.24 7.25 7.26 7.27 7.28 7.29
so as to
show salient
by a representation
of
voice-leading. foreground of
the
sections
composer,
are
"analytic" used
to
slurs, clarify
in
addi-
relation-
b. I. is
Ilo
k-A, k. 1096 OY 3 ,,o-
-
-.
Z.
ih -94.
0,1
Jli
Ei
Vill
d I
Ii'' II__I. *"i *1
H
-t
11111 N.. I. -.
It ,;. 11
r. zz It
F 41. I "iitM1t... k M UII .4 h IHH
UIII IllII-
ft'4.
Or
crp. -
kz.
Hi
Ii
: i::
HI}
(
H
H
li
I,
LJ
llhý
L11 Jr
)q
Till
9t
i
ý 14
61" TTT
H
I II
III
Z. I9. i tI3e.
Iý
1$
b .
dýl I
r. 3 X
4411
LIIN 1-.3,
4.2,3
AIK -
it 2,1ý -
(3'/) 3, o
44
tj 11
IL pill
cri
cd.
ý)I
"25
LIN'
11,1
1
/11
1
Q
!ý10.11!,
ý1i,
i
11; 1 !!!1:
11
h.
4..z5
Is x )C./+.
9.
II
H/
"..-."1.
H
JI sib
iit1''Lit11 L
a
a
fl
ýN
N
(r1f1t1
r.
16 TIS
/r
K.
II
iý
L'. SSOZ
TIM I
I
foil
_17, K.
0,111",
t L
4-
"1"
I.
(. -0
(
ei -7
+ým
0 3z -11
Ii'I
014
ýI -'; a
-1h II
ýj ;n
11
'L
3'Z.. (f, '1O')
I
?
i
H
L LL.
\h
flI _4I
11
4
ýA
jv-ý
(Sqod) slz r.
-3
4
496
discussion
The foregoing criteria
naturally
tions.
is
It
III-iv-V/3-4-5
two tý 0ý '-,
2) a
In form
is
the of
two
understood
in
terms
ascent
more
of
by
as represented
be
still
may
the
sec-
archetypal basis,
structural
variable
in
to
referred
structure
have
underlying
interpolation
these
of
of
these:
of
sections
their
as
a number
around
organisation
development
movements
monte
gravitated the
below
the
of
by the
prolonged
from
arising
summarised
but
All
has
material.
1,
K. 516
read
if
I the
I,
subdominant
harmony
a substitute
K. 550
and
connecting
A
III VI
and V. iv;
of
In in
area.
3)
11,,
183
(590d)
present
end
of
the
the
Monte
the
pre-recapitulation
principal the
II
(173dB)
It
exposition.
function
exposition.
and
is
is
is
after
to
a ponte
prepare
for
in
2-4,
1,516 the
a lower
of
supported
by
4/iv
are
articulated
478
I/IVf
is
voice
a lightly
consequently V in
upper
ascent
home dominant
the
ascent
the
and
connective
a
subdominant
KK. 159
latter,
the by
associated,
4 in
former,
the
not
1 and
1,550
cadence
on III
heard
as
tonic
at
order
structural
connected Clearly
organisation. the
functionally
a
at
the
repeat
312 the than to its of
497 4)
In
KK. 159
dominant
is
the
larger
Fig.
7.4
II
introduced structure
183
and
by
(173dB)
a
IV
secondary
monte
monte ---------------Vi) (iv III :II: --------------------------------monte
5)
both
In
ascent
of
the
K. 183
ascent
secondary (173dB)
I,
the
end-of
-exposition
progression
within
development:
the
governing
the
of
iv
K. 159
subdominant
49
V"-
II
and is
the
(single)
introduced
by
arpeggiation: Fig.
7.5
monte ------------------------K. 159 II:
K. 183 (173dB)
iv
(IV V*) VI) III -------------------------------------------monte
I:
VI)
v
iv
-------------------------------------------monte
6) share
The development a distinctive
progression:
sections prolongation
of
KK. 478 of
the
1,516
1 and
fundamental
312
(590d)
structural
498 Fig.
7.6
a)
monte --------------------------------------------------iv (VI)
b) C)
VI/vi-vii-i
III (v --------------------------------------------------monte
VI of iv for iv. b: (590d), c: K. 516.
KK. 478/312 a: common features,
KK. 478
Furthermore, ground-level
7)
the
IV.
Such
(373a)
in
case
impression
disposition variable, register. therefore progression
may also alone, 11,516
(374f)
be
will
observed
of with
the
octave
fore-
significant
1 and
550
the
graphs
ascending not
always
freedom
continuity, of
their
(not
183
and
in
case
over
an
This
is
I
and
(173dB) by the KK. 159
major
IIf
379
1.
that,
Schenker's
disposed respect pitches necessarily
to
contrary
A
5 is
to in
the to
cohere
the the
paradigms,
progression
with these
effected
(bordered)
the
by
pre-recapitu-
structure.
Donte
is
as
is
(590d)
be defined
the
of
3 (15p)
no.
linear
this
by virtue
312
suggested
pitches
Given
and
from
regularity
of
I
a subsidiary
dominant
1,380
3
3-sharp
KK. Anh. 109b
structures the
It
KK. 478
creating
span,
also
8)
in
dominant
of
inflexion
chromatic
extended
form
have
(590d)
correlations.
The
lation
312
I and
highly
obligatory
position as
and
a linear
simultaneous)
8-
499 8-8
relationship
which
bass
upper
voices.
II
A
5 is
to
progression
notes
f rom
movements Section
I,
strumentally in
ments
In this ascent
with
discussed.
The
passages
discussed
Schenker
II I I II
1773 1775 1777 1778 1778 1779 1779
1979,
3 Section
Fig. 111,2,
of
X sections As
noted
Mozart's
7.1
represented as used D.
(368b) (384a) (417b) I I I
expressing
of
Table
26,
370 388 421 457 466 491 540
outstanding
organisation
are
in
doubled
are
in
structures
of in
the
sonata 1
Chapter and
chronologically
K. K. K. K. K. K. K.
movements
in
monte
key
minor
in-
move-
are:
no particularly
summarised
Chapter
sample
D F C E A D C
section,
however,
of
Group.
constitutes
K. 173 I K-280 (189e) K. 271 II K-304 (300c) K-310 (300d) K. 320 V K. 364 (320d)
and
a tonally,
They
linear
a
Keys
Comparison
form.
criterion,
in
developments
representative this
this
components
Minor
the
the
this
principal
Other
examine
By
inevitable
clearly the
of
in
Movements
now
bass.
the
with
1780 1782 1783 1784 1785 1786 1788
D C D C D C B
monte
a conventional features
all
these
given
on
will
not
p.
Chapter
516
below.
using
the
1 Section
be is,
developments
by diagrams in
II I I
The format II
and
500 In 5 is
first
the
reached
in
Between
these
b.
lower
22, two
toward
subdominant, b.
The
dominants
layout;
a ponte
progression
lower
neighbour-note
neutralizes
44
This
in
bs.
harmony
in
VII-iii the
flat
b.
bs.
F of 57,
59-60. 2 of
themselves
b.
b.
a
59.4
boundaries an
62
is
A 3 occurs
whereas
the
of
ascending by
(the
by
above A
neighbour-note
the
former
supported
The pre-interruption 62 above
3
similar
prolonged
f\
an
3-sharp
prolonged
54 and
a
effect
motion
the
is bs.
G of
on
in
and/or
structure
on
of
form
as
example
follows
III-iv-V
46-54),
neighbour
64
and
no motion
harmonies
lower
subdominant
bs.
here.
prepared
intervening
progression
is
there
linear
elaborately
of
the
fifths
of
is
what
which
exposition.
the
development
the
of
the
is
minor
circle
in
shown
during
dominant
of
below,
7.30
Ex.
the
prolonging
structure
organisation
The
pattern.
42,
end
through
motion
the
the
at
I,
The
exposition.
appearing
points
ponte
occurs.
64,
the
neighbour-note,
expositional
the
V
lt-
K. 173
movements,
throughout
operative
gravitates
these
of
211,
an
by the
b. G.
501 Ex.
7.30
3,
6
a t,
4&1,, L
4,t
C4.
44
si
S+
1r( i
-Xbý -
\INk IN&
ee
6.11
K. 304 the
with
many
(300c),
Ex.
end
harmony
has
merely
a
virtue
of
it.
its
of
the
understood
support spanning
there as
which the the
are upper
the
such to
emphases
development:
repeat
in
2/V on
i,
low
neighbour-note
the
of
in
96 and motion
of
dominant
at This
order
as by
exposition enclosing
ascent
2/V
104
Allegro
cadence.
structural
and b.
b.
home
monte
ascent
the
mediant
directional
no
voice
a
of
I, the
final
the as
strongly
connected
Section
emphasises
after
for
is
in
examples
interpreted
more
t
7-
below,
7.31
preparation
Here
within
the
of
exposition been
43%-ýO, IX
Z
Z* ,
As
14
4e
b.
of
83
a Donte iv,
b. 222 b -a
may
be
structure
108. -b
These "1 4 'f' (5-4-5)
502 Ex.
7.31
1
k.
23
3t
below,
opening
is
after
bar),
favour
of
details
are,
however,
by V of
structurally
with
prolonged
by motion
b.
with
again
the
covers
upper
high
2 now an
linear
voice '#\
2,
as
3_
dc
-b
octave
O\
5,
2
e,
register
, of
is
the
bs.
iý
i-III
Donte
7.32
in
that
no V before
logical
monte
the in
ascent
dominant.
prolonged
Its in
The 211 appears
may be understood as belonging 4: V of bs. 62-65. This harmony is circle
of the
above
fifths,
from
appears A 211,
above
V
in
b.
A 5
70-72.
bi, here;
the
to
returning
obligatory
this
descending
(67)
Ex.
here
(with
the
IS 1
isb
(300d),
considered
separates
to
progression
motion 32
the
tonic
2 b
e
elaborate. it
through
obligatory
ascending
simple
following
An intervening JN 2
scheme
although
the
72 with
'2f b as
movements
predictably
V,
liý.
K. 310
Sonata
eschews
a fundamentally
58 set
V in
the
development
the
the
of
tonal
an expositional
double
b.
among
ja+
-:
movement
unique
&ob
40 ý
zc
The
U
92-
the
in
bs.
register V of
b.
73-79
and is
79.
There
most
directional
third-progression
to
74,
no
the
503 Ex.
7.32
Ir
COE
3 F,
I
---. --"I
ix
=f,
The slow
monte
highly
prolongations the
featuring
elaborate,
the
of, in
subdominant
3 position.
Výis
is
e flat
and g'
in
of
b.
bs. the
in the
-'1
(3)
in
b.
is
dominant
the
root
position line.
upper
68,
the
The for
viola
68 and 70 respectively; upper
72 and its
octave
restatement
in
the in
example. b.
79 are
b.
below,
is
statement
of
as V in
72,
ascent
violin Af 11ý
presents
has
4 and 5 as
pitches
Between interposed
6-
generating A to 5 in the
the
after
these
the
and
introduced in
of
between, the
After
components.
discontinuous,
registrally
stated
shown in
with
2
68,
7.33
Ex.
interpolations
subtle
basic
stated
a voice-exchange latter
b.
Concertante,
Sinfonia
the
development
the
underpins
which
ascent from
movement
xi
i.
-. 74
x
are
the
also
dominant
emphases
on
504 A flat ary
(VI) ponte
structure Above
ment. linear
the
d2
is
,
change
first
in
this,
32 c-e
and
as
the
progression
is
and
leading
the
theme
Ex.
7.3 3
into of
the
bs.
second
upper
voice,
,
an
79.
The this
Thereafter referring which
recapitulation, of
the
exposition.
(1
Idl
Iffili
lit
of
develop-
the
of
occurs
leading
reiterated,
24 ff.
half
subsidi-
a the
descending motion
11\ 5
to A
of
alteration
this
of
extension
development.
continuation
b.
prolongations
the
flat
chromatic
as d flat
the
the
of
1 in
instead linear
part
implied
as
spanning
progression
in
(vii)
F minor
and
12
2,
pre-interruption textural
progression,
its to occurrence t\ the 5 of the ascending back starts
to
gl
in
smoothly
b.
70
with
505 Alone the
among
movements
Ex.
7.34
Oboe Quartet,
second
tonality
section
has
for f irst
element
of
close
of
mediant Before
the
to it
motion
other
matic
motion, the
gives
X section
an
upper
to
use
to
V in
way
with be
to
the
by
5-6
in
following
as
a
in
b. f2
19,
linear
such
g2
and
20,
over
as
a monte
terminology,
2 is
which linear
substitute
(Terzteiler).
secured
5-6
t\
5. A 5
its by
as
a
in
As
pre-
paradigthe
voice-
implied.
This permits
in
which
the
usual
mediant,
VI
lower
rather
structure the
14-16.
the
progression,
for
sub-
is
progressions, as
The
tonic
of to
represents iv
bs.
the
third-progression
position b.
motion
the
ascending
regarded
Schenker's
third-divider
reprise
Schenker
root
the
from
with
The
19.
generated
2/G
notable
16 and
is
X
however, is
It
bs.
the
may,
species.
of
as the
this,
of
flat,
ascending
which
Adagio
submediant
which
between
b flat
a2;
movements
functions
submediant acting,
first
support
together
2/B
component,
setting.
exchange
g
the
dominant,
the
cedes
this,
completes
certain
monte
voice-exchange
second
introduced
scheme
the
the
Because
individual of
the
employs
reprise.
as a variant
large-scale
the
first
the
of
here,
considered
below,
a necessarily
be interpreted
an
the
than
506 Ex.
7.34
4
After development figure bs. to
of 13-14
V,
nant motion
b. is
the of bs.
K. 388
bs.
(from 114,
from
prolonged through
the
falling
the 4-5)
is
used
that
to
iv,
in circle
a
of
bs.
108-110
below),
diminished to b.
subsidiary fifths
in 7.35
(Ex.
I
(384a)
10-12,
iv
of
establishment
secure 112. ponte ending,
of
applied
Thereafter, structure as it
monte by the
effected seventh
the
the
figure
of
dominant the
domi-
enclosing started,
with
507 V
The
form
major
B natural F-B
voice-exchange
in
shown Ex.
the
is
dominant
the
of
then
-F
in
natural
by
articulated bs.
126-128
the
(not
example).
7.35
*2. /44
TT
..:
-
I'Sd
lID
1i6 tl
I, p
ii ng
___
-r
v'i'i
;i
:,Erb
The
development
monte
Whereas the II,
E
for
iv.
This
in
the
save
that
the
introduces in
appears
first
it
there
movement flat
II
I,
of is
Ex.
the
dominant
following will
the
below.
7.36
home dominant,
the
substitution,
in
operative
again (417b)
introduces
second
which
major,
employed
460,7.26),
the
cadence,
flat
bar
time
K. 421
Quartet
the
of
is
substitution
of
first
the
mediant
substitute that
principle
after flat
of bar
as
be remembered,
K. 516
(see
secured
by
Exx.
7.5
interruption
a is p.
508
of
the
f ect
cadence in
means nant
on the
cadence
each
is
voice
G
above
A flat
43-47
(4)
is
octave.
scending A' 211, of
of )
The
fourth b.
51.
linear the
E
(In
the
above
K. 516 in
the
I.
in
Pitch
most
significant
d -a
in
bs.
b.
are
flat
major
43 upper
60-67
flat it
the
domi-
on
the
same
scale
no
upper
to
the
different. here: analogous
the
example e
different
Prolong
progression
of
register
this
32A
functions
by
reached,
f if ths
of
by a per-
and not
Quintet
and
circle
ascending
occurs in
the
96-97,
Once
Quartet
harmonic
the
no
shown
appearance
both
bs.
here.
case
through
although
There
the
work,
by motion
degrees,
is
as
iv,
expected
2,
although
restoring
motion
the
of
after in
continues voice
line
upper
5,
bs. the
lower
the is
C
the
de-
now over
509 Ex.
7.3 6
b1-
:2IL
Ii)
the
demonstrate
components In dominant
in
Concertos
naturally
their
of the
41 -=
is
of
a third-progression
in
b.
leads
D
C
and
monte
most
from
____
I\
f rom
particularly
D minor
which
207,
61
-I
-.
-_>
developments,
two
next
Piano
60 mt -C
_l----
--I%---*-
The
e-%
LIU
42s
4-
i9
the
466
KK.
minors,
of
movements
opening
and
491, of
prolongations
elaborate
ascents. Ex.
movement, extensively
7.37
below,
it
worked
out.
This
which,
after
statement
E flat
major
via
of
F minor
the back
is
the
is
sub-
by means
subdominant to
it,
bs.
II
510 221-238.
This
ous
in
KK.
478
its
Fig.
7.2
ated
by
b.
to
452,
p. this
5 which
Cat
K. 312
Ex.
7.5).
the
A
7.37
and
encloses in
"upper
The
upper
course
it.
a subsidiary
of
The ponte
the
it
in
voice
the
ascending
linear
structure.
analogin
Section
reached
(see
I
gener-
overlapping
introducing
dominant,
is
were,
third-progressions"
discussed
(590d)
ultimately
structure,
obscures
prolonged Ex.
1
as
those
to
voice-leading 1,516
242,
third-progression",
"lower
leading
note,
progression
in
b.
242,
is
511 In
the in
secured the
C minor b.
longest
movements first the
and most
in
of
KK. 388
(384a)
of The
longation
third
(417b)
I and,
are
on an
function.
descents
330
emphatic
the This
to
the
and
sequence
211/Vý
is
b.
302,
the
of
during
degree
proin
constructions
These
the
five
7.39,
Ex.
two
subsidithe
after
concerto. phase
a second of
315
which involves
be recalled,
retracing
components
A
prior
in
initiates
309,311,313
respectively,
will
represented
b.
the
scale
(590d).
of
in
place,
analogous it
312
development, Oin
bs.
I and
the
the
is
what
structure iv
takes
fifths,
of to
complete
of
third
similar
structures
arrival
its
in
bars
dominant,
the
of
dominant,
the
Donte
intermediate
the
of
KK. 516
comprising
342
dominant
1,421
the
subsidiary
elaborate
circle is
which
progression and
some fifty
prolongation
the
movements
ponte
graph
for
alteration
through
gression
ary
operative
After
the
chromatic
G minor
7.38
considered.
phase
motion
Ex.
is
309,
below,
movement,
in now
followed
the bs.
scale
of
pro-
degree
330,334,338 having
all by
a
series
local of
512 7.3 8
Ex.
1
lal
ans
At
i -Aw
:
32i
2. ý
N3
:42
Ok
I
-Jý'-
"rl
3WW51., 402.1440 2
(r
4.3
-1 2)
1
213 1
tL
_______________
____
513 Ex.
7.39
US
tif
)I
i) + lk
II
IL
:
16C
ii)
oe=h
ql
ift)
cicI
12Z-
§
OC
To
k
iv)
9
3DI v)
;j
J6 \ __,.
Vý-
Key: i) K. 516 I, ii) iii) from Ex. 7.5, (both K. 312 (590d) p. 460), iv) K. 388 K. 421(417b) (384a) (transposed to G minor), I (transposed to G minor). to G minor), v) K. 491 I (transposed
I
514 Finally
the
monte
structure
tuted
for
effective by
Vý and
V
in
the
which in
major
This
is
prolonged
by
in
bs.
these
31-35,
last
the
implicit,
is
211
on
a
The
ponte
structure
marks
substi-
G-A-B introduced
harmonies them,
the
point
is
bounded
third-progression
of
a
dominant
22-24.
a subsidiary
where is
subdominant
bs.
26-34
Arrival
which
by by
prepared of
the
recapitula-
7 The
succession is
progression 312
and
however, the
in
for
area
neighbour
7A context II, Ex.
the linear
introduction g2 in
bs.
similar of a monte 3.28.
Its works
prolongation, the
in
the
5,
and In the
sharp
most
,
the
upper
478
1,516
before
Adagio the voice
Vý by
the motion there
motion
significant
over
third-
different,,
impels
the
the
occur
in
whereas
f
is
progressions
recapitulation. progression, A2
KK.
here
context
prolongation
of
by
articulated
third-progressions
7.5).
G minor
the
toward
the
the
(Ex.
effects
ascending
being
of
dominant
of
logically no
that
degrees
scale
of
(590d)
progression
is
in
below,
7.40
Ex.
minor,
bs.
vi-vii-i
over
B
read
relative
dominants.
tion.
I
its
over 4t V.
supporting their
be
may
by
in
Adagio
its
upper
24-28.
in pattern occurs by dominants. ascent
K. 581 II, Trio See Chapter
I, in the 3 Section
515 Ex.
7.4 0
4
s.
ih-
iir-L
U"
516
The organisation Comparison Table
movements
is
summarised
of
the
below:
Key
Date
ABCDEF
I
D
1773
P
no
no
II II
F C
1775 1777
M M
no no
yes yes
I
E
1778
P
no
no
no
I V
A D
1778 1779
P M
no no
no yes
no
no no
II
C
1779
M
no
yes
(no)
no
II
D
1780
M
VI III
yes
(no)
no
I
C
1782
M
no
+ yes
no
no
yes/ no yes/ no (no)
no no
(no) yes/
iii-iv no VIvii-i
no
no
for
K. 388 (384a) K. 421 (417b)
I
D
1783
M
K. 457
I
C
1784
M
II for iv no
K. 466
I
D
1785
M
no
K. 491 K. 540
and X sections
7.1
Work/ Movement K. 173 K. 280 (189e) K. 271 K. 304 (300c) K. 310 (300d) K. 320 K. 364 (320d) K. 370 (368b)
Group
developments
the
of
I
C B
1786 1788
M M
b
no VI for iv
no
no yes +/+
yes yes no no
no no (no)
no no
-----------------------------------d evelopment A: Key: or X species of section. B: presence of substitution. C: presence ponte of a subsidiary (+, - indicat e sta te [majoriminor] harmonies). dominant of enclosing linear D: presence of an ascending progression. bar E: pre-double of presence dominant (montes)/if yes,, approach by secondary mont e thirdF: presence of an ascending progression.
517
1)
have
Most
basis,
the
(see
point
2)
Two movements
1 of
K-516
first
In
VI,
the
second
III
(see
KK. 421
at
the
is
equally
the
IV,
this
4,
the
is
this is
flat
not
not radical
II,
in
these
reprise
the move-
is
substitution
the
in
made in
in
as
employed
employed
by
structure
substitution
first
the
made, for
substituting
is
monte
structure
491
1 and
the
in
absent
3,
496
p.
without (320d)
11,364
1.
KK. 159 is
movements the
within
dominant
movements
KK. 271
movements
above
home
point
of the
reprise,
G minor
in
the
The principle
it
466
introduce
540
1 and
exposition.
two
material
II
(173dB)
introduced
not
principal
183
and
(see
ascent
by a point
496).
p.
5)
1,457
IIf
variable
I this
the
a more
of
dominant
secondary
(417b)
exposition/first
'(368b)
Unlike
of
a substitution
II,
II
applicable;
of
11,370
4)
the
subdominant
structural
496).
p.
(417b)
end of
repeat
K. 550, (368b)
2,
more
K. 421 VI,
tonality
point
of
conversely,
of
K. 370
ments.
3)
is
movements; movement
the
In
underlying
496).
p.
replace
K. 540 it
In
G minor
I,
Summary
harmony.
I.
their
as
interpolation
by the
prolonged
a substitute
ascent
monte
The
(590d)
serve gression
finds
to
VI-vii-i
third-progression an
prolong identical
equivalent
the in
in
K. 466
subdominant. scale
of
degree
I
KK. 478 flat
as
K-540
1,516
succession
both
ii-iii-iv:
contains to
312
1 and
a third-prothose
of
the
G
518 Its
minor
progressions.
with
and prolonging
dissimilar
(see
6)
In
is
effective
the
bounded (384a)
by
accomplished
KK-516
7)
312
I and
In
represented
in
(300c)
310
of
I and
the
dominant before
nents
8)
linear
cending
developments. KK-421 substitute possible
I
1 Section
the
is
This and
540,
harmonies. given
the
in
which In
substitute
the
in
5 are
probable
the
case
(cf.
point
has
K. 516
are
but
p. all
the
linear I)
81 in
with
the
1,304 form
major
no compoon
closing
subdominants
former,
is
the
1.2,1.3).
made
the
the
The third
Figs.
indeed
KK. 173
present
11,3,
to
in
as
species
Donte in
exposition
comments
progressions
the
its
bar,
double
bar.
double
the
fifths,
498).
occurring two
KK.
In
prolongation
of
circle
movements,
The first
I.
dominant
71 p.
point
movements,
before
Considering
the
harmony.
this
of
1 the
through
G minor
(300d)
Chapter
491
and
(see
the
these
the
(see
mediant
I
motion
to
forms
1 and
dominant,
the
of
I in
1,491
1,457
third
K. 466
dominant;
the
of
(417b)
the
of
and major
(590d)
contrast
major
sharpening
(417b)
form
Donte
In
ascent.
monte
111 421
(320d)
by minor
1,421
the
dominant
a subsidiary
creating
basic
the
of by
however,
are,
pre-recapitulatory
span,
an extended
111 364
effects
the
movements
bounded
(189e)
it
388 is
is
dominant,
Donte
association
497).
p.
as a component
KK. 280
being
of
over
area
540
6,
in
function,
and
subsidiary
point
a number
structure this
the
position
498, the
asmonte
exception
of
replaced
by
progression is
eschewed;
is in
519
the
latter
over
the
ments ary
it
is
VI,
instead
which
the
guish
the
other
G minor three
keys
pieces
of from
the
non-G
of
degrees
scale
Fig.
7.6
the basis
Klauen"
from
of
KK. 478
correspondences affinities.
the
are This
objective/structural
can
by
in the
X section
of
Zaide,
it
and
seen
pieces in
is
the in
present
aria
"Tigerl
G minor
the strong
a further
roots Donte
has
in
wetze
defined,
keys considered,
that
key characteristic.
by the
the
organisation
the
of
with as
is
1 and 312 (590d),
this
minor
(590d),
associated be
the
absence
may be provisionally
recalled 312
distin-
subsidiary
KK. 478 1,516 that
I
of
expressed
followed
be
the
by
criteria
significance,
Given
will
having
features
which
key characteristic it
develop-
group.
of the movements in other
Moreover,
the
those is
greater
498.
on p.
objective/structural
sections
minor
in
motion
by a subsidi-
of
from
organisation,
dominant
ponte
two
third-progression
been identified
nur die
terms
The first
probably
the
5-6
dominants,
organised,
VI/vi-vii-i
the
of
in
sections
ponte
middleground
prolongation
also
the
of
successions.
considered.
second,
ascending
shown in
development
minor
pieces
been
has
form
effected
bounding
that,
appears
discussion
The
of
it
above
G minor
voice
upper
of
to
the
within
some
None
occur.
progression
structure
more varied
by
save
not
a linear
From the
in
does
which
contains monte
possible
not
the deeper
on as an
in Mozart. development structural
foreground-level intensification
of
520
Within tions
between
465,7.16,
the
475
they
passages
previ. ous
chapter,
equivalent
in
They
might
in
not
from
they
characteristics
in
the
special
of
these
minor-key
status
symphonies.
"Ach
ich
in
rhythmic two
other
7.10,
lack
of
in
minor
the
discussed and
keys
as
domain, the
manner in have
the no
considered.
elicited
composer's
P.
pitch
key
as objective/structural
/textural works
fUhl's"
connec-
Exx.
reminiscent
clearly
defined
be provisionally
their
self-quotations
are
movements
in
shown
Due to
strictly
thematic
close
Symphonies
the
K. 516 and
yet the
two
noteworthy.
are
are
the
group
passages
p.
equivalence of
G minor
the
by the only
two
521
Chapter
Chromatic The G Minor
Eight
Processes Quintet
in K. 516
522
Chapter
Chromatic
Processes
in
Eight
the
G Minor
Quintet
K. 516
Contents
Introduction
p. 523
I
Theory
p. 524
II
The
Proliferation
of
A Flat
p. 533
III
The
Proliferation
of
E Natural
p. 544
IV
The
"Liquidation"
of
A flat
p-555
523
Introductio
The view of music as a succession of "vertical" states informs that Bass misreprethe theory of Fundamental in Schenker's the linear, sented, view, contrapuntally those that express actually strands controlled being "harmonies" essentially states and which, or is tonal diatonic, the that explain support, could incidental dissonances meaning or non-harmonic of, notes. (Dunsby by
Nevertheless, voice-leading I
here
chords
units
analysis
which
are
as the
than
rather
G minor
the of
in
seen,
the
specific
the
of
or
material, K. 516
which
as components
pitches
a Rameauesque
result
forgoing Quintet
17)
p.
linear
the
with
contrast much of
of
treatment
on the
concentrates of
an
a
underlying
approach
present
of
way
1988,
and Whittall
as
sense,
horizontal
of
confluence
vertical
motion. by
Unconstrained such
an approach
and
their
the
emphasis
the
contrapuntal
tions
are
that
for
these
is
Fondamentale, that never
Schoenberg.
their
of
of
the
"Basic
explicitly
various
these
defined
service
implied
root.
of
in
to
a rather
more
Rameau's
referred the
highly
recourse
a return
occasionally
formulated,
formain
by
simply
within
chordal
occasionally
being
Shape"
the
differentiation,
clear
without
occur,
and destination
origin
the
the
contexts,
vertical
pitches
principle, from in
considerations,
Consequently,
being
unschenkerian far
the
which
purposes
approach,
concept, though
in
continuum.
terms, most
voice-leading
upon
on determining
seen,
This Basse
focus
can
metamorphoses,
functional to
detailed
writings
recent top
alof
524 I.
Theor
In
a
the
coda
notes
that
considering tet
K. 516,
The recomposition thus highlights family whole of ment.
to
Mozart's
on
article
recent
first
the
Codas,
movement
of
Cavett-Dunsby, G minor
the
in the coda it a evokes in the move-
first subject of the In so doing, A flat. moments earlier related
(1988a, The octave
descent
subject,
bs.
a',
b.
reason
4,
of
g2_gl
the
opening.
instead
a'
expressed
incorporating
his
This
of
flat'
236-243,
by the
opening
a flat',
b.
connection Analysis
Functional a
bs.
question,
1-5,
in
why,
presents
in
recomposition
at
b.
of 241,
Quin-
of
241,
rather
is
suggested Quintet,
the
first
the than
as '
37) the
restates
bars
the
p.
the the
Keller
listener
being
1
I am surprised 1985, p. 94. this Concerning analysis, that Keller fails to one of the most prominent to draw attention thematic relationships namely: of the whole work,
i) b.*3
"rý
(and bs. 46-48,179181,182-184)
ii) X )I-
AK 6y
ZG ) I
Aiin.,
IK;
.1ý,
-1-
ztzzi ,,
(See Ex. 8.15, 560 below)
525 to
conditioned the
of
descent.
octave
basis
on the
a'
expect
Later
the
of
Cavett-Dunsby
earlier
experience that
observes
in Af lat to play the continues a role subsequent is in fact there movements ... perhaps a large-scale liquidation four spanning all movements. of A flat, (ibid. is
There G minor the
indeed
finale,
of that
movement ing,
as
what
is
I
which the
shall one
Menuetto
the
movements,
in
more is
pitch
Section of
Mozart's
it
But
is
in
and
most
disruptively
is
coordinated
to first
the
importance,
particular
later
the
introduction
Adagio
IV.
in
A flat
upon the
and
as a unifying
show, of
focus
a recurrent
)
function-
stabilizing
in
element
chromatic
sonata
structures. In
this
diatonic the in
pitch,
following the
A flat harmonic
first
table movement
significance.
and
lat
Af
Both
E natural.
and E natural
non-harmonic 109-110
role,
contexts, 121-122:
of
frequently
chord In such
In
most
components
only as
a few the
another
remarkably
occurring
indicates. are
are
with
prominent,
chromatic their
of
are
passing-note
as
pitches
occurrences,
and have,
cases
non-
they
accordingly, employed
in
in
bs.
A flats
526 Table
B. 1
Pitch
bars
Number of the pitch
A6 0
Percentage bar total
containing
57
c.
22%
57
c.
22%
C
37
C.
14%
Bý
34
C.
13%
D
23
C.
9%
G
13
C.
5%
Clearly being
A flat
surprisingly C sharp
ing-notes
to
What, emphasis
(in
chromatic
Schoenberg's Epstein:
B natural,
and
dominant then, the
is
with
their
the
stimulus
An
pitches? of
late
the
more
normative
functions
harmony behind
importance,
particular
the
subdominant
of
of
that
and
terms
concept
are
prevalent
more
maticisms
two
and E natural
this
as
lead-
unconventional
tonality)
explanation
can
Shape,
chro-
respectively.
18th-century
Basic
of count
recently
on these found
in
developed
by
be
527 formulated the concept Schoenberg of the Grundaestalt in which he was in the the period of years early developing theory. The term has acquired twelve-tone "basic English translation of a generally accepted the fundamental underlying concept shape" and denotes influence features the and of which a musical work, itself. ideas determine The the within work specific is have for in which the basic "ideas" reflected shape is, that been seen as thematic, the most part as pitch inherent in is there though nothing configurations, its that the Grundaestalt restrict should concept is domain. influence It to musical a particular in basic likely in fact that manifested are shapes in their domains ramificapervasive other and are tions. by Schoenberg as a A basic shape was considered he force saw the surface magnitude: unifying great of lesser its features themes, configurof a work aspects structural ations, and other - as varied concept. representations underlying of this (1979, in
Speaking Epstein
shape, chromatic
231),
The mechanism
1)
thereby
become
2) subject tional
Pitches to over
middleground
this
x,
regions P.
constituting
substantial
linear
y and y
z,
and
z
is
movements" period.
middle
twofold:
tonal
centres
given
thematic
during
the
later
in
the
prominence, the
of
course
127).
thematic
inversion,
or
section
progression
occasionally
chromaticism,
transposition
permutation, a
achieved
in
effect
same
Beethoven's
of
between
their
the
basic
the
of
correlation
and in
later
works is
of
shapes
generates X,
pitches
ibid.,
(from
movement
the
chromaticism
Chromatic
work.
degree
high
modulations
apropos
dimension
pitch
thematic
by which
Thematic
the
"the
in
chromatic p.
of
observes
elements
directing (ibid.,
terms
17)
p.
of in
the
the
are
movement
bass
or
as
upper
funca deep voice.
528 Some
the
of
constituent
function
pitches
as
roots
of
regional-
A
ised
chords,
others
as
degrees
related
3,5
-
ibid.,
(from
etc.
127).
In the
f irst
Sections which
light
the
movement II
and
of
3)
thematic
in
Salient
1 and
and the
aesthetic
the
What,
then,
explicit
definition
Searle's
translation Notes
Related
detailed
in
influence I
the
should
presence
of
pitch
does
add, the
by
means
not
mechanisms
2:
of
pitches
movement,
the of
consideration
(harmonisations)
settings
in
a third
suggest
which, the
against
chromatic
within
to
E natural
be
to
chromaticisms one
and
Quintet
like
should
militate
sively
Twelve
I
A flat
of
G minor
a composition,
theoretically Outlined
treatment
the
of
III,
prominent
structure
the
of
exactly is
these
is
a Basic
(1954) only
variety
given of
to
recur
exten-
-harmonic necessitating
diverse
pitches.
Shape? in
Joseph
One
shape
framework
structural
of
that
basic
the
Another
the
Perhaps preface
Rufer's (1952):
to
the
most
Humphrey
Composition
with
I
529
In his teaching, Schoenberg formed the composition (Basic Shape) as early concept of the Grundgestalt as 1919 and used it with it the exact has meaning which in my book - as being the musical (or phrase) shape is the basis "first which of a work and is its crethought" (to use Schoenberg's ative words). is the smallest form, a motif musical consistF, ing of at least The next one interval and one rhythm. form is the Grundaestalt "as a rule sized or phrase, two to three bars long"... firm and consisting of "the connection of one or more motifs and their more or less form, The next the varied repetitions". sized theme, from the need to connect "arises several shapes together" "the the of connection of and consists ... its less Grundaestalt with more or varied repeti... tionsil. (pp. On the is
taken
prising with Ex.
as the a
"its
basis
more
of
connection less
or
4 bars
3 or
opening
"firm
definition,
this
of
one
Shape
of
K. 516
of
the
first
movement,
com-
or
more
the
pitch
juxtaposition
as a tonal
527,
motifs" form
to
joined
and a theme:
8.1
Here,
the
18)
p.
Basic
& Jj %-.Of
the
Epstein,
the
repetition"
varied
in
vii-ix,
outer basic
cell voices. shapes
aspect the
of in
b. As are
2, is
the
of
chromatic given
basic pitches
of
in more
shape A flat by their
prominence
suggested
composed
4: 1
the than
extract just
is
taken
to
be
and E natural placement cited a pitch
in on p.
dimen-
530 sion,
a shape An
the
and
with
their
to
relationship is,
movement
tonic
so closely
gesture. by the
C major
relationship voice,
its
with
duction
of
last
the
bf
quaver
between
by
the
the
beginning
transition 6-3
natural
in
simple
here, its
6-3
parallel
followed
local
the b
in
flat'
8-7
The intro-
f lat
with
g
1,
inner
the
C.
over the
of
arrival
tonic-dominant
6-3
on gi
on
common-tone
a
harmony.
E flat
the
sustained
6-3
is
basis
voice-leading voice
on a' of
eccentricity
motion
operative the
smoothing
c2
sharp
the
outer
is
common-tones
the
to
the
verti-
fundamentally and
underlying
earlier, function
A flat
and
E natural
in
the
first
mode,
the
diatonic
perform
a unifying is
This
movement.
ef-
as follows: 2A
of
semitonal
stabilizing
fected
is
the
progression.
As stated and
their
the
a flatl
a motion
Despite
juxtaposes
of
dominant-functioning
on a flat'.
formations
cal
the
chapter.
in
passing
bar,
this
the
of
below2
forming,
bar
course
and
a tone
e2,
of maintaining
of
from
of
profile.
chord
setting
the
the
The same principle at
minor
of
the
3 C 4-3 and
Mozart
the
prepares of
of
setting
implication latl
movement
of
elements
the
this
F minor
reinforced
during of
the
with
textural
scope
the
facet
one
non-pitch
shape
minor-key
The
directly
pitch
but
and
these
of
beyond
no other
chord
(5pening
the
however,
Surely
dynamic
development
the
of
is
above
rhythmic,
a unified
account
identified
shape
pitch
course,
3 3 (b flati)
In the major.
minor
here, despite 4-3 is implied in succession, are stated
chord
built
on
7 is,
the fact that 4 (C2) and not simultaneously.
531
1)
In
accordance
with
ticularly
A flat,
receive
frequency
and diversity
them
quality
the
together
the
dary between
a variety their
of
"harmonic
of
striking
harmonic
a manner
analogous
these
common the
of
in
parThe
settings. to
combine
impart
development
and
subtle
exposition
to
holding
denominators",
creating
effects
pitches,
harmonic
statement
and
sections
528,
of
chromaticism
complex
development
3 on p.
point
secon-
connections
and recapitula-
tion.
2)
In
specific via
repetition,
becoming
operative
association latter.
They
spanning
sections
context
of
the
and localised
settings first
opening "marking
integrative
principally of
A flat
appearance:
of
effect
a
incorporating are
complement
and
reinforce
focus
function.
and E natural
are
the manner,
regions.
consciousness" in
in
used
a quaSi7independent
on
of The
in
vii
theme may be understood for
them,
These
by different
controlled
predominate,
spans.
in
function
may also
disruptive
The
to
areas,
(regions),
areas
pitches
forms
extended
over key
with
these
chord
other
over
key
conventional
incorporating
forms
chord
to
the
tonic
as a necessary which
pitches
harmonic
diverse
shown below,
are
in
order
of
532 Ex. i)
8.2 Settings
of
A flat
6.14
X
13
tDA
6x X-'j JLr nine
functionally
one occurrence,
ii)
Settings
of
:1 .0
"t
immediately
followed
E natural
6
iv
i!
r-Civ X43C x ýyx four
functionally
distinct
:tq ýz
4i 01,14
forms
distinct
r MW
431,1;
)5'7-
forms
by v of
iv.
3
533 ii
The
Proliferation
Example occurrences
8.3
together
porating
the
passages
Example
8.4
harmonic
4
the
line
indicate
settings
the it of
of
A flat
(top the
of
of
into
strata
of
view
each
incor-
vertical Wavy
intervening
a synoptic
the
of
line
system).
each
omission
presents
condensation4
component
a representation
(bottom
following
free
a
as a harmonic
with
pitch
between
A Flat
shows
overleaf
A flat
of
system),
separating
of
lines
material. of
according
Ex. to
8.3, their
function.
Not all voices are shown and occasionally in a higher in order are given to facilitate octave on one stave. The unconventional use of clefs passages I hope, be understood. will,
bass lines presentation in certain
kt. ýý3
i CgL-Il
plo..
tL
; I
cw.
ý,I:
II
/ip-
, I
', nh11
Tfti
2L1
;H1 'S
rG-
717
Tff
puII
(L- 4
II
ýQ ,
ri
-
_14
.J li J!1
I
ý
141, Pllt Ila 19 .0
7:
A- 9-3
-T- -ii
LR II
'It
II
H
Ii,
-
II.. -
I,
H
I
H (jiHI
H iJ4
1 Ll
:?
H
HI
iIl --H
ii
I
H :;ifl_-
I
'
H
H
1W I
II i4 7.7
:
PH
.*
FIE
H1
LI dl,
iii :JiI
"1
41.S+
4-
>
537
Following in
vii
which
6-3
on
to
am inclined
I
however,
sixth,
1 ff.,
bs.
of
but
6.
to
hear in
as VI
as a component
of
10 in
the
in
reiterated the
b.
A flat
of
8.1),
(Ex.
shape
corresponds
C;
setting
germinal
repetition
14,
Ex.
basic
the
varied
the
next
setting
Here
A flat
is
the
chord
not
b.
in
occurs
a component
of
a
a Neapolitan
as
a locally-emphasised
b.
subdominant:
8.5
Ldlra
The
same
vertical
Neapolitan of half
dominants harmony
b.
in
bs.
of
seventh
another chord
first
statement
cious
restatement
the
A
20-22,
it
tonic
and
the
these
mediant
region
of
b.
24,
a new theme
gives in
bs.
the
as the
way, 30 ff.
the of
seventh
submediant b.
second
with
25ý
iv,
to
As Rosen
on the
of
local
half
by
a
introduca dominant by
elicited
texturally
however,
incor-
first
the
sequence
coincides
in
the
criterion,
as V of
on the
local
harmony
occurs
of
continu-
(tonic-orientated)
functioning
A flat, The
this
chords
followed
vii.
on B flat.
of
is
this
"authentic"
component
as V of
setting
of
an
is
function by
motion;
a harmony
21.
functioning
The move to tion
into
A flat of
is
23
Between
sixth.
poration first
b.
at
the
of
its
of
evaluation
destination
the
ation,
for
criterion
the
a caprithe
return
observes,
of
538
is sometimes in the G minor, quintet It that said of Mozart the second theme is in the tonic. It would be less misleading is achieved to say that the modulation theme, takes within which a second a new and more form [bs. 49 ff. ] once the new tonality has expressive been established. (1980, The emphasis a
in
theme
second
explain
the
return
lishing
the
mediant.
to
Bf
lat
involve
cussed
in
Section
Once the is
begun,
stated
within
ive)
recurrence
of
A flat
in
in
each
the
1) which
times,
their
They I
all
this
form"
now as
might
at
estab-
G and the as
to the
movement
(see
move
is
dis-
Phases", other
For
comprise refer
only to
leads in
"phase"
in
alphabetically of
the
both
A flat
purposes as
one as the
of
the
and the
designate
proliferation Other
531). term
shall
(exclus-
exposition,
me to
the
2 on p. I
the
of
is
lat, inflex-
The
context.
mediant,
as
Bf
subdominant
end
theme
second
7 over
local
the
point
the
of
f lat
mediant
setting
characteristics
shall
and
E natural,
lat,
Af
of
established
propagation
demonstrated.
define
of
attempt of
of
expressive
setting
Proliferation
evident
use
prominent
and homogeneous
the
from
another
retonicisation
and reinforcing
as a consistent
be
of
of
it
guished
the
suggestive
III.
a firmly
complementing
"Pitch
Both
same
a number
strongly
227)
submediant
for
tonic
the
the
25 is
b.
unconventional
"new and more
the
ions
the to
in
VI
on V of
p.
them,
such
distinare
examples,
E natural
as will
analysis,
present
follows:
functional "Characteristic
setting
of Setting".
the
pitch,
I
539 2)
They
consist
of
3)
Each
setting
is
no
is
defined
no fewer
than
four
than
25
more
such
settings.
bars
from
setting
of
adjacent
set-
tings.
If context
E flat
V of
of
firmly
of
these
in
in
b.
117)
its
initiated second
part
opment,
(see
echo
of
areas
the
8.4)
Ex.
b.
121
and local
the
of
a large
and
in
bs.
the
105 and
109
motion
to
said
section
the
span
devel-
the
of
control
the
include
fifth-wise
be
the
under
movement
to
the
may
in
A flat
taken vi
(within
influence
exposition the
of
the
as
dominants
articulated the
and
"A"
phase
dif
of
f erent
regions. The development
as Cavett-Dunsby
section,
notes,
in begins flat A the arpeggio rhythm of with an ... is the first transopening arpeggio which subject's the note A posed to F minor and D flat major, so that flat invariant. remains (1988a,
Transposition vii
of
the
initiates is
bars,
now easily
a second
pitch
proliferation
by the
3 on F, these
to
arpeggio
opening
characterised
flat
the
of
in
appearing
secured
disruptive
by third
descent
"B".
phase,
bs.
my emphasis)
the -
F minor
of A flat
setting
37f
p.
as the
99,111,134
This third
phase
of
(= 2),
-
a 5-
142
10) and 149. Unlike the
sole
being segment
the
expositional
propagator
of
phase
as A
in
A flat
of
counterpointed,,
section
and
it
this
were,
against
of phase A, phase B is part
against a
third
of the
pitch
the
not
movement,
developmental proliferation
540 "C",
phase, harmonies nant b.
This
118 through
the
or
stated
phase
spans
the
form"
of
the
The
A
harmony
phase,
the
also
case
tinuation The
bs.
and
ninth box
in
framed C,
and
appear
nent
of
in
the
B,
A flats
of
by
the V of
b.
152
(which
ii
iv
in
the
following
and the
5 of
the
frequency
the
in
sounds bar. of
its
See Chapter 1 Section development. secondary
shown
harmony b. like
150,
the
a local Indeed
statement
11,5
this
by
the in
for
presection,
functioning the
enclosing
b. flat V of
terminal 149;
the
phase compoin
and
the
supertonic-based flat
variety the
'while in
setting
of
con-
latter's
development,
as the
contexts:
the
occupying
dominant-
characteristic
F minor VI
144-155,
secondary
is
This
chord.
framing
is
i. e.
pitch,
101,
by the
the
97)
proliferation
b.
bs.
chords
As
49). (b.
the
A flat
the
by
before
setting. of
of
expressive b.
a pitch
stabilized
their other
of
of
ting
is
more
of
chord
section,
phase.
chord of
from
this
a number
settings
descent
just
to
characteristic
introduced
are
and
chord
Cavett-Dunsby
of
span
major
ninth
equivalent by
domi-
as the
a point
Setting"
The subdominant
controlled
phase
inclusion
5
155,
8.4,
Ex.
the
C,
"new
to
D flat
phase
on G of
chord
is
development of
harmony.
145
third
third
dominant
to
the
secondary
central
185
the
within
with the
of
the
"Inclusion
one different
yet
of
to
in
A flat
of
dominant
the
referred
as an
harmonisation
a single
the
flat
be described
might
from
(b.
theme
setting
G functioning
root
equivalent
second
the
development
secondary
recapitulatory
by
characterised
implied
of iv.
of
is
which
V) of
secondary
and the its
setdevel-
characteristics
541
opment
the
produces
"setting-density"
greatest
in
A flats
of
the
movement. The 23
(flat
163 of
expositional II)
the
are
b.
lation,
by
replaced in-context
exact, 14.
recapitulatory harmonic
with
minimal
reduction
in the
justifiably
the
similar. 185,
comparable similar
its
6-3
on
say
that
the
from
other
motivic
(a
melodic
the
clear
shape
in
the
142,
as
flat
is
common
forms,
shown
by
the
figures
"Y"
(different
Ex.
8.6
i
ii
are
by
One
also of
rhythms
very bs.
13
brackets
the
passages,
are
b.
on C of
a recomposition
of
and
the
bar.
two
both
the
made more
the
to
and
incor-
13-16
6-3
of
indicated
of
below.
preceding
passage
relation
iv)
into
inclination the
shapes
in
an
8.6,
Ex. bs.
of
185-191,
of
later
recapitu-
passage
the
connections,
contour)
profile)
the
and
on C (VI
in
subdominant
B natural
rhythmic
pitch pitch
6
187,
2,
A.
eliminates
earlier
bs.
of
phase
by a remarkable
segment.
b.
Aside
"XII
marked
that
6-3
as illustrated
Consequently,
for
earlier,
the
of
iv.
8.6
Ex.
by
for
bracketed
the
of
differences,
restored
prominent
and
plan
of
compensated
theme,
second
The
flat
6
in
12-17
the
basis
harmonic
the
of
context
of b.
development,
secondary
is
tonic
and
development. bs.
of
159,161
the
to
ly
(V of
bs.
to
equivalent
secondary
restatement
21
a reiteration
of
exposition's
the
The deficiency
poration
might
the
of
in
due
not,
134,
by the
10,
bs.
restated
start
bs.
from
are bar
the
separated to
VI)
in
A flat
of
latter
the
The absence
14 is
(V of
recapitulation,
equivalent
of
25
and
respectively,
These
b.
settings
but
clear.
The organisation theme is: of this exposition 55; 56-63 (repeat of 49-55, extended); recapitulation 192; 193-200 (repeat of 185-192, modified and extended).
with
a
with
a
Further-
bs. 49bs. 185-
542 the
more,
recapitulation
isticated
allusions
analogous
passage
even
iii):
an
explicit
of to
of
the
the
motivic
the
notes
theme
second B natural
exposition relationship
(shown ("ZI,
contains
soph-
and A flat
from
the
in
iii)
and
in
Ex. Ex.
8.6 8.6
ii
and
kt. 2-6
2-
I
on
-:9
1I
Fý
;
1 14ýj5, j., tcN
4,11
544 In
the
inverted in
The
change
in
flat
in
ing
the
bs.
the
settings
of
16101 187 and 195, a local
subdominant
neutralized
and
Proliferation
Ex.
8.7
rences
of
porating
the
Ex.
8.8 following the
ating
harmonic
7
settings
flat
can
final
free
a
as a harmonic
line
(bottom
it
the
presents of
14,23,97,
as to
in
some extent
Neapolitan.
authentic
condensation
component
a representation
indicate
Consider-
E Natural
shows
with
bs.
A
of
as submediants
be understood
by this
Ex.
a voice-ex-
241.
on C in
functioning
in
setting
b.
re-
chord
line
final of
6-3s
statements
of
pitch
passages
sixth
sixth
by
neutralized the
is
5 on C,
dotted
the
precedes
by
context
E natural together
between
A flat
overleaf
system),
(see
Neapolitan
the
resolved
The
233
This
those
152,6-flat
as an augmented
temporarily
-233-234.
movement,
b.
at
is
flat
A
b.
of restated
subdominant
8.4).
III
vertical
and enharmonically local
a
the
coda7
E natural
of
omission a synoptic into
(top the
of each
of
line
of intervening
strata
occur-
of
of Ex. according
each
incor-
vertical
system).
view
the
Wavy lines material. 8.7, to
separtheir
function.
between The distinction "Formal Coda" (one demarcated from the lines) by double-bar rest of the recapitulation and "Structural Coda" (the remainder the of the recapitulation after by Cavett-Dunsby close (1988a, of the Ursatz) proposed pp. 3234), is useful. In the present movement these subdivisions are by bs. 232-254 represented "As a respectively. and bs. 243-254 rule, f orms do not structural and f ormal codas in Mozart Is sonata coincide" (ibid., p. 34).
-TF
Jill
4-rý
it
,ýrll 1
1: ,
il
1; A4
: Vi
I
I!I
lij
1;j
fill
ii'
40ý
lit
J-4
msH "Th
04 CIO
4-ý
r-
DY ý1,
6"71
1) IT
ý7
"ýi
Ali
iI L2 4-1
711ý1 J11
21 Z,
III1
ITI .1 lb,
IT
112
(t4
HI
r
ýi 1411
II
ta, a,%
;i
19
ei
T Is Is,
:Z
m
>t
ý ný pm
549 Following local
the
of
varied
Here
V of
V.
the
dominant
is
b.
next of
toward
27,
bs.
of
b.
setting
recur in
bs.
VI
is
30 ff.
10
in
the
in
occurs
b.
functioning
in
E natural
with
in
a harmony
same function
theme
as a component
reiterated the
inflexion the
harmony,
8.1),
a component
abortive
E natural
of
1ff.,
the
of
preparing
analogous
bs.
of
Verticals
setting
(Ex.
vii
E natural
and after
Ex.
germinal
V of
repetition
15.
in
the
bs.
as
18 and
20,
the
home
25-26
introduced
by an
prominently
sounding
bass:
the 8.9
6-a
3v
)tt&
last
These
four
settings
phase
designated
phase
phase
A in
proliferation
inclusion ing
latter's
modulation G minor
is
E natural, and
by being
further
preparing
i
in
and
the
b.
21,
new
This
with an
contains
in a harmony
function-
to in
in
the
cadences.
bs.
dominant
other its 44-45
exposition,
forms
in
bs.
37-38,40in
representation (violin bs.
the
with incorporat-
harmony,
This
by
smoothly
accomplished
region's
34-36. in
addition
is
III
bs.
unfolded
points emphatic
to
reiterated
in
43-44,
from
dominant,
applied
fashion two
A flat.
of
be confused
to
not
as V of vii.
connecting
41
8.8,
Ex.
of E natural
setting
The
ing
the
in
"A"
proliferation
a pitch
constitute
I).
It
61
and
linear
recurs 82,
at both
550
These functioning ation
the
as V of
of
the
their
stating
or
setting
implying
the
b.
98,
initial
the
istic
the
of
as V of
rather
134/142; iv;
the
the
E
prolifer-
expositional and
rein-
and
their
of
B in
phase
articulate
respective
the
continuation
two
phases
incorporates
122;
the
the
middle
development,
b.
C,
phase
the
recapitulation.
This
tion
the
characteristic
setting
course
recapitulation
The
of
absence
12-17,
replaced
exact,
in-context of
b.
15.
b.
of
18 in
b.
of
3 on C sharp
that
also
238
124,
b.
in
the
21 in
156 and extends
bs.
vii
as
in
an
as V of
V,
to
harmonic
func-
the
to
in
phase
with
the
7-5-natural
coda.
recapitulation
of
by
the
secondary
development,
is
in
appears
begins
which
the
As
98,
2/10
found
E natural
A-
phase
bs.
159.
the
in
restatement
b.
E natural
anticipates of
of
announcing
functioning
a vertical
within
prepare
of
b.
but
III,
of
bs.
of
rather
character-
harmonies
the
of
V
the
of
but
the
V of
as
either
start
phase
"C",
recapitulation
secondary
of
this
phase, not
chords
the
at
of
a third
all
-
recurs
recapitulation
setting
of
natural
functions It
148 in
and
inclusion
V)
the
integrating
C-
of
which
and b.
In
of
to
statements
root in
not
vii.
110,113,119
"D11 -
pitch
A flat
of
function
of
component
setting
of
Both
interlock,
B
phase
development,
iv
"B".
harmonies
of
common function.
The
as
component a second
propagation
harmonies
characteristic in
the
indeed
mediant;
a
constitute
E natural
of
as
phase
A in
phase
propagation
force
III
V of
designated
phase,
segment
E natural
of
settings
of
discussed
the
sharp in
the
6-5-3
Section
bs.
exposition's
II,
eliminates
an
on E natural
(V
this
passage
I 551
forms
basis
harmonic
the
theme.
Consequently,
b.
as
190,
flat
6-3
the
shown
by
C of
b.
in
on
the
of
recapitulation
marked
"Y"
in
14 is
restored
in
b.
addition
to
box
the
is
harmony
abovementioned
the
of
in
restored just
8.6,
Ex.
second
as the
(box
"X"
in
the
expansion
of
b.
188
187
example). Furthermore, in
b.
202
196,8
the
presents
tion.
extended
is
bs.
chords
dential
correspondence
ing ished
the The
219,
most
importantly,
second
the
in
is
a component
or
of
the
ninth
major E natural
common tones
in
E natural,
chord phases
their
B and
phase of
phase
for
the (Ex.
D and
bs.
C. P. A ca-
the
equivalent spell-
The first
dimin-
acts
as V of
V of
as V of
V of
acts at
bs.
82 and
4.8). discounting
and with 43-44,
B and A/D
G, B flat
exposi-
enharmonic
harmonies
that,
roots of
of
192-
diminished
the
function.
observation stated
occasionally
in
their
passages
cadential
I,
bs.
the
enharmonically
differ
applies
to
components are
of
a component
leads
dominant
settings
They
same principle
This
the
is
analogous
implied
pattern,
in
point
4 Section
198,
in
passage
analogous
Chapter
61 and
and 4.13).
seventh
III; i.
of
4.3
Exx. and,
in
this
of
the
to
detailed
seventh
(see
repetition
an allusion
As
a harmonic
are
D flat/C
the the
their
exception
of
characteristic
analogous,
having
sharp:
"No composer was a greater of of the expansion master lies the centre than Mozart, of the part of a phrase and in this in dramatic The string secret quintets of his breadth writing. impressive this the offer perhaps of central most examples ] Rosen 1976, p. 88. expansion"[.
552 Ex.
8.10
Phase
Phases
B
A/D
i.
b?7
tz)
C.. '-)
Function: III.
This,
together
but
root settings unity
between
and
a large-scale
this
of
in
come to
expect,
normative ation the
of
phase
function C. this
movement
Instead
upon
and maintained
in
the
in
A 7 initiated
when V of
the
vii,
V but
by V of
the
bar
The alternation
opening is
of
E
we have
as
chromatic
b.
IV of
setting
following the
in
This
in
with
to
the
E
of
movement.
characteristic
terminating
hereto.
setting
The one exception
of
resolving
C-A.
V in
D statement the
: 11:
pitch
V of
232,
moves
thus
8.8.
this
of
A-C
b.
of
harmony VII,
built
of
a fundamental
alternates
Ex.
occurs
by a phase
diatonic chords
arrows
in
late
and
characteristic
fourth
Da
phase
in
the
roots,
i.
content
propagation
3 on C (IV),
alternation
harmonic
the
relatively
by the
not
natural
of
pitch
C produces
implied
of
in
between
B and in
phases
half
-
-
phases
second
followed the
vii,
in
5-natural
pattern
similarity
function
symmetry
D as shown
226 is
the
introduced,
harmonisation, phase
with
four
the
the
is
natural
V of
E natural
of
During
V of
harmonic
not
A Implied root: in bs. 18 (stated 156), 179-180) V of V of Function:
C root: in bs. 43-44)
Implied (stated
to
the
alterbars restored
of
553
later
in
the
236
elements
of
of
final
The settings 8.8
Ex. leaf,
are
the
showing
are
characteristic -
the
indicate predominant setting
of
(non-phasic)
9
by
in the
Ex.
within
indicated
between
that
is
harmony.
settings
in are
the
bar. 237
The 238,
and
two
in
E natural
Ex.
8.11
over-
of
the
pitch
pitch
initial
spheres. and
being
settings
final
omitted to
symbol in
operative
an
In
addition
to
the
movement
(bracketed),
also
of of
their
intervening
unfolding
9
bs.
graph
connecting
the -
pitch
V in
in teraction
and by
the
first
and those
two-stave
neo-Schenkerian
pitch
8.4
quasi-contrapuntal
settings
each
V of
the
C.
A flat into
is
232
followed
phase
phases
phases
by
is
condensed
proliferation The
of
b.
which
of
b.
subdominant
the
coda,
these
unfolding and
the the
by
one
initial inclusion
shown.
See Forte 1982, pp. 160-161,251 ff. Its and Gilbert is, however, use here to primarily visual,, and not strictly represent "... the linear (Ausfaltupg) unfolding of an interval be verticalised which in a later could conceivably of stage reduction" (ibid., p. 160).
b, 9.11
ol
T
0
M)
4r. A.
-
555 IV
The
I
"Liquidation"
A flat,
of from
now to
return
spanning
issue
the
1988a
was introduced
movements",
cited
on
liquidation
"large-scale
the
of
four
all
Cavett-Dunsby
tion"
A flat
of
525.
p.
in
raised
term
The
it
who defined
by Schoenberg,
the
extract "Liquida-
as follows:
in gradually Liquidation eliminating characconsists features, teristic uncharacteristic until only ones demand a continuation. Often remain, which no longer in common with only residues which have little remain, is to the basic The purpose motive. of liquidation toward the tendency counteract unlimited extension. (1970, is
Liquidation for
E natural
later
G minor
moment, on the of
the
Adagio
chromatic
is
as will
26 ff.
chords
of
completing harmony stated
being to -
G minor,
is
of
course
the
the
29 and 33 (from trio
of
10 See also Section Ii.
bs.
the
at
finale.
in
is
"auto-
the
major.
between
transition
end
Although
E natural diatonic
the
of two
4 and
forte
f irst
the
two
reprise
in
diminished
6 respectively)
diminished
four
chords:
the
the
available the
original
the
recapitulation
between
and presenting by the
in
only
below.
be shown
interpolates
G major
the
possible
an influence
exert
liquidated
in
prominent
Menuetto,
bs.
it
for
to
my emphasis) last
the
until
continue
movements,
liquidated
In the bs.
and A flat
introduction
particularly
modes,
delayed
fact
"characteristic"
-
matically" It
in
58,
p.
remaining
seventh a third,
sevenths chromatic
of
tonal
pitches
not
10
discussion
of
this
piece
in
Chapter
3
556 Ex.
8.12
6133
'1
L3
interpolated
the
achieves
area a flat ment,
these
E flat
of
b.
of is
major 20,
one
and
echoes
the
lower,
substituting
bs.
18-21
of
the
'cello's
most
phrase a flati
A flat
is
of for
the
and E natural
lat
37-41 earlier in
close in
in in
note of
the
on
move-
relief. the
bs.
40-43
a2.
This
a linear
brief
The 4-2
notes
the
the
the
X section.
highest
setting
bs.
in
presented
the
of
strikingly,
Af
pitch
component.
flat
in
sonorous,
cadential
juxtaposes
A
the
seventh,
uppermost
gestures,
particularly
Lastly,
tion
as the
prominence
Before
diminished
by
determined order from the bass)
(linear ascent
In
àl.
h
10
.1&
movement an octave modifica-
manner:
557 Ex.
8.13
ID
IIý. AWf
/--7\
0-II
i)
lst
reprise
-.
4.
43
'
ii) 2nd reprise transposition
model
40
iii) 2nd reprise modification
A flat
basic
the
V of
V),
setting
latter
of
of
bs.
be
said
sitional shape
37-40 to
(see
their and have
priority. chromaticism
is
pitch
its
of in
pitch
implied
Ex.
roots
of
Neapolitan
(functioning
is
first
the
as
fundamental
the
movement
function
and harmonic
and linear
in
the
that
succeeded
the
by the
content
in
appearance
are
8.8).
model
on
here
set
phases
chronological its
of
order
3 on C sharp
four
all
factors,
specified
Despite
terms
E natural
when enharmonic not
in
stated
by a 7-5-natural in
which
are
The former
shape.
the
sixth,
E natural
and
the figure
of
basis of
first bs. of bs.
priority, bs.
reprise, 40-43 its 40-43
in
terms
derivation
the
form
10-13,
may
of
compo-
from
basic
can be understood
as
558
an Urform, deviants,
and
not
The impact
the
of
Allegro
and their
tion
to
f inale
context
G minor,
of
Consequently, in
cance for
as
the
in
the
here,
37-40
and
relate
as
the
depends
against
which
E flat
major
third
diatonic
t
in
A flat
and E natural
in
the
and introduc-
Menuetto the
on
is
drama
their
same implication
E flatf
A
is,
flat
played
out. i-
and signif
Adagio
movement,
tonal
underlying
ma non troppot in
Schoenberg's
"uncharacteristic".
seem that, in
in
clearly
have
Perhaps salience
10-13
of
prominence
cannot
terminology,
bs.
proliferation
they
the
of
vice-versa.
the
the
those
which
against
because this
too
great
this,
the
the
and
an emphasis
achieves its
relationship
close
movements
E natural considering
movement,
given
G minor
of
duration.
of
normative
on E natural
no particular
A flat
It
and E natural
condition
would
would
A flat
of
illogi-
be simply
cal. In
Adagio
one
of
the
most
introduction
to
shape - and therefore its
central
expressive
the
opening
bars
of
its
the
remarkable
moments
of
its
subtly
recreates
f inale setting
gesture, the Allegro:
of A flat producing
Quintet,
the
the
basic
and E natural an astonishing
for echo of
559 Ex.
8.14
i) I
z
____
I_ -J
ii)
j1 d -.
ýýý 9-- -1,
; ý-, Fr-r-i-
1--'. ý
i==
b6
A flat in
basic
their
tated cance,
and
in with
an
E natural shape
setting,
inverted respect
form to
the
and
their
pitches
F and C, are
principally and
with
basic
associated
altered shape
harmonic
disposition:
with
them
then
res-
signifi-
560 Ex.
8.1511
.
1.1. 1
11 1 1= fI
After
recalling
basic
in
blurred
form
36-37, G major ter
of
as
by a fifth latter
the
26-27,
bs.
by
between
ascent
from
V and
its
a natural'
now sounding imparting
"uncharacteristic"
diatonic
11 This passage is tetrachordally ity between it and a passage in the been identified in Chapter 6 Section
clearly to A 2:
the
emphauppermost This
is
2 in
bs.
dominant. to
e natural
as a diatonic A natural
the
a
final
reiterated a2 is
the in
this
much-delayed
the
Here
in
E natural
and
the
33-34.
retrospectively
and an
in
a pivot
pitch
bs.
=I
re-presenting
accomplished
home dominant
serving
followed
is
A flat
of
in
A flat
then
and
LI IS I,
'i II,,
of
setting
and attenuated
on the
note,
the
22-23
liquidation ses
Iý KI.
bs.
shape
N
-I
-
'
ON 6 in charac-
The similarorganised. has "Ach ich fUhl's" aria II, Ex. 6.8.
561 Ex.
8.16
I.
I I. ýr hohbý .0t
tuba
bý %I
----------------------------------------
5 *
562
conclusion
563
Conclusion
Contents
I
Summary: Structural in Mozart
Common Aspects and Key Characteristics
ii
Text
Subtext
III
Epilogue
and
Objective/ of G Minor p. 564
in
G Minor
p. 569
p. 580
564 I
Summary:
Common
Cbaracteristics
most
Chapters
as
composer-specific
are
key in
specific
during
or
here
the
in
movements
See also vidual
chapters;
more
below
refer
to
these:
Vocal
Music
in
G Minor
last
The
common textual loss.
is Whereas
compositional
fUhl's"
germani" -
are
in
of
structure to
exclusive
a
either
through-
life,
measured Group
of
experience
of
the
of
arias
have
denominators
and
"Traurigkeit", by
such
indi-
end
of
the
headings
)
the true
the after
G minor
common
related
brackets
composer's
the
or
at
the
also
musical
Comparison
summaries
167 ff.
(pp.
of
theme
This
adorata".
"Padre,
five
detailed references
page
111,2
keys.
minor
the
Section
working
the
constituting
pieces
other
his
judged
3-7
Characteristics.
composer
of
period
of
shows
discussed
G minor
in
in
a particular
of
list
Chapters
defined
were
employed
work
in
Key
predominantly the
Key
following
in
elements
a particular
against
music
distinctive
as
either
the
Structural
these
that
the
features
are
noted Objective/
Introduction
which
out
Also
be recalled
will
the
2-8.
study, of
common aspects
salient
in
It
this
of
a summary
ObjectiVelStructural
and
in Mozart
of G Minor
By way of the
Aspects
solo
parting
separation,
I'Mia
recitative no en
decisive bloc..
certain
as
speranza
dimensional
of and
a
and
structural
IIZum Leiden" devices
have
arias
and them "Ach
and
ich
pro-
565
portional signature
Minor
thematic
similarity, tempo
and
Key Minuets:
The
relationships
designation.
See also
A Comparative
structural
and
Study
Section
270
(pp.
categorised
organisation
time
shared below.
II
f. )
Group
as
in
1,2
AAAA
the
commentary
dominant 387
in
late
the
11 Trio,
498
(Ex.
points
The
sition nation
this
slight
"cadential in
I.
normative of
has
been
the
II
defined
KK. 387
II
pre-
Trio
II,
as Trio
identified
to
seen
features, numbers
at
objecand
516
analogous
G minor
of
(probably 1770s
to
of
not and
distinctive
notably
in
bars
of
dispo-
the the
and
with
coordiwith
the
above. bass
continuo
texture
and has
therein
articulated
the been
movements.
Patterns
corresponding seen
be
configuration
structure
Representing
the
been
referred
predominance
4 has been
K. 550
these,
uneven
Correspondence
Chapter
of
(370a)
is
and
objective/structural
invariant"
The pair
arias
with
organisation
Cadential
two
dimensional
periods
structural
observed
11,
have
pieces
certain
of
A
516
is
5-1/Donte)
KK. 361
pieces,
relationship
G minor
of
(5-211
3.5).
to
respect
D
and
Between
thematic
a
G minor
11 Trio
tive/structural. II,
111,2,
Table
on
to
(pp.
321
progressions
be an exclusive an
the
)
C. P. A in
designated feature
intermediate
key-specific)
ff.
stage
of
K. 516 I and between
C. P. a progressions
objective/structural
the of
two
C. P. A of
the
566 Quintet I
Symphony,
and broadly
are
the in
similar
Given their
ations. three
pairs
to
construction
analogous
have
a
K. 478
of
later
the
in these
placement
progressions
of
C. P. a progressions
particular
configur-
movements,
the
function
and
comparable
effect. The predominate
Chromatic
Descending
have in
than
been
seen
in
that
Chromatic
a
in
found
in
other
as
V. x
in
in
recapitulatory
is
of
structure
compositional in
the
examples.
dispositions,
G minor
music,
it
and
prominent
underpinning
as
the
demonstrate
subtype
is
the
T. 1-
the
although basis
be
can
of
the
C. P. A
objective/structural
pattern.
correspondence
Specific
Furthermore,
and
G minor,
insofar
component
music
tetrachord
in
exclusive
G minor
Group
forms
often
no particular
struc-
f. )
Mozart's
keys,
minor
these
the
G minor
the
of
various
device
in
comparison
436
objective/structural
segment
cadential
the
(pp.
to
seen
f. )
keys,
minor
considered.
any
occurring
Consequently,
defined
in
Figures
common
other
keys from
C minor
figures,
that
material.
chord
be more preponderant minor
370
(pp.
to
not
relatively
indeed
a/C.
in
in
been
have
music.
music
Tetrachord
These
G minor
the
in
other
features
certain
C. P. B
Fifth-Progressions
present
two progressions
are
in
slightly
Whilst tures
designated
progressions
KK. 516
articulations I
and
550
of 1
are
the
T. 1/C. V. X tetra-
also
found
-
i. e.
567
quoted
in -
parallel
in
G minor the
interpreted
Development
is
(compare,
not
312
and
treatment
the More
of
the
the
harmonic
in
the
Piano
foreground-level
Zaide.
It
is
the
of
interpreted
Significant between 7.10 uctural
7.16)
The
in
in
Processes
Af
pitches
minor
sections
nent
of
the
of
in
this
opening
G minor
the
significant
with
die
the
lat
the
and
work, "basic
been
identified (Exx.
as objective/strdomain.
Quintet
E natural being
from
Klauen" feature.
rhythmic/textural
G minor
in
found
also
symphonies
defined
provisionally
are
characteristics
Chromatic
nur
have
similarities
sections
and
wetze
roots
associated
as an objective/structural
thematic
development
and
"Tiger,
aria
1,516
by the
being
is
The organisation
affinities.
X section
(590d)
K-312
and Allegro
Quartet
G minor
a distinctive
traced this
ponte
sections
KK. 478
of
demonstrate
VI/vi-vii-i,
progression
the
late
on the
those
ff-)
49 6,516
development
third-progression
ascending
These
movements,
comments
to
therefore
are
(pp.
Group
significantly, seen
no
II.
G minor
the
above
been
have
(590d)
of
the
in
represented
trios).
and
Section
Comparison
the
of
however,
minuets I
certain
and
characteristics.
Organisation
Structural
Sections:
Unlike
in
further
discussed
are
have
These
Group
key
as objective/structural
passages
species
Zauberflbte.
Comparison
the
of
music
Die
of
passages
are
seen
shape"
-
in
pervasive
as a function They
are
of
the
a compo-
extensively
G
568
in
propagated Adagio
the
and then
Given
the
key the
against
lation"
(see
On the context it
son,
Mozart. mary
of
clear
from
ticularly certain
the
by the
Indeed
it
is
when
the
to
specu-
in
and
the
compari-
no career-wide of
G minor
argue
that
the
life
the
his
that
five
this
a
solo
in sum-
composer
subjective not
parby
and reinforced
purely
objective/structural
is
it
arias,
the
consistent
specific
complemented in
the
given
with
consistency
is,
key
as
is
to
end of
suggest
last
find
to
equivalent
of
selected
there
that
G minor
the
that
realm,
to of
surprising
Mozart,
a characterisation.
reasonable
in
objec-
in
chosen
keys
possible
towards
such
identified
concept
"game
characterisation is
an
G minor
enquiry
minor
it
finale.
the
delineate
to
of
summary
hand,
association
to
the
and
p. 4-)?
on
other
Menuetto
transition
Hildesheimer's
areas
the
other
toward
seems
personal
in
increasingly
shows
It
the
the
of
cited
pieces
On the
the
possible
objective/structural
was moving
a
basis
is
it
of
products extract
the
in
characterisation
the
of
or pervasive
is
above,
in
prominent
"liquidated"
are
tive/structural set
Allegro,
compositional
characterisation
of
G minor.
life, sively the
key
associated concepts
really
of
of
only
G minor
(from separation,
Ilia's
in in
last
the operatic
"Padre, parting
decade solos
germani" and
loss,
of
Mozart's
becomes
exclu-
onwards) that
with
distinct
569
trends
in
the
characterisation
musical
apparent.
By no means
to
dependent
stress,
minor
keys
minor
was
the
as
indeed
concepts
becoming
beginning
was
techniques
remarks
the
presence
of
not
extensively the
550) by
of
in which
certain
methods
the
texture,
between
for
G
that
in
Mozart subjective
structural
and devices
possibility in
of domains
dynamics
KK. 183
- as
(173dB)
and
discernible
more'easily (paradigmatic
analysis
of
other
said
characteristics
configurations
in
predominant.
or
(rhythm,
pains
figures,
preclude
shown
of
be
specific a
at
music
key
by
course
similarities
presence
of
may
paralleled
exclusive
here
considered
the
other
do not
it
key with
the
objective/structural
thematic
or
be
to
becoming
were
made here
a "characteristic" of
to become
I am always
as
comparison,
characterisation
These
in
for
and,
choice
an association
compositional and
the
upon
material
that
sense
unequivocal
begin
G minor
of
for
analysis,
example).
ii
Text
It an
and
concept
way
of
associations, music
application presence
in
was proposed
empirical
vocal
in
Subtext
of of
of
the such
G M'
Section
mediating
111,2 between in
as manifested type
objective/structural
to
the
Introduction
text-key LUthy
instrumental key
that key-
composer-personal
in
considered
associations
of
characteristics
recurrences 1931, music
and
in any
was by the common to
570 pieces
with
is
As
in
stated
between
ships
been
found
be
"loss"
them
which
Moreover,
of
fUhlIsII
been
descending
chromatic in
two
and
those
is
As beginning
to
key absence
EntfUhruna)
perhaps
to
Section
from
"Padre, "Da
and
I
and
pieces.
them,
550
objec-
in
not
2 . was
features
(Tdomeneo), (Der
schl>"
is
aria
Mozart
germani"
C. P. A/a
the
however,
G minor
one
its
I,
of
with
to
defined
these
"Ach
former
similarly
of
and
the
1,
Paminals
as
in
be
characteristics
connection
defined
related
in
a treatment
toward
move
tive/structural so their
in
suggested
of
occurring
KK. 516
contrast
Leiden"
any
clearly
it
for
in
minor
"Zum
only
no
considered,
or
G
of
pattern
equivalent
those
instrumental
against
demonstrate
in
2,
Chapter
relationship
I,
Although
correspondence
sufficiently
Musically,
fifth-progression '
in
all.
tested
to
precedents
cadential
as
only
objec-
1780s
the
and
"Traurigkeit" is
Schauspieldirektor)
understandable. Nevertheless,
explicit in
relation-
of
them
Section
seen
latter.
the
tive/structural
(Die
various
features,
characteristics in
have
to
be
the
objectiVe/structural ich
and
detailed
no unequivocal
might
the
arias of
common is
there
despite
I,
disposition to
textually,
between
Section
individual
distinctive
really
to
(vocal)
associations
(instrumental).
without
has
conceptual
explicit
quotations
G minor
1
sections
Paminals of of
aria
passages Die
also from
G minor
5 Section
See Chapter
4 Section
I,
Ex.
5.4
5.7. V,
Exx.
of
the
instrumental
identified
zauberflMte
See Chapter
one
contains
and Section 4.25,4.26.
in
two music 6
Chapter
11,1,
Ex.
571
Section
As is
II.
tion
and reiterated
work
quotation
larly tic,
theme
group 57 ff.,
Viola
ff.
first
the
the
second
no77e
24,
bs.
di
162
in
is
Figarg,
no.
) and
from
explicit
category
is
the
of
the
of
the
characteristo
exclusivity
or
1786.
but
reuse
of
again
in
the
second K. 478,
bs.
recognisable
form,
in
the
Clarinet
clearest
Figaro's
the
ex-
principal
Piano,
finale
"transformed
Quartet
for
One of
the
is
(unaltered)
Piano
Trio
in
9)
then
a particu-
key of
inter-
explicit
recurrences
a modified
K. 498 of
category
ff.
first
finale
the
of
these
movement
reappears,
("Kegelstadt")
(Le
of
in
Introduc-
constitutes
structural
them
the
of
6,
Chapter
conditions
for
term
the
of
key.
distinguish
which
116
the
particular
a better
An example
cerpts.
of
the
to
citations",
objective/
of
111,2
passages
satisfies
in
Perhaps
Summary of
the
form it
predominance
Section
distinctive
of
provided
bs.
in
prominent
in
asserted
and
examples
"Non piu
andraill
Don Giovanni
of
(no.
K. 609 no.
Contredanse
3 1791.
To recapitulate,
G minor
the
in
passages
question
are:
Become
2)
K. 516 IV bs. (Ex. 6.8 i)
26-29
K. 620 no. 17, 6.8 ii) (Ex.
bs.
27-30
K. 550 I bs. (Ex. 6.4)
281-286
K. 620 no. 6.6) (Ex.
bs.
88-92
As stated chordally-based 3 60-63 Piano
in
Chapter
passages
6 and in in
question
In this second category, are explicitly as the quoted K. 485 (1786).
Section are
21,
I here, without
the parallel
see also K. 478 III, theme of the D major
two tetrain
the
where bs. Rondo for
1
572
music
in
basis
(the
in
other
Mozart,
among the
characteristic,
These
1980
containing constituents
K. 466
of
K. 519
weinen"
openings 13 of
the
1-9),
aligned
Ex.
bs.
1-3,
three
top
two
G minor
4
the
of
Concerto
Engel
Gottes
between
bs.
1-4,
the
10-
of
bs.
of
her
three
is
system
second
the
bs.
and
material
more
b.
13,
aria,
and aria
as
passages
in are
Mann points out the "Da schlagt" (1977, p. 349).
b.
2). plagal
conventional
secured,
organisation
on G and
7-6-4-2
sharp
(Adagio,
Adagio
major.
Piano
13).
but
subdominant
aria
melodies",
"Die
Lied,
staves
similar,
the
D minor
introductory
the
(after
harmonic
to
Paminals
resemblance
and
the
sponds
the
factors.
other
recurrent
Trennunaslied
observes,
and F sharp
of and
of
fascinating
Adagio
p.
dissonant
uses
.4
aria,
on the
in
occur
As she
their
a key
singular
and
Quintet
"complex
F minor
a
Quintet
1 (ibid.,
very
which
1787
of
the
of
for
necessary
light
the
the
of
a
of
the
and
in
Adagio
the
sees
identifies
She
is
as
characteristic
evaluation
of
1785
are,
a common term
as an objective/structural
most
components
other
is
structural
Mozart.
now require
Eckelmeyer as
in
tetrachords
they
function
to
citation
their
configuration)
style,
mode
s minor
Although
considered.
T. 1/C. V. X tetrachord
transformed
of
keys
minor
the
G minor
clearly
similarity
most
are
false In
most
relation the
Lied
motion
of via
pieces, alike
of
the
of
its
in
the
text
with
alike,
between this b. the
F
corre4,
the tonic
treatment
to
that
of
573 local
this
of
tonic
common is
bs. in
the
affinity,
10-11 the
and
Lied,
1-2
respectively,
bs.
1-2. in
Eckelmeyer the
G minor
true:
the
(see
ibid.,
certain
(ibid.,
figures
melodic
Nevertheless,
emphasis
before
19
the
of
Adagio
equivocal
minor
only
example Ex.
6.8.
she
does
(ibid.,
not
however,
is
2nd
p. is
point
pieces only
17-18
the
of is
it
between systems here
more
A similar is
analogous
to
bs.
displaying
dominant
of
section)
is
not
un-
between "I"
of
the
shown
"recurrent
to
these
of
the
Lied.
similarity "Ach ich
in
my
T. 1/C. V. X
the
27-28
G
melodies":
figure
and
two
Eckelmeyer's
figure
the
16-17
5 is This striking a much more between the openings and of "Da schlHgt" in Chapter Ex. 2.19. 2 Section 1,7,
harmoni-
18-
underlay,
25-27
a
bs.
and
simply
bs.
aria
harmonically.
melodic in
found
the
of
(X
3),
identical
their
out
than
(aria)
strictly
of
areas
correlation
2 and
1-7
not
5-7
of
comparison
supported
"H"
bs.
different
aria
figure
structures
is
as
the aria,
an arched
whilst
her
points
and
and
slightly
Later,
Adagio
this
function
both
contour have
and
Adagio
their
pieces
harmonic
systems) a
melodic
to
(Adagio)
the
of
change.
15,
of
although
unmistakable
structure.
G minor
17),
have
nor
that
There
tetrachord the
and
other is
pieces
10-17
they
melodically
The
bs.
and
tonal
minor
the
that
similarity
sation.
the
fifth
claims
14-17
14,1st
p.
falling
p. bs.
of
G
to
addition
corresponding
between
identical"
"are
fact
pieces
the
simple
In
figures,
these
again,
although,
iv.
to
throughout
pedal
analogous
greatest
dominant
applied
5
of
bars
the
than fUhl's"
of
This, Adagio
that shown
574
and
aria
has a different
respectively,
express
these
alignment
tetrachord firstly
and the
recapitulation
30 f.,
and
Quintet,
bs.
between
the
and the
38.
Clearly
there
are
with
respect
to
placement
the
the
resemblances no large
seems,
last
aria's
are
above
the
of
aria,
finale
the
gesture, Adagio
detect.
I
all
Adagio
the
of
of
the
bs.
36-
and aria
correspondences,
structural/harmonic
scale
to
between
these
similarity
period
vocal
bar-correlations
noted
30 f.
in
lead
end-dominants
melodic
thematic
the
of
of bs.
of
second
between
secondly
36-386,
figures
the
after deal
a good
the
of
that
shows
structures
persists,
bs.
not
T. 1/C. V. X structure.
the
Eckelmeyer's of
and does
continuation
although is,
There between
analogy
it
these
pieces. Returning ifies
two
melodic
other
between
ibid.,
14,
p.
an imperfect
approach
Engel
Gottes
bs.
5-8 1,
system
cadence
dissimilar.
Furthermore,
disposition,
their
the of
in
bs.
and
1 and 2). harmonic
difference
3-5
Both
in
the
of
the
they
scale the
attenuates
is
passages
details
comparable
although
rhythmic
Lied
staves
though
first
The
aria.
the
ident-
Eckelmeyer
weinen",
with
similarities
affinity (see
aria
"Die
to
are
degree connec-
tion. The the
strophe
systems the
6 in
bs.
with
of
2). it
the
Although is
no real
See Ex. 2 and 3 of
between
a resemblance
and part
1 and
dominant,
degrees, I
is
second
X section both
again
mainly
rhythmic
or
of
the the
passages a detailed
8.16. Eckelmeyer the last stave of
middle aria
(ibid.,
function
correspondence harmonic
the omits p. 15.
portion
natural
of
P.
to
15,
prolong of
scale
equivalence.
before
e2
575
Having the
of
said
this,
Lied
and
"Ach
ich
30.
Such
however, bs.
fUhl's"
bs.
pieces
the
of
2nd
system;
raised
are
the
of
(cf.
K. 466
System).
sation
of to
the
the
in bs.
I,
Piano
the
aria,
1-7
b.
1,
77-78;
Adagio,
themes
Lied
Of
is
111,
bs.
the
tempo
Most
and
10-13
opening
solo
(ibid. its
to
of
the
the
13,
organi-
an undoubted
similar-
degree
scale
Con-
p.
rhythmic
of
13,
ibid.,
and
terms
p. ,
use
closest
4,63-64,
counteract in
K. 466.
the
in
these,
Lied
aria
and
these
Lied
movements
the
Nevertheless Concerto
the
of
to
and third .
28-
between
Concerto
affinities
system)
degree
second
ity
14,1st
p.
bs.
corresponding
connections
the
irst
in
Adagio.
from
have
15-16 that
of
the
precede
shows
to
Isf
not
also
of
shown
Concerto
seventh
certo
1-4
bs.
at
interrupted,
are
Quintet's
the
of
and melodies
Adagio
themes
does
25-29
bs.
aria
cadences
T. 1/C. V. X structure
the
example
significantly,
analogous
the
of
launching
Eckelmeyer's three
26-27
interruption
an in
structure
the
suc-
cession.
How are of
the
these
present
meyer's
hypothesis
strophic
material
as
she
clear with of
points
premise, and of
harmonic
of
text that
aria,
"melodic background"
of
difficult
aria
outweighs
"Die
any
contour,
Engel
criteria
for
accept
Eckel-
two
terms
function determining
Indeed is
weinen"
G minor the
of and
a
concerned the
within
the
of
16).
being
that
in
context
p.
Gottes
the
the
expansion
fUhl's",
between
rhythmic
an
(ibid.,
ich
other,
to
is
seems clear
resemblance
-
too
"Ach
of it
However, the
not
Trennungqlied"
the the
out,
separation.
Adagio ters
in
is
"Paminals
that
anticipation
this
It
study?
in
be evaluated
to
connections
context pieces, parame-
tonal
relationships
and
576 by
suggested
La Rue and
particular,
the
opening
the
and
the
Quintet
satisfy
all
that their
conditions,
in
Eckelmeyer's
derivation these
of
two
constitute
from
the in
figures
the
based
on
Adagio
instrumental
and vocal
The presence
descending
chromatic
in
is
structure
material
among
one may accept treatment
key-distinctive:
they
characteristics.
have
music
between
G minor
characteristic,
the
ich
and
connections identified:
been
structural
an objective/
of
forebear
detailed
the
and aria
following
the
summarise,
other
So although
same complex,
In
tetrachord
the any
1.
Ex.
25.
p. r
its
and
aria
unlike
objective/structural
To
1)
passages
ibid.
Eckelmeyer
of
gesture
these
collected
in
cited
in
fifth-progression,
"Ach
fUhlIsII
"Zum Leiden".
2)
Objective/structural
K. 516 in Die
of
Pamina's
regard
connections
are
inferred:
these to
relate
second
must
surely
first
of
enough
specific texts are
either
the
not
case count
different them
of of
actually
K. 550 of
the
to
of
citation
K. 550 in
latter
the
to
arias
subject In
(the
the
two
and from
aria
Zauberflbte
With
be
transformed
a later
identified
any
G minor
do
I firm
believe
not
the
it
be
quite
an instrumental
to
C. D. F. Ps in
by
would
the
signification
articulated and
section
by Eckelmeyer).
these, for
from
material
example,
arbitrary such
as the
I. second
among Mozart's
point,, most
however, outstanding,
the
citations
constituting
577
some of
the
In
of
view
1)
The
this,
a function
of
G minor.
2)
Given
the
some kind
of
Indeed,
the texts" and
Symphony
association
from
extracts
the
Given
that
works,
albeit
to
say
that
of
specific
If
highly
vocal
passages
passages
the
is,
that
that the
both
"subQuintet
the
subjective
by
in
objec-
conditions
represent
explicit
last
it
is
passages within and
citing
promi-
key with
a text
of their
parent
a subtext
its
specific the
group
more accurate
probably function
might
works
related
of
of
fractions
comprise ones,
prominent
subtext
presence
the
as
key-related
a personal
instrumental
regarding is
passages.
That
make
signification
the
problem
fUhl's,,
these
the
a subjective
Introduction,
the
might
could in
make
association.
by the
motivated
them
in
outlined
carried
Mozart
which
articulating
a
may have
Zauberflbte
G minor,
of
passages
operatic
instrumental
the
of
nent
the
of
the
passages
cited
characteristics
suggesting,
texts
the
as is
to
sole-
characteristic.
defined
key
for
prevail
this
being characterisation
in
text
intended
have
through
having
tive/structural
key
the
of
may
composer
contexts.
motivation,
objective/structural
seriousness
the
passages,
respective
suggested:
musical
a purely
the
of
are
options
has
citation
ly
point
two
their
of
passages
salient
most
as points informed
generally
or
concepts. is
accepted,
nature. of
five
we then Although
G minor
come to "Ach
arias
ich
whose
578
texts
are
quence
this
of
intervention f rom
verbally,
is
into
the
the
are
discussed tioned
in
the
the
or
by
the
Lament
in
Cavalli's
mass to
chordal
subtext
hand,
one
the
with former
The
in
G minor
of
the
whereas
G minor
Pamina's
of
in which (Allanbrook,
is -
be unreasonable,
See the to Chapter
from
the
extract 6q. 37b.
two
from
6,
As is func-
derived
to as
from
-
Crucifixus
then,
to
that
instrumental
cited
Bach's
B
imagery.
7
the
tetra-
works
in
sig-
Climene's
of
related
suggest
1983
are
Introduction accepted
and its
11mu-
employed,
the
death
Cooke
in
"topic"
tetrachord
G minor
passages
figures
such
universally
the
is
connotation,
in
through
It
tetrachords.
habitually
are
chromatic
L'EaistO
three
as a distinct
cited almost
aria
of
Chapter
they
in-
itself.
the
expressive
whose
any
by considering
chromatic
period
Paminals
passages
7
the
material
two
tonal
concept
is
the
that
to
descending
may not
by
mind
figures
nified
It
passage
contexts,
matter
Introduction the
to all" P.3115' 61A). The
Chapter
minor
in
circumstances
familiar
the
death?
content
on descending
based
styles
this carried
bear
throughout
sical
textual
specific
sung
association
instrumental
in
for
on the with
other,
conceptual
clarifying
to
question
duction
the
associations
instructive
from
on
not
consideration.
One way of trinsic
or,
operative
takes
music
as concerned,
that
assumes
latter
it
loss
and
arias
take
of
it
def ine
to
conse-
contemplation
has
she
we wish
specific
- were
out
- after
If
the
Pamina's
carried
boys
three
we to
are
reading
almost
Symphony.
the
separation
solo
the
is
experience
suicide,
of
and loss,
separation
general
to
and resolve
taken
with
concerned
the
may
Intro-
579
function
as
formed
by death
of
of
points
- which
subtext
verbal,
receives Nevertheless,
above evidence
The
speculation.
securely
nificance tions
are
objective an
outweigh
8 occurred August Mozart's physician Deutsch
data,
f ar
as
one
can
a leap
into
the must
ultimately that
as an objecthe
where
a matter purely
of
subjective
undoubted
musical the
musical
musical is
correlates the
although The
of
the
darkness
these
in
period,
available
devalued.
remain,
this
8
the
evidence,
possible
biographical
with
go
subjective
available thereby
of
the
connecting possible
above
understanding all
Mozart
to
attached suggested
the
not
context
certainly
were
in
on the
subjective
situations
thoughts
their
articulations
articulation.
there
nexus
definable involved
ciples
by
and
key
the
in-
works
a private
of
in
public,
taking
without
by
characteristic
as
seem
relationships
invoked
within
distinctive
representation
although
morbid
points
using
then
were
key
for
- Mozart
as the
tive/structural
grounds
signification
imagery
a connotation
state
specific
degree
prin-
of
sig-
connec-
-conceptual absence
not
of
interpretation, considerations
further guided may
others.
to Mozart The deaths close particulary people of three friend in 1787: Count those close composer's of the his father (28 May; see Klemens von Hatzf eld (30 January), his in 906-908) 1985, letter Anderson 4 April pp. and of (3 September; Barisani Dr Sigismund see and friend 1965, p. 296).
580 III
Epiloqu
in
As outlined a large
to
cerned
determining
in
that,
a limited,
although
As Section
II
tive
analysis, in
music
the
in
of
however,
the
to
subjective,
space
the
aim
of
objectively
-
keys.
I
pursued
here
and
a case
be made for
can
definition
stylistic
con-
minor
other
enquiry
results,
increasing,
is
been the
with
G minor
that
areas
their
of
has shown,
reasons
necessarily
as against sation
of
of
relationship
G minor.
this
of
extra-musical
objecis
elements
my provisional, G minor
devices
pitch,
surely
definition
in
against
to
probably
characterisations
the
the major
key
domains
identified
sample
a wider
only
of
than
other
that
ideally
comparison
end, of
require than
material
here.
fully
characterisation
definable
of the two other
isolation
characteriTo this
and
an objective/structural
use by the composer,
requires
in
repertoryp
a definitive,
be established.
to
be
to
I am restricted
which
Furthermore,
is
is
Mozart
remain
if
be done
to
here
covered
on the
objective/structural
techniques,
and
enquiry
perspective
remains
work
of
areas
a limited
only
much more
other
minor
of
afford
and doubtless
quent
style
has
study
problematic. For
that
this
from
of
characterisation
highly
of
terms
interpretation
the
of
Mozart's
distinctive
-
believe
with
extent
whether
stylistically
Introduction,
the
minor
C and D.
of
keys in Mozart.
by reference
the
to
keys in more than
A complete
objective/structural If
of
definition
picture
G
similar inf re-
naturally
characteristics of
those
of
the
581
keys
minor
times
many
is
difficult, involved,
more
The application in
in
ations
vocal
instrumental Mozart's has
transference music
music both
use of
shown,
not
investigation
of
compositional
features
particular enquiry.
keys
key characterisation
in
the
"the
in
music
common,
game of terms
predominant
incomparably
more
to
that key
the
study
of
as Section
II
G minor.
of
have demonstrated
than
in
though, case
associ-
recurrences
seam
keys,
and major
subjective
text-key
rich
ambiguity
Mozart's
offers
by
is
keys
major
profitable.
key-related
a potentially
involved
more
surely
evidenced
I hope to
the
of
structural of
minor
without
Consequently, stantially
as
is
study
although
of objective/
the
evaluating
a similar
although
the
speculation",, of
structural
in
or
to
serious
sub-
and
exclusive musical
to
582
Appendixes
583 Appendix
List
The
Music
in
G minor
is
Mozart's
of
incidence
of
One
the
Key of
G Minor.
into
divided
the
following
categories:
1)
Complete
works
2)
Complete
G minor
3)
Incomplete
4)
Self-contained
Movements,
are
sections
Closed
G minor
of
584.
tonic,
p.
non-G
minor
works,
p.
584.
aG
minor
tonic,
p.
586.
with
in
G minor
p.
non-G
minor
works
or
trios
iii)
G minor
variations
self
pieces
-contained
numerous
to
B flat
major
587.
G minor
G minor
in
sections
ii)
too
in
movements
works/movements
movements,
Non
minor
aG
subdivided:
i)
5)
with
of
in
minuets, in
doubtful
sections
include
here.
p.
587.
G major
sets,
authenticity,
of
G minor
p.
in
588.
p.
589.
non-G
minor
works
584 Complete
Sonata
Works
Movement
Andante
for
with
for
aG
Minor
Klavier
Klavier
Toni
K. Anh. 109b (15p)
no.
K. Anh. 109b (15r)
no. 7
3
1764 1764
25
K. 183
(173dB)
1773
Six Variations for Violin and j1ai Piano on "H61as, perdu mon amant"
K. 360
(374b)
1780
Lied "Ihr Mädchen Damöten ja"
K. 472
1785
K. 478
1785
K. 516
1787
K. 550
1788
Symphony
Piano
flieht
Quartet
String
Quintet
Symphony
2)
no.
no.
Complete
Sonata for 'Cello: and
40
G Minor
Violin, Minuet
MOVeMents
Klavier
Symphony Grabmusik: "Betracht
Aria, no. dies Herz"
Bastien und Bastienne: Recitative, 14, no. Trotz vermehrt sich"
Missa
Brevis:
Kassation: Mitridate, Aria, no. mi palpita"
2,
in
non-G
Minor
works
K. 11
1764
K. 22
1765
K. 42
(35a)
1767
K. 50
(46b)
1768
K. 65
(61a)
1769
K. 99
(63a)
1769
K. 87
(74a)
1771
"Dein
"Benedictus" V
r6 di Ponto: 4, "Nel sen
585 La Betulia 2, "Ma no.
liberata: virtt" qual
K. 118
Aria,
1771
K. 125
1772
K. 159
1773
Aria,
K. 196
1774
III
K. 250 (248b)
1776
K. 275 (272b)
1776
K. 345 (336a)
1779
K. 344 (336b)
1779
K. 336
1780
de venerabili
Litaniae
(74c)
altaris sacramento: "Tremendum" String
Quartet:
La finta no. 13, indegno"
giardiniera: "Vorrel punirti
Serenade Missa
("Haffner"):
Brevis:
wetze
"Agnus Dei"
Kbni! g in Agypten:
Thamos, no. 4 Zaide:
II
Aria, nur
die
no.
13,
"Tigerl
klauen"
Idomeneo, rýý di Creta: no. 1, "Padre, germani, addiol" Sonata Piano:
for I
Violin
Sonata Piano:
for II
Violin
Aria,
and
K. 379
(373a)
1781
and
K. 380
(374f)
1781
Dip, EntfUhruna aus dem Serail: Lied, no. 2, "Wer ein Liebchen hat gefunden" no. 10, and Aria, "Traurigkeit ward mir zum Lose" Suite
for
Music
to
Missa: Concerto Orchestra:
Piano:
Sarabande
a Pantomime:
"Qui
no.
15
tollis"
for
Piano
and
1782
K. 384
K. 399
(385i)
1782
K. 446
(416d)
1783
K. 427
(417a)
1783
K. 456
1784
K. 469
1785
K. 486
1786
II
Davidde Penitente (= K. 427/417a): no. 7 Der Schauspieldirektor: no. 1, "Da schlägt abschiedsstundell
Aria, die
586 Die . no.
Zauberflbte: 17, "Ach
Requiem: "Domine
3)
Aria, fUhl's"
ich
"Rex Tremendae" Jesu Christe"
Incomolete
and
Works/Movements
K. 620
1791
K. 626
1791
with
aG
Minor
Tonic
Fugue
for
Piano'
K. 401
(375e)
1782
Fugue
for
Piano
K. 154
(385k)
1782
Rondo
for
String
Movement Allegro
for for
1
Quintet2
String
The
last
3
Probably
(516a)
1787
K. Anh. 74
(587a)
1789
K. 312
Pian03
Stadler. 2 293-294.
Quartet
K. Anh. 86
eight a sketch
bars for
1790
(590d)
were
completed
K. 516
IV:
see
by
Maximilian
Newman 1956,
pp.
by Bars 106, second quaver-145/146-end were completed nýirly unknown hands. There was, until recently, some confusion it was dated 1788 and as to the date of this In K (1862), work. it the number K. 312. assigned In K3 (1937), Einstein redated 1774 as K. 189i, but in the 1947 Supplement he drastically revised this, it in the summer of 1790 and numbering it K. 590d. placing As Tyson points the paper type was first out (1987, pp. 20,30), used in the middle of Mozart's work on Cosl Fan Tutte and was then life, thereby available up to the end of his confirming Einstein's final dating.
587 4) Self-Contained Movements
i)
Closed
Sectiong
G Minor
Divertimento:
Sections
of
in
in
G Mi-nnr
B flat
Major
K. 287
VI
non-G
Minor
Works
Movements
(271H)
1777
K. 295
1778
Scena and Rondo "Mia Ah, speranza adorata; non sai, qual pena": Recitative
K. 416
1783
Concerto Orchestra,
K. 466
1785
K. 620
1791
K. 9
1764
K. 63
1769
K. 113
1771
K. 172
1773 1776
Aria "Se al labbro il non credi; cor dolente": central
central
no. ich
for
mio section
Piano and II (Romanza):
section
Aria , bin
4, "Zum Leiden auserkoren"
ii)
G Minor
Sonata Violin,
in
Trios
for Klavier Minuet II
Kassation:
IV,
Divertimento: String
Minuets
and (= Trio)
Trio III,
Quartet:
Trio III,
Trio
Divertimento:
III,
Trio
K. 240
Divertimento:
III,
Trio
K. 287
(271H)
1777
Trio
II
K. 361
(370a)
1782
Serenade: String
II,
Quartet:
IIf
Trio
K. 387
1783
or
588 Trio Viola:
for
iii)
G Minor
Piano, II, Trio
Clarinet
Variations
Sonata for Piano II, II variation
and
in
G Major
K. 498
1786
Sets
(293a)
1778
Twelve Variations for Piano and Violin on "La berg6re C61im6ne", VII variation
K. 359 (373a)
1780
Sonata for Piano and Violin: III, IV variation
K. 379 (373a)
1781
Concerto orchestra: IV
K. 453
1784
Ten Variations for Piano on "Unser Dummer pbbel meint"l from Gluck's La rencontre impr6vue, V variation
K. 455
1784
Five for
K. 501
1786
for
and Violin:
Piano and III, Variation
Variations Piano Duet,
on an Andante IV variation
K. 301
589 5)
G Minor
Terzetto Minuet
"Tremer for
Fantasia
4 5 6
Pieces
Piano for
of
mi
Doubtful
sento"
Authenticit
4
5
Organ
6
K. Anh.
243a
K. Anh.
136
K. 528a
See K6chel
1983,
See K6chel
ibid.,
p.
894.
See K6chel
ibid.,
p.
901.
pp.
833-834.
(C. 7.03)
1783?
(C. 25.05)
1786?
(C. 27.03)
1787?
590
from
Extract
Steblin
A:
Appendix Catalogue Imputed
Rousseau,
Jean.
to
of
G Minor
Keys:
Methode
Characteristics (pp.
278-280)
1691.
claire,
Sadness
Charpentier,
Marc-Antoine.
Serious
and magnificent.
Masson,
Charles.
Nouveau
Ltion,
d_
R6ales
c.
1692.
trait6,1697.
Sweet and tender.
Mattheson,
Johann.
Das neu-er8ffnete
1713.
Orchestre,
it not only key, because Almost the most beautiful combines key CD minor] the rather with quality of the previous serious in an uncommon grace but also brings loveliness, and spirited kindness. it is fitting for tender Therefore, as well as for happy ones. for longing In things, refreshing as for as well it is suitable flexible to both moderate short, and thoroughly plaintiveness cheerfulness. and tempered
Rameau,
Jean-Philipe.
Sweet and tender.
Traitä
de
l'harmonie,
1722.
591 Ribock,
kagazin
Cramer's
J. J. H.
der
1783.
Musik,
has The lament of a noble matron who no longer beauty, no longer and therefore elicits sympathy, Its minor. colour are: corresponding and aroma violets.
Schubart,
C. F. D.
Discontent, tempered gnashing
Knecht,
Justin
Ideen
zu
Ästhetik
einer
der
c. 1784.
bad scheme; and dislike.
Elementarwer
GemeinnUtzliches
Heinrich.
Tonkunst,
about a failed worry in a word: resentment
uneasiness, of teeth;
her youthful as does C and purple
1
1792.
Moving.
Galeazzi,
Francesco.
Almost grandiose.
Gr6try,
Elementi
de musica,
teorico-Dratici
the same character as It is suited to frenzy,
but a little agitation,
C minor, despair,
Andr6-Ernest-Modeste. 1797. 1
The most
pathetic
Gervasoni,
after
F minor.
Carlo.
La scuola
Carlo.
Nuova
della
musica,
1800.
musica,
1812.
Sof t.
Gervasoni,
Very
teoria
di
sweet.
Gardiner,
William.
Meek and pensive.
Stendhal's
Replete
Life
with
of
Haydn,
melancholy.
1817.
1796. less etc.
592 Castil-Blaze, Brings
into
tenderness
Schrader,
J. A.
the
Kleines
discontent, Expresses depicts fear and trembling. freche SUnder. 11) Misery
Weikert,
Henri.
Uneasiness,
Ebhardt, Sense
Gathy the ity.
of
Die
compassion,
August.
resentment (Mozart's and grief.
1821.
moderne,
Musi
1827.
,
This key and bitterness. du strafest "Herr, Requiem: "0 Traurigkeit. ") (Chorale:
1827.
and dislike.
h6hern apathy,
Musikalisches
Gustav.
der
Taschenwbrterbuch
der
Lehrzweige but
also
1830.
Tonsetzkunst,
despair.
1835.
Conversations-Lexicon,
The key of folk which poetry, its bliss true of love but also
Schilling,
musigue
soul.
Kunstwbrterbuch,
resentment,
G. F.
de
Dictionnaire
F. -H. -J.
Universal-Lexicon
knows how to express in utmost own tears
der
Tonkunst,
not only simplic-
1835-36.
is key Considered this from an aesthetical view, of point best its feelings: to the suited sound of bitter expression discontent, expresses a failed scheme; worry about uneasiness, it is the key of bad-tempered gnashing of resentment of teeth, between and dislike, wanting of self-accusation, of vacillation between decision and abstaining, of struggle and deliberation. Therefore, it modulates to the keys of E flat gladly and B flat in the two the keys of love majors, and hope, example as for ich oder wachl ich? " and "Hbre michl "Himmell tr&um, recitatives du? " in Mozart's (first Coal fan tutte warum fliehst and opera key of G minor tonic the second acts), sounds as the where throughout. in place These pieces, many others and as of still the first to us, can serve here characteristic examples occurring for our interpretation. this In its relationships, own harmonic key also loves to appropriate the ninth chord on its minor dominant, which powerfully moves the listener's soul to the most extreme passionate state.
593 Hand,
Ferdinand.
Aesthetik
der
Tonkunst,
1837.
following be directly SchuG minor characterised, cannot bart, by discontent, key melanIn this resentment and dislike. joy, thus, choly unites with and depression with cheerfulness; it in the represents with a touch of sublime grace sadness, the tragic-sentimental. The (musical] romantic colouring, treatment to the expression can raise of this of discontent all As the that and dislike, element. outweighs a restrictive since ideal for have in his key, this not mind Mozart's who does Goethe's to compare with Iphiaenia. I would like symphony, which If passion lies of the purest consists stamped on it, so it still discretion, appear adventurous or extravagant; and does not dignity is held upright, is transfigured to the most and beauty love-worthy by a secret But the whole is permeated pain, state. and even where the feelings motion and bright energy, gain lively them. In all this the master a touch of melancholy encompasses (Mozart] has handled key with In the the matchless skill. Menuett, becomes Other the goals expression even frightful. lead in indicate certainly to suffering; others consolation in tears; key conveys. ecstasy this In Schubert's all of which inner longing song "Der Wanderer an den Mond" op. 80, in which is the "Du aber transition to major expressed, at the words wanderst auf und ab" produces a very moving effect.
Berlioz, Melancholy;
Hector. tolerably
Grand
traitd
sonorous;
dlinstrumentation, soft.
1843.
594
from
Extracts
Extract
Key:
1:
from
Tables
pp.
Mies
176-185.
G minor
Tempered
pieces
No basic Mostly character. medium for meters. Predilection recurring, but different motives, of characters, themes. original
Many compound tempo. ostinato rhythms and then unconventional/
Beethoven Rare:
no
Basic
Character.
No
significant
in
pieces
Brahms No Basic
Character,
Remarks
No Basic
Character.
but
some small
groups
C:
I
G minor.
595 Iýxtract
Key:
2:
Tables
pp.
186-189.
f, s, Slow; m, moderate; Style Phase; G/C, General Character. I:
Tempered/cyclic Romantic periods;
II:
Works
of
Beethoven.
III:
Works
of
Brahms.
fast. B/C, Character;
S/P, Basic
Character; Basic G/B/C, General
Classical Baroque, works of 1,2, works numbered specific
and etc.
Key
Meter
Tempo
Character
Contributory Factors
Range
Remarks
A
even
mostly m
powerful, energetic, gestured
dramatic development
I
B/C
not c
contrasted
Andannot Cu. [? ] tino 2/2
M/f
simple, folk-like
sad,
exotic
E
III
S/P
III
S/P
III
S/P
ostinato rhythms m
simple, longing
sad,
596 Key
Meter
Tempo
Character
Contributory Factors
Range
B
even
m
full of meaning
individual motives rhythms
I
F Sharp
Remarks
B/C
and
S/P
even
s
painful, full of meaning, longing, resigned
uneven, 2/4, 6/8
m
painful, gentle, charming
even
f
very painful, dramatic, stirring
strong movement
S/P
m
melancholy, autumnal
mostly in ending the minor
S/P
M
serious, pathetic, energetic
frequently chromatic
s
even
C Sharp
but even
S/P
1 1-3
1 B/C
melancholy
1 1-3
2 B/C
f
excited
1 1-3
3 B/C
s
restful, pathetic
14
S/P
not
not chromatic
G
Sharp uneven 2/4, 6/8 A Flat
S-M
cantabile, still, melancholy
I B/C (not safe for II/
III)
597 Key
E Flat
B flat
Meter
even s Cu. not 2/2
Character
restful, serious, without in III,
very not energy, Mesto
Contributory Factors
Range
upwardleaping figures, frequent moving figuration
I,
1 3, III (rare)
S/P
1
1 B/C
1
2 B/C
III
Remarks
B/C
even 3/4 in
f
extremely passionate and aggressive
intense sound (loud]
C, 2/2, 6/3, 3/2
S
serious, broad, largescale
powerful melodic arches
2/4 6/8
s
melancholy
s
serious, melancholy, full of expression
chromatic themes
11
S/P
C
f
energetic, not amiable, appassionato
loud, moving figures
1 31 III III
G/B/C
even, rarely C
s
resigned
III vocal only most pieces, in ending the minor
C, 2/2, 3/4
f
passionate, combative, powerful, con brio
triadic themes with driving elements
II (not late)
S/P
even
M-f
sinister, ghostly
voce, sotto con sordino
III
S/P
FC
C
Tempo
S/P
598 Key
Meter
G-
Tempo
Character
Contributory Factors
Range
Remarks
-
D
all
m
grand, pleasant, delightful f lowing
all
fate, death, tragedy, dramatic, gestured
1
S/P
1 2-41 II, III
G/C
599 Extract
Key [pg. no. 1931]
3:
Table
p.
220.
Characterisation LUthy after
Abbreviation 186 ff.
E major (pp. 43-45]
to Belongs elevunworldly ated, scenes of moments, expectaextreme the tion, pale of lightshimmer ly ruffled waves.
Solemn, restful, [songvocal inward, like], lacking contrasts, religious, 4/4, slow I,, III (vocal). III
major (pp. 45-48]
happy The key of increasmankind, for ing feeling known as the life, of expression beauty and brilliance.
light, Charming, in serenade-like; Brahms swinging unevenly melody, middle; composed; 3,11 (early 1 III. works),
D major (pp. 48-51]
Associated with f estive splendour, courage, military venof scenes the and geance buffo grotesque, of no depth arias of feeling.
1) Brilliant, virtuosic, somewhat fanobjective; decofares, rations, even, I, quick; middle, Ii. joy; 2) march-key, middle, even; II. quick,
C-G-F majors (pp. 56-61; 56; 61-66]
keys These neutral are used predomifor simple nantly men.
G major: simple, uncheerful, uncomplicated; 6/8; 2/4 even, I, quick; middleI (rare). III III friendly, F major: natural; moderate I, rare C; middle; III. III 1) objecC major: tive, external, impersonal, C, 2/2; middle, quick it III 111.2) C, 2/2; majestic; III. It III slow;
in
C major (pp. 56-61]
LUthy
51-
key the As of fretruth serves for thanks quently testinoble and for dry monies, of statements didacfor fact, lectures tic and admonition.
of
p.
600 feeannounB flat
joking, 1) Merry, uncomplinot C; not cated; II, I, middle, III. brio, (2)) con C; marchlike; II (instruquick; mental).
Bf lat major Epp. 66-70]
Heartfelt lings are ced in soft major.
Ef lat major (pp. 70-75]
feelHeartfelt ings are announced in E emotional flat which major, is a key not only but love, deep of torthe of also of pains mented love.
1) Measured, seriC; slowI ous, I. middle; lamenting, 2) felt; unsimple, toput evenI (secgether ]; tional? middle; I. 3) full of energy, C; virtuosic; I. quick; 4) charming, granot cheercious, ful; C; not III. middle; 5) Associated with the the of sound horn; 1 3,111 III.
Af lat major (pp. 75-76]
In its on1y scenes.
sphere lie sombre
Cantabile, still, feeling, full of in longBrahms ing; not C; slowIII it middle; III.
(Minor Keys pp. 77 ff. ]
[tragedy sion]
and pas-
601
for
Texts
I
Solo
Chapter
2
Arias
(K. 42
(35a)),
2
no.
Betracht dies Herz und frage wer hat die Kron, gebunden, Wunden? von wem sind diese Sie ist von mir und doch für
mich, mich.
Sieh, wie es Blut und Wasser weint, hört was die Zähren sagen, die letzen fragen, Tropfen ob es mit dir nicht redlich meint, dich, ergib in zerfließ (local
hartes Herz, Reu und Schmerz.
Salzburg
)
poet?
See this heart and ask me, who has bound the crown, from whom are these wounds? they are from me and yet for
me.
See how it weeps blood and water, hear what the tears say, the last drops aski if it is honest to you. Yield, dissolve
Mitridate,
hard in
heart, remorse
r6
di
and pain.
Ponto
(K.
87
(74a)),
Nel sen mi palpita il core; dolente ii mio dolore; mi chiama a piangere non so resistere, non so restar. Ma se di lagrime ciglior umido ho il 6 solo credimi il tuo periglio la cagion barbara del mio penar. (Vittorio
Amadeo
Cigna-Santi)
no.
4
602
My heart is beating in rnj bosom; painfully My anguish is provoking me to tears; I cannot it; keep calm. I cannot stand if my lashes However, tears, are moist with Believe is only the danger me, it you are in Which is the cruel cause of my suffering. (Alan
Bullock)
La Betul
A
liberata
(K. 118
Ma qual virtt non cede fra il pit bastanti ad avvilir Se non volendo si piange agli se impallidir (Giovanni
(74c))
ancora si piange, altrui pianti, talora ci fa l1altrui
pallor?
to one still the tears of at of others
among so very many things heart? the most fierce cries, another, times causes
Kelly)
aiardiniera
(K. 196)
no.
13
Vorrei indegno, punirti il vorrei strapparti core, ardo nel sen di sdegno, ma mi trattiene amore,
che sospirar
mi fa.
Questa mercede ingrato tu rendi all, amor mio? Ahl mi confondo oh Dio, fra llira e la pietä. (Ranieri
e tanti
Metastasio)
When not wishing does one cry at when the pallor
La--fi, nta
2
tanti oggetti feroce cor?
But what virtue does not yield which are enough to discourage
(Judith
no.
del
Calzabigi/Marco
Coltellini)
us to
turn
pale?
603
To know that you were punished, and to appease my rage, I would gladly tear, you villain, false heart to pieces, your if love you so much. I didn't how you repay my love, Is this devotion? and my heart's decide Ah, I cannot is love the or whether vengeance
strongerl
(anon. )
Zaide
(K. 344
(336b))
no.
13
Tigert wetze nur die Klauen, Beutl. freul dich der erschlichnen Vertrauen Straf' ein törichtes Zärtlichkeit. auf verstellte Komm, nur schnell uns beide, und tötl der Unschuld warmes Blut. saug' das Herz vom Eingeweide Tiger! reiß' deine Wut. end ersättlge Ach mein Gomatzl uns Armen mit hat das Schicksal kein Erbarmen. Nur das Tod herbe Not. endigt unsre
(Johann
Andreas
Schachtner)
Tigerl sharpen your claws, gloat over the prey you stalked. trust Punish a foolish in simulated tenderness. Come quickly us both, and kill lap the warm blood of innocence. from our Tigerl tear the heart and sate your rage. for us poor Ah my GomatzI Fate has no pity. Only death will end our harsh misery.
(anon. )
entrails,
wretches
604 Idomeneo,
r6
di
(K. 366)
Creta
no.
Quando avran fine omai llaspre infelicel Ilia sventure mie? Di tempesta avanzo, misero crudel del genitor, priva e del germani del barbaro col nemico misto sangue vittime generose a qual rea ti riserbano sorte pit Pur vendicaste voi. di Priamo e di la flotta Perl
Troia Argiva,
i
danni
1
i
Numi?
e llonte?
forse e Idomeneo pasto sar& dlorca vorace ... ma che mi giova, o ciell di quel prode Idamante, se al primo aspetto ' llodio deposi, che all'onde mi rapl, fu schiavo il e pria cor, che mlaccorgessi dlessere prigioniera.
A qual contrasto, mi destate nel
dlopposti oh Diol ed amorel sen odio
affetti
Vendetta deggio a chi mi di6 la vita, gratitudine mi rende... a chi vita " Ilial o sortel o genitor, o prence, " vita mortel sventurata, o dolce Ma che? mlama Idamante? Ah no; llingrato sospira, per Elettra 6 mia rivale. e quell'Elettra intorno, Quanti mi siete carnefici spieteti? odio, orst, gelosia, sbranate vendetta, ed amore, sbranate sl questlinfelice core. Padre, germani, addiol io vi perdei. voi foste, Grecia, tu sei, cagion E un greco adorerb? Dlingrata al sangue mio sb, che la colpa avrei; Ma quel sembiante, oh Deil Odiare ancor non sb. (Giambatti
Varesco)
When will my harsh misfortunes Unhappy Ilial ever end? Wretched storm, survivor of the cruel bereft of father and brothers, blood their generous victims, foe; that mingling with of the barbarous fate have the gods in grimmer for you? Yet, store you same gods did avenge the ruin and shame of Priam For the Greek fleet and Troy?
what
605
and Idomeneo may have fallen prey to but what avails a ravenous sea-monster ... that Idamante of brave at first sight who snatched me from the waves, I banished my hate and my heart before I was I realised was enslaved Ah what a conflict, a prisoner. you oh God, of contrary emotions hate and lovel awaken in my breast, I owe vengeance to him who gave to him who me life, gratitude itl father, Oh, Ilia, restored oh, ... fatel Oh, wretched oh, prince, oh, bitter life, oh, sweet deathl loves But stay. Idamante me? Ah, no; for Elettra, the ungrateful one sighs is my rival. Elettra and that How many of you surround me, merciless executioners? jealousy, Come thenl hate Revenge, this and love, unhappy yes, rend apart heart.
it,
brothers, Father, farewelll You are no more, I lost you. Greece, you are the cause, I love a Greek? yet shall I know that be blamed I should ingratitude for to my kin; but, oh Gods, I still cannot hate that countenance.
(anon. )
Die
Entführung
aus
dem
Serail
(K. 384)
no.
in meiner Welcher herrscht Wechsel Seele Seit dem Tag, da uns das Schicksal trenntet 0 Belmontel hin sind die Freudent Die ich sonst kanntet Seite an deiner Banger Sehnsucht Leiden in der beklemmten Wohnen nun dafür Brust.
10
o heaven,
606 Traurigkeit ward mir zum Lose, bin. ich dir weil entrissen Rose, Gleich der wurmzernagten dem Gras in Wintermoose Gleich Welkt mein banges Leben hin. ich nicht darf der Luft Selbst Schmerz, Meiner Seele bittern ihn zu tragenl Denn, unwillig haucht meine Klagen sie alle in mein armes Herz. Wieder (Gottlieb
sagen
Stephanie)
is in my soull What a change there usl the day when Fate separated since joys are gone 0 Belmonte, those which once I knew at your sidel desire troubled The sufferings of in my anguished have taken their place breast. Sadness has become my lot, from you. Because I am torn Like the cankered rose, in winter like moss, grass life fades away. my troubled I may not Even to the breeze bitter my soul's pain, it, for, to carry unwilling it breathes my laments all back into my poor heart. (Peter
Der
tell
Branscome)
Schauspieldirektor
(K. 486)
die Abschiedsstunde, Da schlägt um grausam uns zu trennen. ich leben können, Wie werd' o Damon, ohne dich? dich begleiten, Ich will im Geist dir zu Seiten schweben um dich. Und du, und du, vielleicht auf ewig dafür du michl vergißt Doch nein1 wie fällt mir sowas ein? treulos Du kannst gewiß nicht ach nein, ach nein.
no.
sein,
607 Ein kränket das so der Abschied Herz, dem ist bekanntl kein Wankelmut Wohin lenket, das Schicksal es auch das festgeknüpfte trennt Band. nichts
(Gottlieb
Stephanie)
The hour of parting strikes that so cruelly us. sunders How can I live, 0 Damon, without you? I will go with you in spirit by your side, to hover near you. And you, and you for perhaps ever forget will met But not How can I think such a thing? You surely be untrue, cannot ah no, ah no.
A heart is grieved by parting that be inconstantl cannot it, Wheresoever fate may guide binds that the link nothing can break
us.
(anon. ) Die
Zauberflbte
(K. 620)
no.
4
0 zittre SohnI nicht, mein lieber ja schuldlos, Du bist fromm. weise, Ein Jüngling, so wie du, vermag am besten, Dies tiefgebeugte Mutterherz zu trösten Zum leiden bin ich auserkoren, Denn meiner fehlet Tochter mir; Durch sie ging all mein Glück verloren: Ein bösewicht entfloh mit ihr. Noch seh ich ihr Zittern, Mit bangem Erschüttern Ihr ängstliches Beben Ihr schüchternes Streben. Ich musste sie mir rauben sehen: Uch helft111 war alles, was sie sprach; Allein, Flehen, vergebens war ihr Denn meine Hilfe war zu schwach.
608 Du wirst gehen, sie zu befrein Du wirst der Retter Tochter sein. ich Und werd dich Sieger sehen, als dein. So sei dann ewig sie auf
(Emmanuel
Giesecke)
Schickaneder/Ludwig
0 tremble not, fear not, my son, innocent. For thou are pure, wise, Perchance a youth like thee at long last may lay. heart some comfort To my poor mother's Fate hath decreed me doomed to suffer, is lost to me; My only child In her my joy is gone for ever, An evil fiend reft her from me. I still see her tremble In anguish and terror; in loathing How shrinking 'Gainst fear she is striving. her; I looked on helpless as they stole "Ah helpl" was all the word she spake; But yet in vain was all her pleading, My help, my succour were too weak. her freedom, So shalt thou go to bring be; Thou shalt my daughter's saviour And when I see thee here the victor I for thine own will give her thee. (anon. ) Die
Zauberflbte
(K. 620)
no.
17
Ach, Ich fühl's, verschwundent es ist Ewig hin der liebe Gluckt Nimmer kommt ihr, Wonnestunden, Meinem Herzen mehr zurückl Sieh, diese Tamino, Tränen Fliessen, dir Trauter, allein. Fühlst du nicht der Liebe Sehnen, So wird ruh im Tode seini (Emmanuel
Schikaneder/Ludwig
Giesecke)
609 is gone now. Ah, I know it, all Gone for ever love divinel Now no more sweet hours of rapture heart Come to cheer this of minel Lo, Tamino, see my weeping, for thee do flow. These my tears If thou feel yearning, no lover's knowl Yet in death true peace I'll
(anon. )
II.
Other
Solos
1) Concert
Arias
K. 295
Se al labbro mio non credi, cara nemica mia, il petto aprime e vedi, qual sia llamante cor. Il ma se un
cor dolente e afflitto, dlogni colpa privo, pur non 6 delitto, innocente ardor.
(Antonio
Salvi?
)
If you do not believe my lips, my dear enemy, open my breast see, and you will heart what a loving may be. My aching heart, and afflicted but guiltless, unless an innocent passion be a crime. (Judith
Kelly)
610 K. 416
6a noi Mia speranza ah, troppo adoratal Llultima 6 questa, ti chlio stringo volta
io
Anima mia, consola.
pit
non ti
vedr6,
deh,
tu
del ciel 11ira al mio seno.
l1assisti,
di mel Senti... Addio, Zemira, che vedo? ricordati mio tesoro, il oh, quanto mio martir. pianto quel accresce Chi prova mai stato, del miol peggior Addio addiol per sempre, amata sposa, per sempre, (Gaetano
Sertor,
Zemira.
funesta;
tu per me la
tu
piangi,
)
is too harsh towards My beloved hopel us; wrath ahl Heaven's is the last This I shall time you to my bosom. clasp Oh my beloved, I pray you, I shall see you no longer. her for me. her succour, give console Farewell, I this Listen Zemira, see? what's remember mel ... You weep my, dearest; Oh how those increase tears my sufferingl Who ever experienced worse than mine? a fate farewelll bride, Farewell for ever, for ever, my beloved (Alan
2) Die
Bullock)
Lieder Entführung
aus
dem
Serail
(K. 384)
Wer ein hat Liebchen gefunden, Die es treu meint, und redlich Lohn' duch Küsse, tausend es ihr ihr Mach, das leben all süsse, ihr Sei ihr Tröster, Freund. sei Trallalera, trallaleral Doch sie treu sich zu erhalten, schliess' er Liebchen sorglich ein; Denn die losen haschen Dinger Jeden Schmetterling, und naschen Gar zu gern Wein. vom fremden Trallalera, trallaleral
no.
2
o
611 Sonderlich beim Mondenscheine, in Freunde, achtt wohl nehmt sie junges Oft lauscht Herrchen, da ein Närrchen Kirrt das kleine und lockt Und dann, Nachtl Treue, gute Trallalera, trallalerat
(Gottlieb
Stephanie)
discovered, love's He who his true Loves her dearly and sincerely, kisses, Her rewards with countless life Makes her whole merely. sweetness Be her lover, be her strengthl Trallalera, trallaleral Yet to keep her faithful to him he keep his loved Will one closely; her Else might now steal a butterfly fare Eager such strange to savour. Trallalera, tralialeral And especially by moonlight, Ah, my friends, then have a caret is a young man lurking, Often her unaware. Lures and tempts fidelity, farewellt Ah then, Trallalera, trallaleral
(anon. )
K. 472 Ihr Mädchen flieht Damöten jal ihn sah, Als ich zum erstenmal ich da fühlt, ich, fühlt' so was ich weiss mir ward, wie, nicht ich seufzte, zitterte, und schien mich doch zu freuln; glaubt mir, er muss ein Zaublrer
Sah ich
ihn
an,
so ward mir
nie,
sein.
heiss,
bald ward ich roth, bald ward ich weiss, zuletzt nahm er mich bei der Hand; wer sagt mir, was ich da empfand? ich sah, ich hörte nichts, sprach nichts als Ja und Nein; sein. glaubt mir, er muss ein Zaub, rer
612 in dies Er führte Gesträuch, mich ich ihn flieh'n und folgt' wollt, ich er setzte setzte mich; sich, Sylben er sprach, stammelt' nur die ihm, Augen starrten die klein; meinen wurden Zaub, rer glaubt mir, er muss ein
ihm
gleich;
ich;
sein.
Entbrannt drückt, er mich an sein Herz, Schmerzl icht was fühlt, ein süsser welch ich schluchzt, ich athmete sehr schwer, da kam zum Glück die mutter her; was würd', o Götter, Zaubereiln, sonst nach so viel aus mir zuletzt seinl geworden (C. F.
Weisse)
bewarel Ye maids, of Damon all When first I saw his face so fair, I felt I know not why, at once, A strange delightful ecstasy, I sighed sore, and trembled Yet joyful seemed to be, is he. In truth a sorcerer On him I gazed with charmed sight, Blushed rosy red and then grew whitel And when he took my hand in his, Ahl who can tell how deep my blissl I And dumb I then became and naught seemed to see: is hel In truth a sorcerer He led me to a verdant glade, And swift I followed undismayed, He sat him down beside me there, And spake the words I could not HIS eyes that gazed in mine like seemed to be: is hel In truth a sorcerer
heart torches
And then he clasped me to his heartl And then I felt sweet smartl a strange high. heart beat My breath my came quick, byl Just then by chance, came my mother his sorcery, Or else, with all ye gods above, Who knows what had become of me?
(anon. )
613 III
Ensembles
Bastien
und
(K. 50
Bastienne
(46b))
no.
14
Bastien
Dein Trotz sich durch vermehrt WohlanI den Augenblick ich zu deinen Hol' Freunden Dolch und Strich. mir Messer,
Leiden?
mein
Bastienne
Viel
Glück
zum kalten
(Friedrich
Wilhelm
Badt Schachtner
Weiskern/Andreas
Bastien
Your spite is increased by my suffering? All instantly rightl to please you I shall go and find dagger myself a knife, and rope. Bastienne Good luck
with
your
cold
bathl
(anon. )
(K. 384) Belmonte
no.
16,, Andante.
Belmonte
Doch ach, Empfindet
bei Lust aller Brust meine
Noch manch
Sorgenl
geheime
But ah, my heart
despite still
many a secret
all feels
Konstanze
Was ist es, Liebster, sprichl Geschwind, dichl erkl&re
dearest, What is it, Quick, explaint
mir nichts verboren,
verborgenI nichts verborgenI
Belmonte
Man sagt-man
joy
caret
Konstanze
0 halt nichts
this
hidden Oh keep nothing hiddenI me, nothing
speakI
from
Belmonte
sagt-du
seist-
ilm
told-I'm
told-you
are-
614 Konstanze
Konstanze
Nun
Go ont
weiter?
Pedrillo Doch Bist
Pedrillo Blondchen, ach, die Leiterl du wohl soviel wert?
Blonde
Blonde
Hans
Narr,
über? hättest Ei, Die Frage
bei
schnappt's
du nur umgekehrt.
dir
lieber
Osmin,
doch
Herr
Blonde
Osmin-
Osmin,
But
Willst
hear
Let's
Konstanze dich
nicht
erklären?
Won't
you
Belmonte
Belmonte
Man sagt-
Ilm
Pedrillo
Pedrillo
but
Osmin-
itl
Herr
Osmin-
But
Osmin-
Belmonte
Du seist-
you
Pedrillo
Pedrillo
Herr
Osmin-
are-
But Osmin-
Konstanze
Konstanze
Nun
Go onl
weiterl
Blonde
expla
told-
Belmonte
Lass
mad?
done better question.
Konstanze du
Doch
have the
you
Blonde h6reni
Doch
are
Pedrillo Herr
Lass
Blockhead,
You would to reverse
Pedrillo Doch
ladderl so much?
But Blonde, ah, the Are you really worth
Blonde hörenl
Let's
hear
itt
in?
615 Konstanze
Konstanze Willst
du
dich
(Gottlieb
Cosl
nicht
erklären?
Won't
you
(anon.
)
Stephanie)
fan
(K. 588)
tutte
Ferrando,
no.
(Finale,
si mora, le ingrate.
Let us die, To appease Don Alfonso
C16 una speranza ancora; Non fate, oh Dei, non fate.
There don't
Fiordiligi,
Dorabella
Fiordiligi,
grida
Heavensl
che
Ferrando,
orribilil
Guglielmo
Lasciatemil
Let
Don Alfonso
Don Alfonso
Aspettatel
Waitl Guglielmo
Llarsenico Di tanta
mi liberi crudeltA.
Fiordiligi, Stelle,
Dorabella What
fu
horrible
Guglielmo
Guglielmo
deliver Let arsenic From such cruelty. Fiordiligi, quello?
criesl
me gol
Ferrando,
Dorabella un velen
let us die, yes, the ingratesl
is one hope still; do it, Oh God, don't
Ferrando,
Ferrando,
Allegro.
Guglielmo
Don Alfonso
Stellel
I),
Act
Ferrando,
Guglielmo
Si mora, sI, Onde appagar
18
explain?
My stars,
me
Dorabella
was that
a poison?
Don Alfonso
Don Alfonso
Veleno buono e bello, Che ad essi in pochi La vita toglierA.
A poison, and proper, right which in a few minutes from life them. take will
Fiordiligi, Il tragico il Gelare
Dorabella, spettacolo cor mi fa.
istanti
Fiordiligi,
Dorabella
The tragic sight freeze. heart my makes
do iti
616
Ferrando,
Guglielmo
Ferrando,
Guglielmo
Barbare, avvicinatevi: D'un disperato affetto il Mirate tristo effetto E abbiate almen pietA.
Cruel approach: ones, dire the effect see love, of a desperate at least. and have pity
Fiordiligi,
Fiordiligil
Dorabella
Il tragico il Gelare
The tragic It makes
spettacolol cor mi fal
Tutti
All
il Ah che del raggio sole Fosco per me diventa. le fibre Tremo, e l1anima Par che mancar si senta, labbro N6 pu6 la lingua o il Accenti articolar.
Ah, the becomes I tremble, my soul, Nor can a utter
(Lorenzo
(William
IV.
da Ponte)
Dorabella sightl my heart
freezel
ray sun's dark for me. I seem to feel fail. my fibre lip tongue or my word.
Weaver)
Choral
K. 65
(61a)
Benedictus in osanna
qui venit excelsis.
is in
Blessed Hosanna
in
nomine
He that cometh the highest.
in
Domini. the
name of
K. 125 Tremendum miserere Awe-inspiring have mercy
K. 275
Sacramentum,
ac vivificum nobis.
on
and us.
life-giving
(272b)
Agnus dei, tollis qui peccata miserer nobis. Dona nobis pacem.
mundi,
mysteryl
the
Lord.
617 Lamb of God, who takest away the have mercy on us. Grant us peace.
K. 427
sins
of
the
world,
(417a)
Qui tollis mundi, peccata miserere nobis. Qui tollis mundi, peccata deprecationem nostram. suscipe Who takest away the have mercy on us. Who takest away the receive our prayer. K. 469
no.
Se vuoi
sins
of
the
world,
sins
of
the
world,
7
puniscimi,
lascia Signore, ma pria, che sfoghi, che si moderi
che il
almeno, tuo sdegno,
inferna la mia pallida Vedi guancia deh porgimi Signore, deh, sanami, soccorso Signor tu puoi. (Lorenzo
da Ponte)
If you wish punish me, but first, Lord, at least allow be vented, that your wrath that your rage be controlled. You see my pale dreadful cheek Lord, ah, heal me, ah help me Lord you can. (Judith
Kelly)
K. 626
Rex tremendae qui salvandos salva me fons
majestatis, gratis, salvas pietatist
Thou, 0 awe-inspiring Lord, saving elen when unimplored, fount save me, mercy's adoredl (F. X.
Lazance)
ii
tuo
aita
furor.
618 Domine Jesu Christe, Rex gloriae libera defunctorum fidelium animas omnium de poenis inferni lacu et de profondo libera leonis eas de ore in ne absorbeat tartarus, obscurum ne cadant eas in sed signifer Michael eas repraesentet sanctus Abrahae quam Olim ejus. et semini promisisti
0 Lord
Jesus
Christ,
King
of
lucem
sanctam
glory,
deliver departed the souls of all the faithful from the pains of hell and from the deep pit; Deliver them from the lion's mouth, into darkness; that hell them not, nor they fall engulf But that Michael, bring them into bearer, the holy standard holy light, Which Thou once didst promise to Abraham and his seed. (F. X.
Lazance)
the
619 Appendix
Minuets
Items
given
Sonata for and Violin Sonata for and Violin Minuet with for Klavier Contredanse Minore for Rondeau with for Klavier
Sonata for and Violin
in
bold
and
are
Trios
discussed
in
Fiv
Other
in
Keys
Minor
3.
Chapter
Klavier
K-8
1763
Menuetto
II
B flat
Klavier or Flute
K. 13
1764
Menuetto
II
D
K-15i
1764
Minore
A
K. 151
1764
Minore
A
K. 15s
1764
Minore
A
K. 29
1766
11, Trio
D D
Minore
K-15k with Klavier Minore
Klavier
Symphony
K. 76 (42a)
1767
111,
Sonata for Violin and Bass or for
K. 46d
1768
Menuetto
Serenade
K-100 (62a)
1769
VII,
Trio
D
Symphony
K-95 (73n)
1770
111,
Trio
D
Symphony
K-110 (75b)
1771
111,
Trio
E
Symphony
K. 114
1771
111,
Trio
A
Divertimento
K-131
1772
111, Trio
III
D
Symphony
K-132
1772
111,
Trio
c
Quartet
K-158
1773
111
(Trio]
F
Trio 2do
C
Klavier
620 Divertimento
K. 205 (167a)
1773
IV,
Trio
D
Serenade
K. 185 (167a)
1773
VI,
Trio
D
Quartet
K. 170
1773
11,
Trio
c
Quartet
K. 173
1773
Serenade
K. 203 (189b)
1774
VI,
Trio
D
Divertimento
K. 247
1776
111,
Trio
D
Serenade ("Haffner")
K. 250 (248b)
1776
V,
Trio
Divertimento
K. 334 (320b)
1779
V, V,
Trio Trio
Serenade
K. 361 (370a)
1781
IV,
Trio
Serenade
K. 375
1781
11,
Trio
Serenade
K. 388 (384a)
1782
111
c
Quartet
K. 421 (417b)
1783
111
D
Five Divertimenti no. III
K. 439b
1783
IV,
Quartet
K. 465
1785
111,
K. 487 (496a)
1786
Trio
A
Quartet (OHoffmeister")
K. 499
1786
11, Trio
D
Twelve no. VI
K. 568
1788
Trio
D
K. 581
1789
111,
Twelve no. II
Quintet
Wind
Duos
Minuets
D
D D B
I II I
B flat c
B flat
Trio
c
Trio
Trio
I
A
621
Bibliography
622
Abraham, Gerald 1979
Allanbrook, Wye Jamison
The Concise Oxford Historv University Oxford (London:
1983
Rhvthmic di nozze
Gesture Fiaaro
Apel, Willi
ed.,
and
revd.
Bach, Carl Philipp
Barret-Ayres, Reginald 1974
Bauman, Thomas
Beach, David
1987
1983
Bent, Ian D 1980
ed.
1985
of
letters Mozart The of Macmillan) (London: Famil
Chicago
and
his
DictiOnarv Of ýIugic The Harvard (2nd edn., London: Heinemann EducaBooks Ltd. ) tional
1983
Emanuel
and
La Mozart: Don Giovanni
University
(Chicago: Press)
Anderson, Emily trans.
in
of Music Press)
1974
of PlaViII9 Essav on the True Art liber (Versuch Instruments Kevboard das Klavier zu die art wahre MitJ. william. trans. gpielenj, Eulenburg) (London: chell Ouar-the String Havdn_and Joseph -(London: Barrie = and Jenkins)
EntfUhruna Die Onera Cambridge bridge: Cambridge
AsDectn of (New Haven:
"Analysis", of ary (London: 340-388
aus
dem
_Handbooks University
Sch nkerian Yale University
Sgrail, (CamPress)
Theor Press)
The New Grovp. DictionMusicians Music and 1, Macmillan) pp. vol.
623 Broder, Nathan
1967
ed.
Bukofzer, Manfred
F 1948
Mozart: Norton Norton)
Symphony Critical
mugic
in
Monteverdi Carr, Francis
1983
Cavett-Dunsby, Esther 1985
the
in G Minor, K. 550., (New York: Scores
Analysis
Music 31-51
Codas", "Mozart's 7 no. 1, pp. vol.
1988b
'Haydn' Quartets: "Mozart's ing Up and Down without Roval the Journal__ of 113 part . tion vol. 57-80
1987
1983
Dahlhaus, Carl 1982
Dallapiccola, Luigi 1950
John
Reconsidered: Mozart, s Variationg 501 and (K. 613, Four CaSe Studies -K. and Finales the of K. 421 (417b) King Is College (Ph. D Diss K. 491 London)
ComposRules", Musigal 1, pp.
(Lon-
to MuSiC A Guide don: J. M. Dent)
Anal=il
L anguage The of University oxford 1983) repr.
(oxford: mu sic 1959, Press,
Cooke, Deryck
(London:
1988a
Cook, Nicholas
Dent)
to Bach (London:
Mozart and Congtanze Murray)
from
Pra
Barogue
F-sthet ic-Austin University
nf Mugic, (Cambridge: Press)
trans.
William Cambridge
in Scene Statue the "Notes on Sur vey Music vol. ajovan ni", 89-97 2, pp. no.
Dan III
624 Dent, Edward
1947
J
Deutsch, Otto Erich
Dunsby, Whittall,
Mozart's Operas, (2nd edn., Oxford: Press) sity
1965
Jonathan Arnold
Mozart. (London:
and 1988
Music tice
. cal Study A Crit Oxford Univer-
Biography A Documentary A. and C. Black)
Analvsis (London:
in Theorv Faber)
and Prac-
Eckelmeyer, Judith
A.
1980
Mel1 bte ", 11pp.
"Two Complexes recurrent of to Die zauberf related odies 41, Review The Music vol. 25
Elenor, John
1987
Epstein, David 1979
Forte, Gilbert,
Gianturco, Carolyn
Allen and Steven E 1982
1981
"Masonic Mediants: Opera"r Three-Keyed Times vol. cxxviii 327-328
notes on a The Musical no. 1732, pp.
in Musica, 1 Beyond Orpheus . Studies (Massachusetts: Structure MassaInstitute of Technology) chusetts
Introduction to Schenkerian W. W. Norton) jaj, a (New York:
Operas Mozartes Early Ltd. ) B. T. Batsford
Hall,, Donald
1980
Musical (Belmont:
Heartz, Daniel
1974
"Tonality and Motif The Musical Times 1575, 382-386 pp.
Analy--
(London:
An Tntroduction AcoustiCs Wadsworth)
in Tdomeneo", no. cxv vol.
625 Hildesheimer, 1986 Wolfgang
Hoppin, Richard
Hudson, Richard
Dent)
(London:
Music
Norton,
(New York:
H
Medieval 1978)
1980a
T)iction-. The New-Grove "Ground", Musicians vol. Music and of ary 7, pp. 748-750
1980b
Hyatt-King, 1936 Alec
1937
Katz, Adele
Mozart
T 1972
Keller, Hans 1955
"Passacagliall, tionarv of Music 267-270 14, pp.
"Mozart's Musical 154
The New--rrove and musicians
Tonality", Recor no.
vol.
The Mont 15366, pp.
Use "The Consistency of Mozart's Musical Monthly The Keys", of 104-107 67, Recor pp. no.
to M sical Challenge New Concept of Tonalitv Da Capo Press)
Technique Serial "Strict Tempo no. Music", cal 24
1956
"Key Characteristics", 5-16 40, pp.
1957
Analysis: "Functional The music Application", 202-206 18, pp.
1985
Dic-
A Tradition. (New York:
in Classi1237, pp.
Tempo
its Review
no.
Pure vol.
Analysis of Mozart's "Functional Analysis Music Quintet", G Minor 73-94 1/2, 4 pp. nos. vol.
626 1986
The Great J. M. Dent
Haydn Quartets and sons)
1987
Criticis
(London:
Faber
Drama
(London:
Kerman, 1957 Joseph
Opera
1985
Kirnberger Johann Phiilip
K6chel, Ludwig
Ritter
1982
von
1983
Lindley, Mark 1980a
as
University
Press)
Musicol.
(London:
Qgy
The Art of Strict trans. David tjQn, (New Haven: Thym Press)
(London:
and Faber)
Oxford
Fontana)
ComposiMusical Beach and Jurgen Yale University
VQ-r--_ Chronoloaish-thematisches Tonwerke Wolf ý zeichnis samtlicher (8th edn., ed. aana Amad6 Mo7arts Alexander WeinGiegling,, Franz Wiesbaden: mann and Gerd Sievers, Breitkopf und Hartel)
Grove New The "Temperament", Dictionary and Musicians of-Music 18, pp. 660-674 vol.
1980b
The New Grove Diction"Mean-tone", vol. and Musicians of Music ary 11, p. 875
1980c
"Interval" gry of 9, pp.
Lloyd, Boyle,
Llewellyn Hugh 1978
LUthy, Werner
1931
New Gri2ve DictionThe , Musicians vol. Music-and 277-279
S and Intervals, (New York:
Scales and Temperaments Press) St. Martin's
Mozart und gharacteristik & cie. )
die (Strasbourg:
nartenHeitz
627 IIiI?Wwirýý
Macdonald,
Hugh
1988 vol.
XI
Nineteenth no. 3, pp.
Century 221-237
Music
Mann, William
1977
The Operas Cassell)
Maunder, Richard
1988
On Preparing-d Mozart's Requiem: Oxford New Edition (oxford: University Press)
Meyer, Leonard
B 1956
Emotion (Chicago: Press)
mies, Paul
1948
Narmour, Eugene
of
and Meaning University
Der Character Untersuchun Staufen)
(London:
Mozart
in of
Music Chicago
der Tonarten; (CologneandKrefeld:
Eine
Schenkerism: The Need for Beyond in Music Analvsis Alternatives Chicago (Chicago: University of Press)
1977
Nattiez,
Jean-Jacques
1985
"The Concepts of Plot and Seriation in Music Analysis", trans. Process Dale, Music Analvsis Catherine V014 nos. 1/2, pp. 107-118
Newman,
Sidney
Pestelli, Giorgio
1956
1984
G Minor "Mozart's and its Relationship (K-550)", symphony XVII, pp. 287-303
The Age trans. Cambridge
(K. 516) Quintet to the G Minor Revie Music
and ReethOvellt of Mozart (Cambridge: Cross Eric Press) University
628 Pettit, Jane
Rebecca
Ratner, Leonard
Rosand, 1980 Ellen
Rosen, Charles
1976
1980
Rushton, Julian 1981
Sadie, Stanley
Classic Style
G 1980
Robbins H. C. Landon, Mitchell, Donald, 1965 eds.
A
Analysis: Paradigmatic Diss., (M. A. sideration Leeds) sity of
1987
ReconUniver-
Form
Expression, Music: Schirmer) (New York:
and The MoZart and Faber)
Companion
(London:
Faber
Grove
Dic-
tionary of MUSiC and Musicians 10, pp. 412-414
V01
"Lamento",
The
New
Mozarl., Haydn, Style: The Classical Faber and Faber) (London: Beethoven
Sonata Norton)
Forms
(New
W. W.
York:
Opera Cambridge Giovanni. Don Cambridge Handbooks -(Cambridge: Press) University
1984/5
'Classical It Do We Call University The of ", sic? 201-218 27, Revie pp. vol.
1986
Music@ A Concise Classical to Beethoven from Gluck Thames and Hudson)
1982
an
"Why
The New Macmillan)
Grove
Mozart
I MuLeeda
History (London:
(London:
629 Salzer, Felix 1982
Schenker, Heinrich
Structural Hearing: Tonal Coherence in Musj_Q (New York: Dover)
1926
1969
Five Felix
1979
(Vienna: Free Composition Univer1935; 2nd edn. revd. sal Edition, Oswald Jonas,, Vienna: Universal 1956; 3rd edn. trans. /ed. Edition, Oster, Ernst New York: Longman)
1980
Cotta, 1906, Harinony (Stuttgart: trans. Mann Borgese, Elisabeth Chiof Chicago Press) cago: University
1987
Counterpoint (Vienna: Universal 2nd edn. A. G.,, 1910,1922; Edition John Rothgeb trans. and Jurgen New York: Thym, ed. John Rothgeb, Schirmer)
Schoenberg, Arnold 1970
1983
E.
Graphic Salzer,
Fundamentals (London: -tism Structural (London:
Shamgar, Beth 1981
Smither, Howard
in der Musik. Das Meisterwerk Jahrbuch U (Munich: Drei Masken Verlag) (ed. Music Analyses New York: Dover)
of musical Faber and
Functions Faber and
of Faber)
Composiý Faber) Harmony
"on Locating the Retransition Form. ", The Classic Sonata 42, PP- 130-143 Review vol.
1987
in Music
Vol. Oratorio. A History of the 1 3, The Oratorio in the classica. E" (Oxford: Clarendon Press) .
630 Solomon, Maynard
1977
Souper, F. O. 1933
Steblin, Rita 1983
Steptoe, Andrew 1988
Beethoven
"Mozart Musical 203
1981
Tyson, Alan 1987
Wen, Eric
1982
Yeston, Maury 1976
(ed. ) 1977
and Tonality", Record no.
Schirmer)
The Monthly20263, pp.
A History of Key Characteristi-Ca in 19th 18th Early the and University (Michigan: Centuries Research Institute Michigan of in Musicolog Studies Press, , no. 67)
The
Mozart-Da
Cultural Le Nozze Cosl and Clarendon
Strunk, Oliver
(New York:
Ponte
and Musical di Figaro, Fan--Tutte Press)
. Sour ce Readinas Faber (London:
Studies Mozart: Scores (London: Press) sity
Oueras:
The
Backaround to Don Giovanni (Oxford: The
in Music and Faber)
Histor
of the Autoarapl UniverHarvard
in the Reminiscence "A Disguised First Movement of Mozart Is G Minor 1 Analysis Music Symphony", vol. no. 1, pp. 55-71 stratification The (New Haven: Rhvth Press) sity
of Yale
Musical Univer-
in Schenker Analysis, Readinas Other Approaches (New Haven: University Press)
and Yale
631 Zaslaw, Neal 1972
"Mozart's Tempo Conventions", SoInternational Musicological Eleventh the Report ciety: of CbDenhaaen, Conaress pp. 720-733
