Aspects of Mozart's Music in G Minor: Toward the ...

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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

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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

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Motion quality

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of

able;

generally

fewest

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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

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in are

sizes

the

according

a pure

changes

triads

most

to

functional.

are

By categorising

temperament

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tempera-

to

Kirnberger Musik

elimin-

irregular

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system

more

697c

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have -

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those

tuned

semitone

signature

versa.

a

the

differently

temperaments

from

In

with

Temperament": are

at

out

Attendantly,

major

Reinen as

come

circle

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to

referred

thirds

tuned

thirds.

theorist

ebrated

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a useless

irregular

these

eight

is

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around

"Meantone

fifths

are

This

of

of

fifths

the

ments,

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thirds,

the

of

Fifth"

the

tunings

temperaments,

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tempered

meantone,

comma"

7 386c and

one,

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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

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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



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

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of that

and

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in

of

with

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the

-

weakness

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9

Okr&.% ft,4

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býcj j

Mout.

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subjective

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in

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to (in

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of

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ic

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symbols eventually

for

theory.

%'a#-

C

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B natural and B flat, our generalised modern

and and

6

in

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jormer v),k J14 11-tv-specif

of

traditional

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medieval

linked

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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

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raised

association

Given

- with

sharp

Leonora

C$11.

its

to

negative

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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

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affective,

states

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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

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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

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5-6

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further

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way

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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

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the presence

given

subdominant

post-double

same is

fundamental

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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

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voice.

As

leads

by ascent

of

bs.

music,

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considered

first

The

section.

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be

to

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points

connection

linear

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7.13

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141-142,

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7.13,4

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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

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ibid.,

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(After

via

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minor. Turning

to

interpretation only

is

the

second

not

a duplication

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of

point,

the

to

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register;

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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,

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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

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by the

support

This

course

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103-105.

the

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to

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consonant

without

bs.

of

and

of

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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

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l?.24

tic. .ocý r+

el

14101 i)

K. 516

The pitch

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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

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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

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in

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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.



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%



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



;

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

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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

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of

arias

have

denominators

and

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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,

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recitative no en

decisive bloc..

certain

as

speranza

dimensional

of and

a

and

structural

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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.

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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

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(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

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certain

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Fifth-Progressions

present

two progressions

are

in

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Whilst tures

designated

progressions

KK. 516

articulations I

and

550

of 1

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also

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i. e.

567

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parallel

in

G minor the

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Development

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(compare,

not

312

and

treatment

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of

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harmonic

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the

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foreground-level

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interpreted

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7.16)

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in

in

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pitches

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as objective/strdomain.

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found

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have

similarities

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The organisation

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K-312

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traced this

ponte

sections

KK. 478

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demonstrate

VI/vi-vii-i,

progression

the

late

on the

those

ff-)

49 6,516

development

third-progression

ascending

These

movements,

comments

to

therefore

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(pp.

Group

significantly, seen

no

II.

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above

been

have

(590d)

of

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in

represented

trios).

and

Section

Comparison

the

of

however,

minuets I

certain

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characteristics.

Organisation

Structural

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Unlike

in

further

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species

Zauberflbte.

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the

of

music

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of

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shape"

-

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pervasive

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568

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and then

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against

lation"

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son,

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ticularly certain

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by the

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it

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when

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to

specu-

in

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no career-wide of

G minor

argue

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life

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solo

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composer

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selected

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that

G minor

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realm,

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surprising

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reasonable

in

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in

chosen

keys

possible

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such

identified

concept

"game

characterisation is

an

G minor

enquiry

minor

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delineate

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hand,

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to

the

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p. 4-)?

on

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Menuetto

transition

Hildesheimer's

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the

other

toward

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increasingly

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It

the

the

of

cited

pieces

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products extract

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characterisation

the

of

or pervasive

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Allegro,

compositional

characterisation

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life, sively the

key

associated concepts

really

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of

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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

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the

as

indeed

concepts

becoming

beginning

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techniques

remarks

the

presence

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not

extensively the

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methods

the

texture,

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for

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that

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structural

and devices

possibility in

of domains

dynamics

KK. 183

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(173dB)

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analysis

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music

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presence

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to

becoming

were

made here

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to become

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comparison,

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in

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choice

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compositional and

the

upon

material

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sense

unequivocal

begin

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of

for

analysis,

example).

ii

Text

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concept

way

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application presence

in

was proposed

empirical

vocal

in

Subtext

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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

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is

As

in

stated

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ships

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them

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fUhlIsII

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As beginning

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key absence

EntfUhruna)

perhaps

to

Section

from

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and

I

and

pieces.

them,

550

objec-

in

not

2 . was

features

(Tdomeneo), (Der

schl>"

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aria

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germani"

C. P. A/a

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however,

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its

I,

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with

to

defined

these

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former

similarly

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1,

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characteristics

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defined

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toward

move

tive/structural so their

in

suggested

of

occurring

KK. 516

contrast

Leiden"

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clearly

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for

in

minor

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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

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I,

disposition to

textually,

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Section

individual

distinctive

really

to

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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

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Quartet

for

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the

is

(unaltered)

Piano

Trio

in

9)

then

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key of

inter-

explicit

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a modified

K. 498 of

category

ff.

first

finale

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movement

reappears,

("Kegelstadt")

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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

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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

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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

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aria

melodies",

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D minor

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harmonic

to

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resemblance

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the

sponds

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p.

dissonant

uses

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aria,

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in

occur

As she

their

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F minor

a

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1 (ibid.,

very

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1787

of

the

of

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necessary

light

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of

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of

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and

in

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the

sees

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characteristic

evaluation

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1785

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most

components

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Mozart.

now require

Eckelmeyer as

in

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function

to

citation

their

configuration)

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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)

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shown

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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

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5-7

of

comparison

supported

"H"

bs.

different

aria

figure

structures

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as

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whilst

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points

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and

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Later,

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this

function

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their

pieces

harmonic

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melodic

to

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the

of

change.

15,

of

although

unmistakable

structure.

G minor

17),

have

nor

that

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tetrachord the

and

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pieces

10-17

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melodically

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bs.

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tonal

minor

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sation.

the

fifth

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14-17

14,1st

p.

falling

p. bs.

of

G

to

addition

corresponding

between

identical"

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fact

pieces

the

simple

In

figures,

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iv.

to

throughout

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analogous

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5

of

bars

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than fUhl's"

of

This, Adagio

that shown

574

and

aria

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respectively,

express

these

alignment

tetrachord firstly

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recapitulation

30 f.,

and

Quintet,

bs.

between

the

and the

38.

Clearly

there

are

with

respect

to

placement

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the

resemblances no large

seems,

last

aria's

are

above

the

of

aria,

finale

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gesture, Adagio

detect.

I

all

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the

of

of

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bs.

36-

and aria

correspondences,

structural/harmonic

scale

to

between

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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

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persists,

bs.

not

T. 1/C. V. X structure.

the

Eckelmeyer's of

and does

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analogy

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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

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though

first

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aria.

the

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weinen",

with

similarities

affinity (see

aria

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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

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