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Thursday, February 03, 2005

Mozart: Sonata K. 284, I Tema

The structural phenomena I found to be the most prevalent in the theme of this piece were cadences, tonality, and motive. Most of the cadences are clearly noted and easy to pick out. They are often accentuated by dynamic changes at the beginning of the new phrase following the completed cadence. The piece begins in a solid D major, but after the repeat/double bar at the end of measure 8, Mozart plays around in the dominant key for a few bars before returning once again to D major. Also of note, there are no tempo markings in the score, but the performer of the particular recording I listened to leans on the first beat of the last measures of phrases, thus creating the feel that the piece is slowing. The cadences feel much more final to me because of this.

Motive is a very important part of any theme - it gives the listener a solid foundation that is then elaborated upon in the variations, so a clear theme is essential. Initially, the motif in this piece is introduced and then repeated before continuing on to the short phrase that contains the tonality change. Finally, The theme is stated once more but in a shortened version for the last four bars of the tema.

7 comments:

Ed Geyer said...

I think you did a very good job on this peace in analyzing how the cadences were brought out. This piece is very similar to mine (the Schubert) with its use of tonal and dynamic changes in cadences. You also did a good job of pointing out the importance of motives in the piece, something I didn't think to do.

Julia MacDonald said...

I really appreciate your appreciation for a motive in any piece. You put into words what it brings to a piece. I completely agree that motives give a strong foundation for a piece and it gives the listener a point of reference while listening.

mvittorio said...

That's cool that you noticed the emphasis on the first beat of the last measure of phrases. Often, especially in classical music, it seems that the tempos are to be understood by the performers without reference to them in the score. I guess these things are to be learned by listening to the music as you did.

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