Part C. of MTGW
Exposition: m. 1-41
First Tonal Area: m. 1-14, key of i, D minor
Phrase a: m. 1-4, HC in key of i with A6
Phrase a’: m. 5-8, PAC in key of i with D minor triad
Phrase b: m. 9-10, HC in key of i with A major triad
Phrase b’: m.. 11-14, HC in key of i with A major triad
Independent Transition to Second Tonal Area: m. 15-24
Second Tonal Area: third beat of m. 24-35, key of III, F major (Typical key change)
Phrase c: m. 25-28, PAC in key of III, F major triad
Phrase c’: m. 29-32, PAC in key of III, F major triad
Closing material for previous phrase, extension of cadence: third beat of m. 32-35, PAC in key of III, F major triad
Phrase d: third beat of m. 35-37, PAC in key of III, F major triad
Phrase d’: third beat of m. 37-39, PAC in key of III, F major triad
Closing Theme, Coda: third beat of m. 39-41
Exposition Notes
W. A. Mozart’s String Quartet in D minor, K. 421 is in sonata form. A typical key change a major key sonata form piece would go to in the exposition is the key of III, the relative major, and Mozart does indeed take the piece to the relative major key of F major in m. 24 with the PAC in the key of III with an F major triad. There are significant differences between the two themes in the first tonal area. First, they differ significantly in rhythm; the first theme of the FTA is driven by a rather slow eighth note pulse (see violin 2 and viola part of m. 1-4, for example). The second theme of the FTA, however, is driven by quick sixteenth notes (see violin 2 and viola of m. 24-25, for example). Second, the moods of each theme differ significantly; The first theme’s D minor key along with its slower rhythm create a somewhat somber, gloomy, and heavier character to the theme. The second theme of the FTA has fast, light, sixteenth notes and is in the key of F major, which makes the second theme lighter hearted, joyful, and playful in mood.
I believe the closing material of m. 39-41 is better labeled as a codetta since the joyful, light mood of the closing material is reminiscent of the FTA’s second theme, and the triplet sixteenth rhythm have been experienced before in m. 29 and 31.
Part E. of MTGW
Development: m. 42-70Tonally unstable, continuous harmonic and melodic motion
The development and the exposition are clearly divided harmonically since the development begins with an E flat major chord, a chord quite distant from D minor and the relative major of D minor, F major. Some motives used in the development section include the use of the one the piece begins with in the melody of m. 1-4. The difference is that rather than starting in the minor key of D minor, the motif is first played with a major chord quality of E flat major in m. 42, the beginning the development section. Another motif in the development used that was previously used in the exposition is the five sixteenth note-eighth note motif of m. 39-41 in the exposition, for it is used much in the development from m. 59-69. Of particular note is m. 67-69, where this motif is passed and played from one instrument immediately following the other taking turns playing it. For example, in m. 67, the viola first plays the motif, then the violin 2 right after the viola finishes playing the motif, then the violin 1 follows suit, etc.
Part D. of MTGW
Recapitulation: m. 70-117
First Tonal Area 2: m. 70-second beat of m. 83
Phrase a: m. 70-73, HC in key of i with A6
Phrase a’: m 74-77, PAC in key of i with D minor triad
Phrase b: m. 78-79, HC in key of i with A major triad
Phrase b’: m. 80-second beat of m. 83. HC in key of i with A major triad
Independent Transition to Second Tonal Area 2: m. 84-93
Second Tonal Area 2: m. 94-105, key of i, D minor (Typical key of Recapitulation)
Phrase c’’: m. 94-first beat of m. 98
Phrase c’’’: third beat of m. 98-m.102
Closing material for previous phrase, extension of cadence: third beat of m. 102-105
Phrase d’’: m. 106-first beat of m. 108, PAC in key of i, D minor triad
Phrase d’’’: m. 108-110, PAC in key of i, D minor
Closing Theme, Coda: third beat of m.110-115, extended Coda compared to exposition
Coda of Piece: third beat of m. 115-117
Recapitulation Notes
The recapitulation is, as expected, repeated material from the exposition. A typical key relation of the FTA2 going to STA2 is to remain in the key of i, and Mozart keeps the whole recapitulation in D minor. Of course, Mozart needed to alter some sections to have the recapitulation remain in D minor, especially since the original FTA and STA change key from D minor to the relative major key of F major. For example, rather than using something like the first inversion V/III chord in the third beat of m. 14, Mozart uses a startling C sharp fully diminished 7 chord for the recapitulation from the FTA2 to the STA2 in m. 83, which creates an unexpected shock to the listeners, yet still gives the listeners a sense of musically traveling since nothing like it has been experienced before in the piece. The most shocking difference between the first STA of the exposition and STA2 of the recapitulation is the key difference; STA is in F major, and STA2 is in D minor! The minor quality takes some of the joyful, light hearted charm of the F major STA away, creating a slightly more serious, somber mood than before, yet Mozart retains all of the motifs from the STA to STA2.
From a performance standpoint, the piece contains much musical value, as many pieces of Mozart do. The general feel of the piece is generally somber and gloomy, enshrouded by the D minor key quality set by the pace of the FTA of the exposition and the FTA2 of the recapitulation, among other sections such as the STA2 of the recapitulation and the serious, sudden forte ending in the coda of the piece in m. 116-117. This Mozart piece has some Beethoven qualities in it (including the darker mood of the piece), with sudden shifts in dynamics from forte to piano, and fortepianos and sforzandi marked in the score. The startling C sharp fully diminished 65 in m. 83 is an example of a chord shocking the audience in a Beethoven manner. The dynamics of the piece are a must to keep the spirit and shock of the piece alive, and other sections more expected of Mozart like the light hearted F major section of the STA in the exposition should be played as the mood is; light, and in a fun manner.
Thursday, April 24, 2008
Mozart is fab.
seeing as this is a sonata, there are three section. Our WONDERFUL book decided to make it unavoidably clear where those three big distinctions were, like we couldn't find anything ourselves. So the easy thing for me to do now would be to tell you what was given to me. The exposition is from measures 1-41 the development is from measures 42-70 and the recapitulation is from measures 71-117. We begin in measure 1 in D minor, and we actually have what I consider to be two themes in our first tonal area, Mozart can do stuff like that. We reach our transition into our second tonal area in measure 15 and we get to our new tonal area by measure 25 (of course it is in the relative major of F what else would it be). Well we chill in our second tonal area for a bit but at measure 33 we enter into our closing theme. onward!
We are not at the development which begin in E flat major. he decides to first pick on our first theme from our first tonal are. there are two main motives in this development which are variations on ones which we have already heard. the first is in m. 42 of the development which is a play on the opening motive of the first tonal area. the second is in m. 60 and is a play on the motive in m40 in our closing theme of the exposition. and thats enough about that.
We are graced with the reappearance of our original first tonal area in the recap. however not every think is as is has been. we continue along on our merry way until we reach the transition in m. 84. since we have to stay in our original key this time, D minor, the transition need to...well not transition. so we thats exactly what we don't do...transition that is. well we change things up starting in m. 87 and we hear new transitional material until m. 92. this is now a longer transition and has sort of messed everything up, but not enough for M-dogg to handle. we get back like I said in m. 93, but we begin our second tonal area (which is really the same tonal area as our first) on the measure in 95 as opposed to half way through the measure. Mozart takes care of the change of stress and he goes on to treat us to a nice bit of closing material followed by a coda which brings us to the end of Wolfgang Amadeus Mozart's String Quartet in D minor, k. 421, first movement.
We are not at the development which begin in E flat major. he decides to first pick on our first theme from our first tonal are. there are two main motives in this development which are variations on ones which we have already heard. the first is in m. 42 of the development which is a play on the opening motive of the first tonal area. the second is in m. 60 and is a play on the motive in m40 in our closing theme of the exposition. and thats enough about that.
We are graced with the reappearance of our original first tonal area in the recap. however not every think is as is has been. we continue along on our merry way until we reach the transition in m. 84. since we have to stay in our original key this time, D minor, the transition need to...well not transition. so we thats exactly what we don't do...transition that is. well we change things up starting in m. 87 and we hear new transitional material until m. 92. this is now a longer transition and has sort of messed everything up, but not enough for M-dogg to handle. we get back like I said in m. 93, but we begin our second tonal area (which is really the same tonal area as our first) on the measure in 95 as opposed to half way through the measure. Mozart takes care of the change of stress and he goes on to treat us to a nice bit of closing material followed by a coda which brings us to the end of Wolfgang Amadeus Mozart's String Quartet in D minor, k. 421, first movement.
Blog # ... whatever is near the end
Mozart String Quartet #15.
We are so close to the end but this blog seems to be one of the longest ones we have seen all semester. Guess they're trying to shove all the good stuff in at the end.
The book has already divided the piece into the three sections for us. The first being the exposition in measures 1-41. And like most Sonata forms there is of course the first and second tonal area. The first being measures 1- 8 which consists of an initial a followed by an a' both 4 measure phrases. There is then a very significant ( at least in length ) transition, that feels very tonally unstable. The second tonal area begins in measure 25 and concludes in measure 31. It is followed by another short transition that leads into the closing material, measures pick up to 36 until 41. As the first key is d minor we expect that the second tonal area will be in the relative major, in this case F Major, which Mozart follows through with. The two sections differ not only in key but in their general feel as well. If I was a performer I would feel more drawn to the emotional contrast between the two keys, we all know that minor is a much more depressing key, but the style of both sections seems to highlight this idea. I believe that it is a closing theme because it is before a strong cadence instead of after one. The book then leads us to the recapitulation, measures 71-117, an odd choice, since we are studying sonata form, we should look at the sonata the way it is written. So, I decided to do it in order and go straight to the development. The development starts in E flat Major and begins with the development of the first tonal area. It begins by developing the motive from the first measure and goes on to develop some of the themes from the closing theme, or I guess it would be to say the closing theme. Then we move into the recapitulation. The recapitulation returns with a pretty much unchanged first tonal section. The second tonal section we should anticipate to be the same motives but transposed into the minor, original key instead of the relative major. The transition should also be the same but should not leave the key of one so will probably have some kind of different ending. The second tonal area is indeed in the same key however the difference is that during the recapitulation the transition is shortened by a half a measure, there is not a strong cadence because there is no reason to declare the new key, instead the second theme area tonal area thing begins at the begin of measure 94 instead of in the middle of the measure, like it was in measure 25. From the beginning of the transition we see that we are going to be staying in the key as it starts on a D in the first violin part instead of on a C, which it did the first time. We then conclude with some nice closing themes like we did in the exposition followed by a coda to give us a nice strong conclusion. Gotta love Mozart, and strings :).
We are so close to the end but this blog seems to be one of the longest ones we have seen all semester. Guess they're trying to shove all the good stuff in at the end.
The book has already divided the piece into the three sections for us. The first being the exposition in measures 1-41. And like most Sonata forms there is of course the first and second tonal area. The first being measures 1- 8 which consists of an initial a followed by an a' both 4 measure phrases. There is then a very significant ( at least in length ) transition, that feels very tonally unstable. The second tonal area begins in measure 25 and concludes in measure 31. It is followed by another short transition that leads into the closing material, measures pick up to 36 until 41. As the first key is d minor we expect that the second tonal area will be in the relative major, in this case F Major, which Mozart follows through with. The two sections differ not only in key but in their general feel as well. If I was a performer I would feel more drawn to the emotional contrast between the two keys, we all know that minor is a much more depressing key, but the style of both sections seems to highlight this idea. I believe that it is a closing theme because it is before a strong cadence instead of after one. The book then leads us to the recapitulation, measures 71-117, an odd choice, since we are studying sonata form, we should look at the sonata the way it is written. So, I decided to do it in order and go straight to the development. The development starts in E flat Major and begins with the development of the first tonal area. It begins by developing the motive from the first measure and goes on to develop some of the themes from the closing theme, or I guess it would be to say the closing theme. Then we move into the recapitulation. The recapitulation returns with a pretty much unchanged first tonal section. The second tonal section we should anticipate to be the same motives but transposed into the minor, original key instead of the relative major. The transition should also be the same but should not leave the key of one so will probably have some kind of different ending. The second tonal area is indeed in the same key however the difference is that during the recapitulation the transition is shortened by a half a measure, there is not a strong cadence because there is no reason to declare the new key, instead the second theme area tonal area thing begins at the begin of measure 94 instead of in the middle of the measure, like it was in measure 25. From the beginning of the transition we see that we are going to be staying in the key as it starts on a D in the first violin part instead of on a C, which it did the first time. We then conclude with some nice closing themes like we did in the exposition followed by a coda to give us a nice strong conclusion. Gotta love Mozart, and strings :).
More Sonata Form
Mozart's String Quartet in D Minor is in Sonata Form.
The exposition takes place in measure 1-41 and starts in D minor. In measures 12-24 there is a transition that takes the second tonal area into F Major, or III, just as expected. The two tonal areas vary much more than just the key. The first is much broader while the second has more fast notes. The first seems more sorrowful and lamentish than the dancelike second. When performing this piece, I would bring these differences out by playing more rubato in the first area while playing the second as strictly what is written. There are a few parts of the exposition that contain typical quartet textures. In measures 1-6, the first violin plays a solo part while the others accompany, and in measures 32-33, the first violin and cello play a duet while the second violin and viola accompany. Additionally, in measures 12-14, a motive is passed through the quartet. In measure 106, a codetta starts to end the exposition, and follows a PAC.
Measures 42-69 are the development and retransition. The development begins in Eb major and develops the material from the very beginning of the piece. Along with the motive from measures 1-2, the motives from measures 9-10 and 25-26 are also developed in this section. Here we also see many typical string quartet textures. In measures 42-45, there is one instrument playing a solo while the other three accompany, and in measures 55-58, the first violin and cello play a duet. In measure 69 a motive is passed through the instruments, and in measure 52, the violins play a duet. Then, in measure 65, the retransition starts, which is signified through the use of frequent C sharps.
The recapitulation starts in measure 70. This time, the second tonal area stays in the tonic. Although there is a transition similar to the exposition, it doesn't modulate to F major. The second tonal area is also different as it starts two beats off than in the exposition, which may show that beats one and three were equally important when this piece was written. At the end of this section there is a repeat, and so the last bar in the first ending modulates to Eb Major to get back to the beginning of the development. The second time through however, there is a coda to end the movement.
The exposition takes place in measure 1-41 and starts in D minor. In measures 12-24 there is a transition that takes the second tonal area into F Major, or III, just as expected. The two tonal areas vary much more than just the key. The first is much broader while the second has more fast notes. The first seems more sorrowful and lamentish than the dancelike second. When performing this piece, I would bring these differences out by playing more rubato in the first area while playing the second as strictly what is written. There are a few parts of the exposition that contain typical quartet textures. In measures 1-6, the first violin plays a solo part while the others accompany, and in measures 32-33, the first violin and cello play a duet while the second violin and viola accompany. Additionally, in measures 12-14, a motive is passed through the quartet. In measure 106, a codetta starts to end the exposition, and follows a PAC.
Measures 42-69 are the development and retransition. The development begins in Eb major and develops the material from the very beginning of the piece. Along with the motive from measures 1-2, the motives from measures 9-10 and 25-26 are also developed in this section. Here we also see many typical string quartet textures. In measures 42-45, there is one instrument playing a solo while the other three accompany, and in measures 55-58, the first violin and cello play a duet. In measure 69 a motive is passed through the instruments, and in measure 52, the violins play a duet. Then, in measure 65, the retransition starts, which is signified through the use of frequent C sharps.
The recapitulation starts in measure 70. This time, the second tonal area stays in the tonic. Although there is a transition similar to the exposition, it doesn't modulate to F major. The second tonal area is also different as it starts two beats off than in the exposition, which may show that beats one and three were equally important when this piece was written. At the end of this section there is a repeat, and so the last bar in the first ending modulates to Eb Major to get back to the beginning of the development. The second time through however, there is a coda to end the movement.
God Bless Naxos.
First Section AKA Exposition::
d minor
1st Theme – m. 1-8
Trans. – m. 9-24 (maybe..?)
2nd Theme – m. 25-41
Second Section AKA Development::
Eb Major – d minor
1st Theme – m. 42-50
Trans. – m. 51-58
2nd Theme – m. 59-70 (return to d minor in second theme)
Third Section AKA Recapitulation
d minor
This quartet is a gorgeous work by Mozart in the sonata-form. There is some evidence of imitation (Josquin, anyone?) throughout the parts, as well as the solo line being passed from voice to voice. I love the way the piece moves and flows smoothly. I love the way that the voices fit together and intertwine. In this piece timing is everything; there are many times where a phrase is repeated from the violin to viola to cello to bass, then back up again. I like that tag-team kind of feel.
From the exposition to the development there is a strange change of key, d minor to Eb Major. This is certainly something interesting, and I would love to know what Mr. Mozart was thinking while writing it. Of course he makes a smooth transition back into the heavily embellished recapitulation to the starting key of d minor.
While I really did enjoy listening to this piece and picking it apart, I felt that the repeats could get to be too much. This piece is pretty long as it is, and certainly shows off the performers’ talents, so I feel like the repeat in the recapitulation could be taken out. However that is coming from a vocalist, take from that what you must. I found a recording of it on Naxos by the Klenke Quartet and you can tell how intone with one another they are. It is truly a piece of art and wonderful to listen to. They work together so masterfully, as if they were carrying on a conversation through the music.
d minor
1st Theme – m. 1-8
Trans. – m. 9-24 (maybe..?)
2nd Theme – m. 25-41
Second Section AKA Development::
Eb Major – d minor
1st Theme – m. 42-50
Trans. – m. 51-58
2nd Theme – m. 59-70 (return to d minor in second theme)
Third Section AKA Recapitulation
d minor
This quartet is a gorgeous work by Mozart in the sonata-form. There is some evidence of imitation (Josquin, anyone?) throughout the parts, as well as the solo line being passed from voice to voice. I love the way the piece moves and flows smoothly. I love the way that the voices fit together and intertwine. In this piece timing is everything; there are many times where a phrase is repeated from the violin to viola to cello to bass, then back up again. I like that tag-team kind of feel.
From the exposition to the development there is a strange change of key, d minor to Eb Major. This is certainly something interesting, and I would love to know what Mr. Mozart was thinking while writing it. Of course he makes a smooth transition back into the heavily embellished recapitulation to the starting key of d minor.
While I really did enjoy listening to this piece and picking it apart, I felt that the repeats could get to be too much. This piece is pretty long as it is, and certainly shows off the performers’ talents, so I feel like the repeat in the recapitulation could be taken out. However that is coming from a vocalist, take from that what you must. I found a recording of it on Naxos by the Klenke Quartet and you can tell how intone with one another they are. It is truly a piece of art and wonderful to listen to. They work together so masterfully, as if they were carrying on a conversation through the music.
More Mozart...can we ever get enough?
To answer my title...No! I still love him, even if this piece is purely instrumental!
Okay, so I have to admit I really liked this, despite it's lack of lyrics. It had a wonderful melody, and I loved the way Mozart continued to move the melodic motive between the four instruments, allowing us to hear it in different octaves and intervals, adding to the depth of the sound.
Down to the nitty gritty:
The first 41 measures are the exposition of the sonata. The first theme is in measures 1 through 8, followed by a transition that ends in measure 24, leading to the second theme, from measures 25 to 33. It then has a closing theme that lasts until measure 41, when the entire exposition is repeated.
The exposition has a lot of really cool stuff going on! It is very dramatic at the beginning with the held D that then slurs down and octave, with the low grouped eighth notes pressing beneath it. Mozart then ups the drama in measure 6, as he takes the melody up into the higher notes of the atmosphere, keeping them grounded by the ever-present pulsing violin 2 on D4. Then comes the transition, which is wonderfully playful, especially with the long runs that shift down gradually to the four instruments (ex. measures 12 - 14). Then fun, winding section ends with a huge chord that almost surprises the listener after the cascading runs of the previous three measures. It grabs your attention, and keeps it, as it continues toward the second theme. But before we get there, there is some serious fun going on in measure 23 with little jumps in the violin 1 part, which sounds like skipping, at least to me...it feels like Mozart saying, "here we go, second theme, I can't wait!" Then comes the second theme, which is very different from the first to emphasize his kind of ADD-like attitude, ending with more fun runs...can't get enough! And he makes them sound so grounded with the other three parts that continue bold patterns on the chords. And, finally, the closing theme has a wonderful "chase" in measures 37 - 39...not really sure how to describe it more than just a race to the finish line, but then he steals it away, as it preceeds a repeat of the entire exposition.
Okay, now for the meat of the sandwich! Here comes the development, where Mozart takes everything and musses it up a bit! The development is even more dramatic than the exposition, especially the beginning, which uses a hard hit chord to emphasize its beginning and then continues with lots of close chromatic chords in the violins and faster notes in the bass, just to mix things up from the norm. Not to mention the low bass is pushing the lower octaves, adding an intensely deep sound...Awesome! Okay, then it picks up, propelling the movement forward with many groups of eighth notes, sixteenth notes, and syncopations in all four voices. It also has a lot of chromaticism, especially in measures 50 and 52. Mozart not only brings back the first and second themes and then plays with them, but he also plays around with motives in different hands again...kind of tying the piece together in a small way.
Finally, he brings back the other piece of bread for our sandwich...and, for those of you who don't know, I have recently found out that I am allergic to wheat and can no longer eat bread, possibly causing my weird analogies to sandwiches. Anyway, the bread is back, perhaps with some mayo and mustard on this side, as it is a bit expanded from the original.
Alright, that's about all I have to say...I really like this piece...fun to listen to...and now bed!
Okay, so I have to admit I really liked this, despite it's lack of lyrics. It had a wonderful melody, and I loved the way Mozart continued to move the melodic motive between the four instruments, allowing us to hear it in different octaves and intervals, adding to the depth of the sound.
Down to the nitty gritty:
The first 41 measures are the exposition of the sonata. The first theme is in measures 1 through 8, followed by a transition that ends in measure 24, leading to the second theme, from measures 25 to 33. It then has a closing theme that lasts until measure 41, when the entire exposition is repeated.
The exposition has a lot of really cool stuff going on! It is very dramatic at the beginning with the held D that then slurs down and octave, with the low grouped eighth notes pressing beneath it. Mozart then ups the drama in measure 6, as he takes the melody up into the higher notes of the atmosphere, keeping them grounded by the ever-present pulsing violin 2 on D4. Then comes the transition, which is wonderfully playful, especially with the long runs that shift down gradually to the four instruments (ex. measures 12 - 14). Then fun, winding section ends with a huge chord that almost surprises the listener after the cascading runs of the previous three measures. It grabs your attention, and keeps it, as it continues toward the second theme. But before we get there, there is some serious fun going on in measure 23 with little jumps in the violin 1 part, which sounds like skipping, at least to me...it feels like Mozart saying, "here we go, second theme, I can't wait!" Then comes the second theme, which is very different from the first to emphasize his kind of ADD-like attitude, ending with more fun runs...can't get enough! And he makes them sound so grounded with the other three parts that continue bold patterns on the chords. And, finally, the closing theme has a wonderful "chase" in measures 37 - 39...not really sure how to describe it more than just a race to the finish line, but then he steals it away, as it preceeds a repeat of the entire exposition.
Okay, now for the meat of the sandwich! Here comes the development, where Mozart takes everything and musses it up a bit! The development is even more dramatic than the exposition, especially the beginning, which uses a hard hit chord to emphasize its beginning and then continues with lots of close chromatic chords in the violins and faster notes in the bass, just to mix things up from the norm. Not to mention the low bass is pushing the lower octaves, adding an intensely deep sound...Awesome! Okay, then it picks up, propelling the movement forward with many groups of eighth notes, sixteenth notes, and syncopations in all four voices. It also has a lot of chromaticism, especially in measures 50 and 52. Mozart not only brings back the first and second themes and then plays with them, but he also plays around with motives in different hands again...kind of tying the piece together in a small way.
Finally, he brings back the other piece of bread for our sandwich...and, for those of you who don't know, I have recently found out that I am allergic to wheat and can no longer eat bread, possibly causing my weird analogies to sandwiches. Anyway, the bread is back, perhaps with some mayo and mustard on this side, as it is a bit expanded from the original.
Alright, that's about all I have to say...I really like this piece...fun to listen to...and now bed!
Mozart SONATA!
Mozart String Quartet in D Minor, K. 421 first movement
Element Measures Key/Mode Comments
Exposition 1-41 D minor with elements of A major reveals main melodic material
First Theme 1-14 D minor ends in HC
phrase a 1-4 D minor ends with IAC
The first section of this string quartet is play book throughout the first 41 measures. This string quartet is in sonata form and the first 41 measures are fairly predictable as far as the generally accepted exposition form goes. The movement is in D minor and from this part of the sonata, the expected second key area is the relative major key which is III of the D minor, or F major. Mozart does indeed modulate the key to A in measure 24 with the PAC consisting of the F major triad. Not only do the first few themes differ in key but they also have a drastically different feel mainly accentuated by the rhythmic acceleration that occurs between the two phrases. The second key area adopts a faster less stable sound that is driven my quick moving sixteenth notes. This is different from the slower first key area that has a driving bass of mainly staccato eighth notes. The character of the first movement of the first movement is slower and coupled with the minor key it gives the feelign of mourning, sadness and grief. As the movement speeds up however and shifts into the new key with the faster rhythms, it carries a lighter more playful and fun mood that is easily distinguishable from the first key area. The closing theme is much more accurately called a codetta because it branches from the original key material and elongates the cadence in preparation for the next section of music. The repeating notes in the Viola 2 and the arpeggios in the viola serve to elongate this cadence.
Measures 70 - 117 feature the recapitulation section of the piece as the tonal key is reintroduced and elements of the original theme are re expressed. The elements presented in the exposition including the two tonal areas are reintroduced in the recapitulation yet this time, the entire recapitulation remains in the key of tonic or D minor. This means that the light hearted bouncy section of the second tonal area is played this time around in D minor removing a lot of the cheeriness of the exposition and expanding upon the sadness and somberness of the piece. The movement ends in a somewhat humorous way as the virtuosity of the orchestral parts and the piano are kind of laughed at as the piece ends in a simple abrupt quarter note value chord that surprisingly ends the piece. Although there is definite buildup to the final cadence it is quite surprising.
The development section found in mm. 41 - 70 in comparison with the nature of the previous sections is not tonally stable by any means. There is no definite cadence or anything resembling such and the general feel of the section is of lost abandonment or a search for home, however sad it may be, through some, if any means. Although it is unstable, this movement consists of melodic material taken from previous movements including the original phrase found at the beginning of the first tonal area in the exposition. Although there are hints of key shifts to the III it generally stays in the D minor register with scattered chords in the III. If performing this piece I would adapt the second tonal area as the focal point because I believe it fleshes out the somber mood of the piece and represents the fleeting joy when it is reintroduced in a minor key, as if the only happiness the audience was looking for again was sucked in by all of the other somber sections and there was nothing left. i would therefore cherish the introduction of the III second tonal area of the exposition and accentuate the rhythms throughout the piece to help the audience get a crisp feel of the emotions. In addition a huge part of this piece are the dynamics which help set the mood.
Element Measures Key/Mode Comments
Exposition 1-41 D minor with elements of A major reveals main melodic material
First Theme 1-14 D minor ends in HC
phrase a 1-4 D minor ends with IAC
The first section of this string quartet is play book throughout the first 41 measures. This string quartet is in sonata form and the first 41 measures are fairly predictable as far as the generally accepted exposition form goes. The movement is in D minor and from this part of the sonata, the expected second key area is the relative major key which is III of the D minor, or F major. Mozart does indeed modulate the key to A in measure 24 with the PAC consisting of the F major triad. Not only do the first few themes differ in key but they also have a drastically different feel mainly accentuated by the rhythmic acceleration that occurs between the two phrases. The second key area adopts a faster less stable sound that is driven my quick moving sixteenth notes. This is different from the slower first key area that has a driving bass of mainly staccato eighth notes. The character of the first movement of the first movement is slower and coupled with the minor key it gives the feelign of mourning, sadness and grief. As the movement speeds up however and shifts into the new key with the faster rhythms, it carries a lighter more playful and fun mood that is easily distinguishable from the first key area. The closing theme is much more accurately called a codetta because it branches from the original key material and elongates the cadence in preparation for the next section of music. The repeating notes in the Viola 2 and the arpeggios in the viola serve to elongate this cadence.
Measures 70 - 117 feature the recapitulation section of the piece as the tonal key is reintroduced and elements of the original theme are re expressed. The elements presented in the exposition including the two tonal areas are reintroduced in the recapitulation yet this time, the entire recapitulation remains in the key of tonic or D minor. This means that the light hearted bouncy section of the second tonal area is played this time around in D minor removing a lot of the cheeriness of the exposition and expanding upon the sadness and somberness of the piece. The movement ends in a somewhat humorous way as the virtuosity of the orchestral parts and the piano are kind of laughed at as the piece ends in a simple abrupt quarter note value chord that surprisingly ends the piece. Although there is definite buildup to the final cadence it is quite surprising.
The development section found in mm. 41 - 70 in comparison with the nature of the previous sections is not tonally stable by any means. There is no definite cadence or anything resembling such and the general feel of the section is of lost abandonment or a search for home, however sad it may be, through some, if any means. Although it is unstable, this movement consists of melodic material taken from previous movements including the original phrase found at the beginning of the first tonal area in the exposition. Although there are hints of key shifts to the III it generally stays in the D minor register with scattered chords in the III. If performing this piece I would adapt the second tonal area as the focal point because I believe it fleshes out the somber mood of the piece and represents the fleeting joy when it is reintroduced in a minor key, as if the only happiness the audience was looking for again was sucked in by all of the other somber sections and there was nothing left. i would therefore cherish the introduction of the III second tonal area of the exposition and accentuate the rhythms throughout the piece to help the audience get a crisp feel of the emotions. In addition a huge part of this piece are the dynamics which help set the mood.
Mozart String Quartet, D minor
The Exposition of Mozart's String Quartet No. 15 in D minor consists of the first 41 bars of the movement. This Exposition is, of course divided up into a FTA and a STA (First and Second Tonal Areas). The FTA is from bar 1-14, and at this point the FTA transitions independently (with no previous themes) to the STA until bar 25 when the STA begins. Overall the FTA can be broken up into pairings of aa and bb in terms of phrases, which end up being short, around 4 bars. For example, a from mm. 1-4 is repeated from mm. 5-8 though with different voicing (a'). Measures 9-14 become a bit more irregular, especially with the 2 bar phrase mm. 9-10 which ends on an A major triad (V).
The FTA is expectedly in D minor (i), while the second tonal area overall is in its relative major, F major. The STA can be characterized by much faster, staccato sextuplets that each voice takes turns propelling the entire ensemble. While the FTA can be characterized as far more melodramatic, with chromaticism and many contrasting dynamics, the STA moves more horizontally with no dynamic markings for multiple measures at a time.
The transition between the two tonal areas is distinctly chromatic, with lots of syncopation that both help smooth the transition to F major.
The development section, which begins in measure 42-70 expectedly toys around with the themes of the first two tonal areas in the exposition. There is no real distinct tonatlity to the development predominantly because of the abundance of chromaticisms and flirtations with leading tones and such.
Finally, the recapitulation which comes in measure 70-end rather suddenly is the capo of the piece verbatim. As the FTA of the recap (d minor) ends in measure 83, the transition this time, is actually a dependent transition, because it uses themes throughout the entire movement. In measure 94, the STA is repeated, however in the key of D minor (i) instead of F major (relative major). This is expected, since we know that the piece will end soon, and it needs to be in the true tonic.
The biggest thing to convey in performing this piece is the contrasting moods between the FTA and STA themes. While the FTA is quite somber, the STA hurries forward especially with the rapid sextuplets. Particularly at the end of the piece when the STA area is in D minor instead of F major, it is important to make this interesting variation clear.
The FTA is expectedly in D minor (i), while the second tonal area overall is in its relative major, F major. The STA can be characterized by much faster, staccato sextuplets that each voice takes turns propelling the entire ensemble. While the FTA can be characterized as far more melodramatic, with chromaticism and many contrasting dynamics, the STA moves more horizontally with no dynamic markings for multiple measures at a time.
The transition between the two tonal areas is distinctly chromatic, with lots of syncopation that both help smooth the transition to F major.
The development section, which begins in measure 42-70 expectedly toys around with the themes of the first two tonal areas in the exposition. There is no real distinct tonatlity to the development predominantly because of the abundance of chromaticisms and flirtations with leading tones and such.
Finally, the recapitulation which comes in measure 70-end rather suddenly is the capo of the piece verbatim. As the FTA of the recap (d minor) ends in measure 83, the transition this time, is actually a dependent transition, because it uses themes throughout the entire movement. In measure 94, the STA is repeated, however in the key of D minor (i) instead of F major (relative major). This is expected, since we know that the piece will end soon, and it needs to be in the true tonic.
The biggest thing to convey in performing this piece is the contrasting moods between the FTA and STA themes. While the FTA is quite somber, the STA hurries forward especially with the rapid sextuplets. Particularly at the end of the piece when the STA area is in D minor instead of F major, it is important to make this interesting variation clear.
Mozarts String quartet in D minor is a lovely piece in sonata form. The first section or “P” (mm. 1-8 ) begins with a haunting and legato line in the first violin, accompanied by a stark eighth note pattern from the violin and viola parts. This eighth note rhythmic motive gives the piece motion, pushing it forward as it grows in intensity and complexity. This is followed by the transition (mm.9-15) which ends with an imitated motive (?) in all four parts. The second theme extends from measure 15 to measure 33. It is then followed by a coda from 34 to the end. The second theme area features a wider variety of harmonic and rhythmic techniques than the first section.The development is in the key of Eb Major and includes measures 42-70ish This is moodier than the exposition.The recapitulation, as is expected, returns to the themes presented in the exposition. However, this time the transition does not lead us away from the original key of D minor. Then we have “S” which is in the same key since we haven’t modulated. It then ends with a shorter coda than in the exposition, sequencing upwards, concluding with a strong PAC. The end!
PS. Yay for Mozart! I really liked this piece. It had a wide range of emotions displayed and even though it has a lot of repeats and was kinda long, I was never bored. :)
PS. Yay for Mozart! I really liked this piece. It had a wide range of emotions displayed and even though it has a lot of repeats and was kinda long, I was never bored. :)
Ich Grolle Nicht und Im Rhein im heiligen strome
As you may know I am a big Mozart fan, so this being a Mozart piece makes this blog easier. The exposition of this piece is from measures 1 through 41; however the first theme is in measures 1 through 8. In the second key area, the expected key is III, but Mozart is not confined to the rules of music writing like we are. The next key area is bVII. In case I wrote that incorrectly, it cadences in C major, I think calling it VII would mean C# major, which is not the case. The first and second themes vary in the way of their quality. The first sounds much gloomier than the second. The second themes rhythm is much more free and jumpy giving it a peppier feel than first. I believe that the section at the end is better defined as a codetta than a closing theme. I don’t feel that the music is substantial enough on its own for a closing theme, even if it is a little long.
Measures 23 and 24; 30 and 31, the violin I plays a melody while the other accompany. Measures 15 and 16, the outer voices play a duet, measures 12 and 13 show a motive being passed through the voices.
In section D, the entire piece is in the tonic key. At the beginning of the second section, a D minor chord is played to secure the d minor-ness. The entry differs from the exposition, as well as the rhythm.
The development begins in Eb major, with help of octave Eb’s in the violin and an Ab in the cello. At measure 43 there is a do- ti motion in the violin that is repeated that could be a motive. It is repeated in all voice but the 2nd violin. The retransition is at measure 53, all of the voices come in at separate times. This might be to give the feeling of the instruments coming together to the end. Measure 42 to measure 43, the 1st violin plays a melody while other accompany. A violin cello duet in 58 – 62; 42 – 49, the do-ti motive passed through the voices; however I could not find a violin one and two duet, but I am sure there is one in there. Even in my time as a string player I never played in a quartet or at least not one of consequence, but I know the challenge is for all of the musicians to be on the same page musically. Stragglers are not welcome here. I find this string quartet quite interesting for a myriad of reason, most of which I have had to tell you already. Goodnight my dear colleagues and remember:
Im wunderschönen monat mai… we won’t have to do these blogs anymore. Even though I must admit when they are Mozart they are fun.
Measures 23 and 24; 30 and 31, the violin I plays a melody while the other accompany. Measures 15 and 16, the outer voices play a duet, measures 12 and 13 show a motive being passed through the voices.
In section D, the entire piece is in the tonic key. At the beginning of the second section, a D minor chord is played to secure the d minor-ness. The entry differs from the exposition, as well as the rhythm.
The development begins in Eb major, with help of octave Eb’s in the violin and an Ab in the cello. At measure 43 there is a do- ti motion in the violin that is repeated that could be a motive. It is repeated in all voice but the 2nd violin. The retransition is at measure 53, all of the voices come in at separate times. This might be to give the feeling of the instruments coming together to the end. Measure 42 to measure 43, the 1st violin plays a melody while other accompany. A violin cello duet in 58 – 62; 42 – 49, the do-ti motive passed through the voices; however I could not find a violin one and two duet, but I am sure there is one in there. Even in my time as a string player I never played in a quartet or at least not one of consequence, but I know the challenge is for all of the musicians to be on the same page musically. Stragglers are not welcome here. I find this string quartet quite interesting for a myriad of reason, most of which I have had to tell you already. Goodnight my dear colleagues and remember:
Im wunderschönen monat mai… we won’t have to do these blogs anymore. Even though I must admit when they are Mozart they are fun.
Mozart quartet in D minor
Exposition: m. 1 -41
First Theme: m. 1 - 12 HC d minor
Transition: 13 - 24
Second Theme: 25 - 32, key: F major (III), PAC
Closing Theme: 34 - 41, Fmajor, HC
For a Sonata set in a minor key the expected second key area is III, or sometimes a v. And, as expected, this movement modulates to the key of F major (III) at measure 24. The first theme definitley has a more serious characterization, while the second theme is lighter and emits a very pleasent feeling. In addiiton, the second theme tends to build on a certain musical thought. It is a string of 16th notes that when each time its played is given a bit of an extension. The last section should be labeled as a closing theme because it carries a new introduced theme till the end. Also, codettas tend to be slightly unstable harmonically, and there is no sign of instability harmonically. As for typical quartet strng textures, m. 29 - 32 is when there is a solo in one section and the others accompany, and m. 12 - 14 is an example of a motive being passed along by each part.
The development begins in eb minor. Despite the new minor key, the first four measures are familiar to the listener because it takes from the very beginning of the first theme, 42 - 45. Another motive from the first theme that appears in the development is the descending four sixteenth notes that leads into two descending eighth notes. This occurs in measure 59 -62. The last motive that can be seen is the trill effect with the dotted eighth note. This occurs from m. 42 - 57 in each part. Lastly, the retransition begins at measure 66 - 69.
The recapitulation is in D minor, even for the second theme. It does not make the usual modulation to III. The first tiheme is from m. 70 - 81 ending in an HC. The transition begins in 82 and continues in D minor. The transition ends in a pac, at measure 94 which begins the second theme. Second theme is pretty much the same other than the fact that is in d minor. This section ends at measure 1o2 with a pac. Lastly, the closing theme begins here and ends with a pac at measure 117.
First Theme: m. 1 - 12 HC d minor
Transition: 13 - 24
Second Theme: 25 - 32, key: F major (III), PAC
Closing Theme: 34 - 41, Fmajor, HC
For a Sonata set in a minor key the expected second key area is III, or sometimes a v. And, as expected, this movement modulates to the key of F major (III) at measure 24. The first theme definitley has a more serious characterization, while the second theme is lighter and emits a very pleasent feeling. In addiiton, the second theme tends to build on a certain musical thought. It is a string of 16th notes that when each time its played is given a bit of an extension. The last section should be labeled as a closing theme because it carries a new introduced theme till the end. Also, codettas tend to be slightly unstable harmonically, and there is no sign of instability harmonically. As for typical quartet strng textures, m. 29 - 32 is when there is a solo in one section and the others accompany, and m. 12 - 14 is an example of a motive being passed along by each part.
The development begins in eb minor. Despite the new minor key, the first four measures are familiar to the listener because it takes from the very beginning of the first theme, 42 - 45. Another motive from the first theme that appears in the development is the descending four sixteenth notes that leads into two descending eighth notes. This occurs in measure 59 -62. The last motive that can be seen is the trill effect with the dotted eighth note. This occurs from m. 42 - 57 in each part. Lastly, the retransition begins at measure 66 - 69.
The recapitulation is in D minor, even for the second theme. It does not make the usual modulation to III. The first tiheme is from m. 70 - 81 ending in an HC. The transition begins in 82 and continues in D minor. The transition ends in a pac, at measure 94 which begins the second theme. Second theme is pretty much the same other than the fact that is in d minor. This section ends at measure 1o2 with a pac. Lastly, the closing theme begins here and ends with a pac at measure 117.
Monster Mozart Sonata
Phew. Here goes.
Overview of Mozart's 15th String Quartet in D minor, K. 421:
EXPOSITION (m. 1-41)
FTA - m. 1-8
- two four-measure phrases, IAC and PAC in i
transition - m. 9-24
- modulates to III with PAC in F major at m. 24
STA - m. 25-32
- two four-measure phrases, two PACs in III
KL (closing theme) - m. 33-41
- a series of PACs in III, followed by retransitional (the first time) or transitional (the second time) material in m. 41
DEVELOPMENT (m. 41-69)
- opens with development of FTA "octave + accompaniment" motive (originally found in m. 1, 5); developed starting in Eb major, the Neapolitan key to i, in m. 42-45
- goes on to develop another FTA motive, the "trill + chromatic neighbor" motive (originally found in m. 2, 6); developed in m. 46-49
- finally, develops motive from closing theme, the "arpeggio + staccato sixteenths" motive (originally found in m. 35, 37, 9-40); developed in m. 59-69
retransition - m. 66-69
- prolongation of A major (including long, held A (V) in cello in m. 67-69) announces return to FTA in m. 70
RECAPITULATION (m. 70-117)
FTA - m. 70-77
- remains relatively untouched, back to D minor (i)
transition - m. 78-93
- maintains same motives but does not modulate away from i
STA - m. 94-102
- mostly the same, except in i rather than III, and starts in the middle of m. 94, rather than at the beginning as in m. 25 - also, ends after downbeat of m. 102
KL - m. 102b-112
- mostly the same, except in D minor, with several PACs in i this time, including "arpeggio + staccato 16ths" motive from before. After 112, there is a repeat sign - so this may also serve as a transition, once again, for the development, or (as in the recording I heard, where they chose not to repeat the development) as a transition to the coda
Coda - m. 112-117
- basically just a typical cadential extension, lots of V - i, with the "arpeggio + staccato 16ths" motive used and partially developed once more, before the very end.
---
Additional notes and tying-up of loose ends:
The tonal areas (i - III, etc.) are fairly typical and well-tonicized.
I chose to label the KL as such because of the coda at the end, and because of the repeats - it isn't just a coda, and if it is, what does that make m. 112-117? An addenda? I don't think so.
Hope that's all. Good grief.
Good night all.
Overview of Mozart's 15th String Quartet in D minor, K. 421:
EXPOSITION (m. 1-41)
FTA - m. 1-8
- two four-measure phrases, IAC and PAC in i
transition - m. 9-24
- modulates to III with PAC in F major at m. 24
STA - m. 25-32
- two four-measure phrases, two PACs in III
KL (closing theme) - m. 33-41
- a series of PACs in III, followed by retransitional (the first time) or transitional (the second time) material in m. 41
DEVELOPMENT (m. 41-69)
- opens with development of FTA "octave + accompaniment" motive (originally found in m. 1, 5); developed starting in Eb major, the Neapolitan key to i, in m. 42-45
- goes on to develop another FTA motive, the "trill + chromatic neighbor" motive (originally found in m. 2, 6); developed in m. 46-49
- finally, develops motive from closing theme, the "arpeggio + staccato sixteenths" motive (originally found in m. 35, 37, 9-40); developed in m. 59-69
retransition - m. 66-69
- prolongation of A major (including long, held A (V) in cello in m. 67-69) announces return to FTA in m. 70
RECAPITULATION (m. 70-117)
FTA - m. 70-77
- remains relatively untouched, back to D minor (i)
transition - m. 78-93
- maintains same motives but does not modulate away from i
STA - m. 94-102
- mostly the same, except in i rather than III, and starts in the middle of m. 94, rather than at the beginning as in m. 25 - also, ends after downbeat of m. 102
KL - m. 102b-112
- mostly the same, except in D minor, with several PACs in i this time, including "arpeggio + staccato 16ths" motive from before. After 112, there is a repeat sign - so this may also serve as a transition, once again, for the development, or (as in the recording I heard, where they chose not to repeat the development) as a transition to the coda
Coda - m. 112-117
- basically just a typical cadential extension, lots of V - i, with the "arpeggio + staccato 16ths" motive used and partially developed once more, before the very end.
---
Additional notes and tying-up of loose ends:
The tonal areas (i - III, etc.) are fairly typical and well-tonicized.
I chose to label the KL as such because of the coda at the end, and because of the repeats - it isn't just a coda, and if it is, what does that make m. 112-117? An addenda? I don't think so.
Hope that's all. Good grief.
Good night all.
Mozart and Sunshine
Whoa! Mozart's String Quartet in D minor, K. 421 ....
Exposition= m.1-41
First Theme= m.1-8 (1-4, 4-8)
Transition= m. 9-24 (dependent)
Second Theme= 24-41 (24-33)
Coda= 33-41
This movement is in D minor. At first, I thought maybe the random C Major chord in measure 14 was the second tonal area, but if you look at it, it's pretty tonally unstable after that random chord. Almost as if Mozart's saying "Come on Miffy, grab the corn puffs- we're going to Iowa!" ????? RANDOM! In measure 24, Mozart actually modulates to the expected area of III, F Major, the relative major of D minor. Typical of Sonata form. The reason I think this is the actual modulation is 1. it's more typical 2. it's more tonally stable than the C Major chord 3. Look at the motion after the modulation: I, I6, V etc. Mozart is establishing key.
These themes do contrast in ways other than just keys. For instance, the second theme has more rhythmic crescendos that switch between the voices. The character changes from having the melody in the FT derive from descending Octave leaps, to having a more step-wise melodic motion in the ST; giving the ST a naturally happier feeling. The transition preludes this happier feeling very nicely by giving the 32nd notes in the first violin in measure 23. So the whole quartet is pretty sad, maybe their socks didn't get a chance to fully dry in the laundry and their left toe is still feeling the after-effect. Until the first violin says in m.23 w/his 32nd notes "don't worry! pruny lint is in style this season, take off your socks!" To which, the whole quartet rejoices in the barefoot, linty bliss of F major. As a performer, I would make sure that these sections have stark contrasts and that the chord in m. 14 is a big surprise. The first violin also has the job of introducing happiness in measure 23, so he needs to follow the slurs and make it as cute as possible.
The end is better defined as a closing theme, because it's a little longer than what I would call a codetta and it has "themes" and motives of its own that are passed throughout the voices.
An example of a passage where a solo part is played while everyone else accompanies is measures 25-29, where the first violin has the melody. An example of a first violin/cello duet can be found in m.34-35. And an example of a motive being passed throughout the quartet can be found in m. 12-14.
Let's move on to the development, shall we? ( I know, I'm going out of order from what the book told us to do, but why do they have us do the recap first?) The development spans measures 42-70 and starts with a an Eflat Major chord. The first motive developed here, we first heard in the opening of the exposition. Remember the descending octave leaps? I guess somebody didn't find soggy toe lint so attractive...sad. This motive is developed through "flirting" with different keys. Ex: m. 55 with Csharps and m. 58 with Fsharps. Another developed motive is the dotted eighth, sixteenth- two eight notes rhythm. It reappears throughout the piece. Another motive we saw in the first movement is augmented a bit in the development. Look at m.25 in the first violin, now look at m. 59, it's the same idea, only with a half note beginning and the motive eliding into the next measure. The retransition begins in m.65. An example of solo/accompaniment is in the first violin of m.55. An example a passed motive is in m.67-69. An example of a first/second violin duet is in m.64-65.
The recapitulation is in measures 70-117.
First theme= 70-77
Transition= 77-94
Second Theme= 94-102
Closing Material= 102-117
The entire recap is in D minor. This is possible by the recurring motive placed in the transition that holds the Csharp, the leading tone to D minor that is going to confirm the listener that at the cadence in 94, they are indeed in D minor. Ironically, this is the same motive used in all three sections by the first violin, initially in m.23. The entry of the second theme is different in the recap because it falls on the downbeat of measure 24, where as in the exposition, it came in on beat 3. The reason this is possible is because of the preparation leading up to this entry. In the exposition, there was a lot of syncopation leading up to the second theme. In the recap, Mozart starts to place longer note values on the downbeats to emphasize meter and lead to greater unification as we reach a cadence and the end of the piece. For the rest of the recap, the rhythm is shifted forward to emphasize downbeats and the buildup of a cadence. This is especially apparent in the cello, where almost no emphasis of meter existed in the exposition until the double bar. In the second theme and closing material of the recap, the cello really helps to emphasize rhythmic stability to move toward the end of the piece. Mozart's writing here can be analyzed historically through careful thought of the classical era and enlightenment's role in influencing art of this time. Enlightenment philosophers would have said that the world is in order and harmony and would have placed much focus order and laws with an optimistic perspective of the world. Hence Mozart's orderliness, and need to establish order near the end of the recapitulation. The end of the recapitulation is designed to be able to repeat through the constant motivic repetition throughout the voices. This motion give the listener the idea that maybe the end is not quite there, perhaps more material may be introduced. The performers may choose to play it either way, Mozart probably designed it that way to add some enlightenment optimism and to ensure a longer piece so that the dinner party could last longer and get rich people more wasted and convinced to give him more money. The movement ends with a strong D minor PAC on forte.
Exposition= m.1-41
First Theme= m.1-8 (1-4, 4-8)
Transition= m. 9-24 (dependent)
Second Theme= 24-41 (24-33)
Coda= 33-41
This movement is in D minor. At first, I thought maybe the random C Major chord in measure 14 was the second tonal area, but if you look at it, it's pretty tonally unstable after that random chord. Almost as if Mozart's saying "Come on Miffy, grab the corn puffs- we're going to Iowa!" ????? RANDOM! In measure 24, Mozart actually modulates to the expected area of III, F Major, the relative major of D minor. Typical of Sonata form. The reason I think this is the actual modulation is 1. it's more typical 2. it's more tonally stable than the C Major chord 3. Look at the motion after the modulation: I, I6, V etc. Mozart is establishing key.
These themes do contrast in ways other than just keys. For instance, the second theme has more rhythmic crescendos that switch between the voices. The character changes from having the melody in the FT derive from descending Octave leaps, to having a more step-wise melodic motion in the ST; giving the ST a naturally happier feeling. The transition preludes this happier feeling very nicely by giving the 32nd notes in the first violin in measure 23. So the whole quartet is pretty sad, maybe their socks didn't get a chance to fully dry in the laundry and their left toe is still feeling the after-effect. Until the first violin says in m.23 w/his 32nd notes "don't worry! pruny lint is in style this season, take off your socks!" To which, the whole quartet rejoices in the barefoot, linty bliss of F major. As a performer, I would make sure that these sections have stark contrasts and that the chord in m. 14 is a big surprise. The first violin also has the job of introducing happiness in measure 23, so he needs to follow the slurs and make it as cute as possible.
The end is better defined as a closing theme, because it's a little longer than what I would call a codetta and it has "themes" and motives of its own that are passed throughout the voices.
An example of a passage where a solo part is played while everyone else accompanies is measures 25-29, where the first violin has the melody. An example of a first violin/cello duet can be found in m.34-35. And an example of a motive being passed throughout the quartet can be found in m. 12-14.
Let's move on to the development, shall we? ( I know, I'm going out of order from what the book told us to do, but why do they have us do the recap first?) The development spans measures 42-70 and starts with a an Eflat Major chord. The first motive developed here, we first heard in the opening of the exposition. Remember the descending octave leaps? I guess somebody didn't find soggy toe lint so attractive...sad. This motive is developed through "flirting" with different keys. Ex: m. 55 with Csharps and m. 58 with Fsharps. Another developed motive is the dotted eighth, sixteenth- two eight notes rhythm. It reappears throughout the piece. Another motive we saw in the first movement is augmented a bit in the development. Look at m.25 in the first violin, now look at m. 59, it's the same idea, only with a half note beginning and the motive eliding into the next measure. The retransition begins in m.65. An example of solo/accompaniment is in the first violin of m.55. An example a passed motive is in m.67-69. An example of a first/second violin duet is in m.64-65.
The recapitulation is in measures 70-117.
First theme= 70-77
Transition= 77-94
Second Theme= 94-102
Closing Material= 102-117
The entire recap is in D minor. This is possible by the recurring motive placed in the transition that holds the Csharp, the leading tone to D minor that is going to confirm the listener that at the cadence in 94, they are indeed in D minor. Ironically, this is the same motive used in all three sections by the first violin, initially in m.23. The entry of the second theme is different in the recap because it falls on the downbeat of measure 24, where as in the exposition, it came in on beat 3. The reason this is possible is because of the preparation leading up to this entry. In the exposition, there was a lot of syncopation leading up to the second theme. In the recap, Mozart starts to place longer note values on the downbeats to emphasize meter and lead to greater unification as we reach a cadence and the end of the piece. For the rest of the recap, the rhythm is shifted forward to emphasize downbeats and the buildup of a cadence. This is especially apparent in the cello, where almost no emphasis of meter existed in the exposition until the double bar. In the second theme and closing material of the recap, the cello really helps to emphasize rhythmic stability to move toward the end of the piece. Mozart's writing here can be analyzed historically through careful thought of the classical era and enlightenment's role in influencing art of this time. Enlightenment philosophers would have said that the world is in order and harmony and would have placed much focus order and laws with an optimistic perspective of the world. Hence Mozart's orderliness, and need to establish order near the end of the recapitulation. The end of the recapitulation is designed to be able to repeat through the constant motivic repetition throughout the voices. This motion give the listener the idea that maybe the end is not quite there, perhaps more material may be introduced. The performers may choose to play it either way, Mozart probably designed it that way to add some enlightenment optimism and to ensure a longer piece so that the dinner party could last longer and get rich people more wasted and convinced to give him more money. The movement ends with a strong D minor PAC on forte.
4:21
The exposition of Mozart's String Quartet in D minor (K. 421) is quite the sonata formed mold. Dedicated to Joseph Haydn, these quartets are the cornerstone of chamber music repertoire and are frequently performed. The "Haydn" quartets are some of Mozart's most famous, including the 'Hunt' quartet (K. 458) and the 'Dissonance' quartet (K. 465).
Both themes within the exposition are packed with rhythmic intensity, and rightfully so, due to the slow tempo notated by Mozart. There is a chaconne bassline played within the first tonal area (m. 1-24), accentuated by the upper strings and their short but repeated melody. The second phrase (m. 25-40) is much different with a longer melody, more elaboration and extended types of variation, including all voices. What makes it most interesting, however, is the different types of articulation and bowing Mozart implies/directs, creating interesting texture and balance within the quartet.
The development begins in E flat, quite a stark difference from the original D minor. Two prevalent themes exist within the section, the first resembling the FTA of the A section whereas the second resembling the STA of the A section. The first again contains the chaconne-ish bass and creates disposition for the listener, pushing its way towards a welcome resolution in bar 59, a G minor chord. Here the second theme takes charge and introduces a new melody, eventually moving the tonal area back to the original key of D minor.
Finally, we arrive at the recapitulation, and as expected is back in the key of D minor and is nearly a literal repeat of the exposition. Again, as expected the B area has modulated to the key of D minor and embellishments have been altered accordingly.
Although simple and straightforward, Mozart's quartet poses considerable difficultly for the ensemble. The tempo is slow, leading to one of two problems: 1) speed up 2) slow down. Take time and use a metronome to watch those troubled spots that may lead to significant tempo fluctuation. That's not to say the entire piece should be at the same steady tempo (as liberty should be taken to emphasize cadential moments) but when that liberty and expression is introduced it is important to start in the original tempo. That being said, emphasize the difference between dotted quarter/eighth note figures and triplets. It's always been a problem and will continue to pose trouble. Plus, that difference can make or break a good performance of this piece. Alongside tempo and rhythmic accuracy, the articulation (especially unison sections) must be addressed. Careful attention to details and style will pay off eventually and can create a one-of-a-kind performance.
Both themes within the exposition are packed with rhythmic intensity, and rightfully so, due to the slow tempo notated by Mozart. There is a chaconne bassline played within the first tonal area (m. 1-24), accentuated by the upper strings and their short but repeated melody. The second phrase (m. 25-40) is much different with a longer melody, more elaboration and extended types of variation, including all voices. What makes it most interesting, however, is the different types of articulation and bowing Mozart implies/directs, creating interesting texture and balance within the quartet.
The development begins in E flat, quite a stark difference from the original D minor. Two prevalent themes exist within the section, the first resembling the FTA of the A section whereas the second resembling the STA of the A section. The first again contains the chaconne-ish bass and creates disposition for the listener, pushing its way towards a welcome resolution in bar 59, a G minor chord. Here the second theme takes charge and introduces a new melody, eventually moving the tonal area back to the original key of D minor.
Finally, we arrive at the recapitulation, and as expected is back in the key of D minor and is nearly a literal repeat of the exposition. Again, as expected the B area has modulated to the key of D minor and embellishments have been altered accordingly.
Although simple and straightforward, Mozart's quartet poses considerable difficultly for the ensemble. The tempo is slow, leading to one of two problems: 1) speed up 2) slow down. Take time and use a metronome to watch those troubled spots that may lead to significant tempo fluctuation. That's not to say the entire piece should be at the same steady tempo (as liberty should be taken to emphasize cadential moments) but when that liberty and expression is introduced it is important to start in the original tempo. That being said, emphasize the difference between dotted quarter/eighth note figures and triplets. It's always been a problem and will continue to pose trouble. Plus, that difference can make or break a good performance of this piece. Alongside tempo and rhythmic accuracy, the articulation (especially unison sections) must be addressed. Careful attention to details and style will pay off eventually and can create a one-of-a-kind performance.
モーツァルト <--that says Mozart in japanese
080424
Blog #12
C. Mozart, String Quartet in D minor, K. 421, first movement, mm. 1-41
Exposition: mm 1-41; d minor and F major
First theme: mm 1-8 ; d minor
Phrase a: mm1-4; d minor; ends with an IAC
Transition: mm 9-24; modulation from d minor to F major
Second theme: mm 24-33; F major; has a closing theme
Closing theme: 34-41
Since this movement is in D minor, the expected second key area is in III, so F major. This modulation happens from measures 9-24. There is added chromatic notes and it is fully in F major at measure 24. The second theme sounds more uppy and cheerful, possibly because of the change of key. The second violin, viola and cello play a steady metronome for the melody of the first violin, with the cello playing on the first and third beats and the viola and 2nd violin playing sixteenth notes with a sixteenth note rest at the beginning of the beats where the cello plays on the 1st and 3rd beats. In the second theme the melody get passed around to the different instruments rather than the 1st violin playing the melody all the time. The voices are conversing with each other than in the first theme. I feel like to perform these in some places it feels natural to move your body and more/step forward on some of the long notes that maybe are emphasized more. Maybe that helps with the communication too because this is a string quartet with only 4 people playing. The definition of codetta is a small coda, and coda is following a strong cadence and bring it to an end, but I feel like this isn’t the case. At the first and second ending it doesn’t feel like a strong cadence. It feels more like a closing theme than a codetta.
One instrument plays a solo part while the others accompany: mm 1-4; mm 25-28
The first violin and cell play a duet, with accompaniment in the second violin and viola: mm 32-35
A motive is passed through the quartet, with each instrument playing it in turn: mm 12-14
D. Mozart, String Quartet in D minor, K. 421, first movement, mm 70-117
Recapitulation: mm 70-117; D minor
First theme: mm 70-77 ; D minor
Phrase a: mm 70-73; D minor; Identical to mm. 1-4
Transition: mm 78-93
Second theme: mm 94-102
Closing theme: mm 102-117
The entire recapitulation is in the tonic key D. This is different than the exposition because the second theme modulated into III, but in this recapitulation it stayed in the tonic key. The end has a forward motion, partly because the viola has all the repeated arpeggios pushing it forward.
E. Mozart, String Quartet in D minor, K. 421, first movement, mm 42-70
Development: mm 42-70, E-flat major
The development begins with an E flat chord. There are three motives in this development section that are repeated throughout. One starts from measure 53 on. It’s a half note, dotted quarter note and an eight note theme. It goes around to the different voices sort of like a round and as if the instruments are conversing. Another theme is in measure 46 on, the viola and cello plays that motive throughout the development. The recapitulation begins at measure 70 because it has the return of the themes from the exposition in the same order. This second large section has a repeat with a first and second ending. When you play the first ending it is 1 measure added of that motive, but when you play the second ending it has a few more measures of those sixteenth notes that the first violin plays. So it sounds different the second time and signals that is coming to an end, if you didn’t already feel like it should be coming to an end after listening to all of the movement.
One instrument plays a solo part while others accompany: mm 42-45
The first violin and cello play a duet, with accompaniment in the second violin and viola: mm 56-58
A motive is passed through the quartet, with each instrument playing it in turn: mm 53-58
The first and second violins play a duet: mm 45-49
This piece sounds like a lot of fun to play. I really like the second theme in the exposition, maybe because it sounds so cheerful.
Blog #12
C. Mozart, String Quartet in D minor, K. 421, first movement, mm. 1-41
Exposition: mm 1-41; d minor and F major
First theme: mm 1-8 ; d minor
Phrase a: mm1-4; d minor; ends with an IAC
Transition: mm 9-24; modulation from d minor to F major
Second theme: mm 24-33; F major; has a closing theme
Closing theme: 34-41
Since this movement is in D minor, the expected second key area is in III, so F major. This modulation happens from measures 9-24. There is added chromatic notes and it is fully in F major at measure 24. The second theme sounds more uppy and cheerful, possibly because of the change of key. The second violin, viola and cello play a steady metronome for the melody of the first violin, with the cello playing on the first and third beats and the viola and 2nd violin playing sixteenth notes with a sixteenth note rest at the beginning of the beats where the cello plays on the 1st and 3rd beats. In the second theme the melody get passed around to the different instruments rather than the 1st violin playing the melody all the time. The voices are conversing with each other than in the first theme. I feel like to perform these in some places it feels natural to move your body and more/step forward on some of the long notes that maybe are emphasized more. Maybe that helps with the communication too because this is a string quartet with only 4 people playing. The definition of codetta is a small coda, and coda is following a strong cadence and bring it to an end, but I feel like this isn’t the case. At the first and second ending it doesn’t feel like a strong cadence. It feels more like a closing theme than a codetta.
One instrument plays a solo part while the others accompany: mm 1-4; mm 25-28
The first violin and cell play a duet, with accompaniment in the second violin and viola: mm 32-35
A motive is passed through the quartet, with each instrument playing it in turn: mm 12-14
D. Mozart, String Quartet in D minor, K. 421, first movement, mm 70-117
Recapitulation: mm 70-117; D minor
First theme: mm 70-77 ; D minor
Phrase a: mm 70-73; D minor; Identical to mm. 1-4
Transition: mm 78-93
Second theme: mm 94-102
Closing theme: mm 102-117
The entire recapitulation is in the tonic key D. This is different than the exposition because the second theme modulated into III, but in this recapitulation it stayed in the tonic key. The end has a forward motion, partly because the viola has all the repeated arpeggios pushing it forward.
E. Mozart, String Quartet in D minor, K. 421, first movement, mm 42-70
Development: mm 42-70, E-flat major
The development begins with an E flat chord. There are three motives in this development section that are repeated throughout. One starts from measure 53 on. It’s a half note, dotted quarter note and an eight note theme. It goes around to the different voices sort of like a round and as if the instruments are conversing. Another theme is in measure 46 on, the viola and cello plays that motive throughout the development. The recapitulation begins at measure 70 because it has the return of the themes from the exposition in the same order. This second large section has a repeat with a first and second ending. When you play the first ending it is 1 measure added of that motive, but when you play the second ending it has a few more measures of those sixteenth notes that the first violin plays. So it sounds different the second time and signals that is coming to an end, if you didn’t already feel like it should be coming to an end after listening to all of the movement.
One instrument plays a solo part while others accompany: mm 42-45
The first violin and cello play a duet, with accompaniment in the second violin and viola: mm 56-58
A motive is passed through the quartet, with each instrument playing it in turn: mm 53-58
The first and second violins play a duet: mm 45-49
This piece sounds like a lot of fun to play. I really like the second theme in the exposition, maybe because it sounds so cheerful.
I played this once...
This piece (1st movement of Mozart String Quartet K. 421) is, in my opinion, very cool. I loved playing it and it's interesting to analyze it now that I've had that experience I suppose.
The exposition is divided as follows:
exposition: measures 1-41
first theme: measures 1-8 (with two phrases, each 4 measures long)
transition: measures 9-14.2 (made up of two phrases, one from measure 9-10 and the other new phrase includes material from measure 9 but possesses an extension up to measure 14. 2)
second theme: measures 14.3-41 and the internal phrase structure of the second theme is as follows--
mms. 15-18 phrase
mms. 19-24 phrase
mms. 25-26 small phrase
mms. 27-28 small phrase
mms. 29-33 variations of the small phrase heard in mms. 27-28
mms. 33-41 an extended coda (could be called closing material) that builds in each voice (inverted counterpoint!)
Because this movement is in D minor, the expected key area for the second theme would be III, however, this does not occur. It modulates to the key of C major with a big C major chord on the third beat of measure 14, the beginning of the second key area.
The second theme and the first theme contrast in different ways than key areas, however. The character of each section is different. At the beginning, the first violin and viola parts are marked "sotto voce" which means half voice. This, in my opinion, is a mournful sounding section of the piece and that should be considered when performing this. Performers should consider what this means for the performance, including bow strokes and contact points of the bow on the string. However, the second theme presents itself as completely different. It begins with a large forte chord and a sudden drop to piano. Perhaps this is meant to be startling--the abrupt change to piano signals a previously absent playfulness in the music that should be emphasized through light bow strokes and some short, staccato eighth notes. The second theme is also developed much more than the first theme--it is developed through the tension of inverted counterpoint in each part that slowly builds to climaxes that are then surprisingly followed by playful piano sections once again. Performers should certainly pay attention to the dynamics and articulations because they do much to color the second them as opposed to the somber first section.
I believe that the codetta could certainly be labeled as closing material. First of all, it is much longer than a "typical" coda of only 2-4 measures. It encompasses 9 measures and has its own phrase structure that includes the building of tension through inverted counterpoint and repeatedly transposed motivic material throughout.
Typical string quartet structures are as follows:
1. one instrument plays a solo part while others accompany: mms. 1-9; mms. 25-32
2. the first violin and celo play a duet, accompaniment in viola and 2nd violin: I actually couldn't find any of these places in the exposition...
3. a motive is passed through the quartet: mms. 12-13.2; mms. 20-23; mms. 33-41
The internal structure of the recapitulation is as follows:
recapitulation: mms. 70-end
first theme: mms.70-77 (with a phrase from mms. 70-73 and another phrase from 74-77)
transition: mms. 78-83 (with a phrase from 78-79 and another phrase from 80-83)
second theme: mms. 83-102.2 (with a phrase from 83-88, extended material developed through each instrument from 89-93, a phrase in the first violin with accompaniment from the other parts from 94-102, and starting at 98 there are variations from the first violin of the previously heard theme)
closing material/codetta: mms. 102.3-117(end) (more extensions of previously stated material)
The entire recap is in the tonic key, and this is made possible by the chord present at the beginning of the second theme. Because of this, the recap differs from the exposition. The rhythm of the second theme in the recap also differs from the rhythm in the exposition. There are longer syncopated note values present in measures 17-18 of the exposition and there is a rhythmic diminution of these notes in measures 86 and 87 of the recap to make up for lost time. This reveals that metrical practices in the Classical era were extremely calculated and well thought-out. This clearly reflects enlightenment thinking of the era as well.
The end of the recap facilitates repetition because it does not necessarily signal the end of the piece. There are repetitive motivic figures in the first violin as well as the second violin and the viola. These figures do not seem like they would lead into the end of the piece, but that they would introduce new or repeated material, which is precisely what they do.
The development begins in the key of Eb major with a large rolled chord in the first violin. There are three motives that are developed throughout the development, beginning with motive "a" at measure 43, motive "b" at measure 50, and motive "c" at measure 59. Motive "a" is passed throughout the parts and is a trilled dotted eighth note-sixteenth pattern followed by two eighth notes and a half note. Motive "b" is played by all parts at the same time (though all parts have different notes) and is a descending type of scale pattern. Motive "c" is a progression of five sixteenth notes followed by an eighth note.
The retransition occurs at measure 53. Here, all parts drop out except for the viola which has a solo line that eventually is built upon by the other instruments. This signals the retransition because it is new thematic material and eventually builds up a lot of tension before releasing it all at the appearance of the recapitulation at measure 70.
The scoring of this section is as follows:
1. one instrument plays a solo while the others accompany: mms.42-45
2. the first violin and cello play a duet while the others accompany: mms.63-65
3. a motive is passed through the quartet with each instrument playing it in turn: mms. 53-62
4. the first and second violins play a duet: mms. 46-49
This piece is wonderfully written and is so much fun to play! Too bad it's not as fun to analyze...:(
The exposition is divided as follows:
exposition: measures 1-41
first theme: measures 1-8 (with two phrases, each 4 measures long)
transition: measures 9-14.2 (made up of two phrases, one from measure 9-10 and the other new phrase includes material from measure 9 but possesses an extension up to measure 14. 2)
second theme: measures 14.3-41 and the internal phrase structure of the second theme is as follows--
mms. 15-18 phrase
mms. 19-24 phrase
mms. 25-26 small phrase
mms. 27-28 small phrase
mms. 29-33 variations of the small phrase heard in mms. 27-28
mms. 33-41 an extended coda (could be called closing material) that builds in each voice (inverted counterpoint!)
Because this movement is in D minor, the expected key area for the second theme would be III, however, this does not occur. It modulates to the key of C major with a big C major chord on the third beat of measure 14, the beginning of the second key area.
The second theme and the first theme contrast in different ways than key areas, however. The character of each section is different. At the beginning, the first violin and viola parts are marked "sotto voce" which means half voice. This, in my opinion, is a mournful sounding section of the piece and that should be considered when performing this. Performers should consider what this means for the performance, including bow strokes and contact points of the bow on the string. However, the second theme presents itself as completely different. It begins with a large forte chord and a sudden drop to piano. Perhaps this is meant to be startling--the abrupt change to piano signals a previously absent playfulness in the music that should be emphasized through light bow strokes and some short, staccato eighth notes. The second theme is also developed much more than the first theme--it is developed through the tension of inverted counterpoint in each part that slowly builds to climaxes that are then surprisingly followed by playful piano sections once again. Performers should certainly pay attention to the dynamics and articulations because they do much to color the second them as opposed to the somber first section.
I believe that the codetta could certainly be labeled as closing material. First of all, it is much longer than a "typical" coda of only 2-4 measures. It encompasses 9 measures and has its own phrase structure that includes the building of tension through inverted counterpoint and repeatedly transposed motivic material throughout.
Typical string quartet structures are as follows:
1. one instrument plays a solo part while others accompany: mms. 1-9; mms. 25-32
2. the first violin and celo play a duet, accompaniment in viola and 2nd violin: I actually couldn't find any of these places in the exposition...
3. a motive is passed through the quartet: mms. 12-13.2; mms. 20-23; mms. 33-41
The internal structure of the recapitulation is as follows:
recapitulation: mms. 70-end
first theme: mms.70-77 (with a phrase from mms. 70-73 and another phrase from 74-77)
transition: mms. 78-83 (with a phrase from 78-79 and another phrase from 80-83)
second theme: mms. 83-102.2 (with a phrase from 83-88, extended material developed through each instrument from 89-93, a phrase in the first violin with accompaniment from the other parts from 94-102, and starting at 98 there are variations from the first violin of the previously heard theme)
closing material/codetta: mms. 102.3-117(end) (more extensions of previously stated material)
The entire recap is in the tonic key, and this is made possible by the chord present at the beginning of the second theme. Because of this, the recap differs from the exposition. The rhythm of the second theme in the recap also differs from the rhythm in the exposition. There are longer syncopated note values present in measures 17-18 of the exposition and there is a rhythmic diminution of these notes in measures 86 and 87 of the recap to make up for lost time. This reveals that metrical practices in the Classical era were extremely calculated and well thought-out. This clearly reflects enlightenment thinking of the era as well.
The end of the recap facilitates repetition because it does not necessarily signal the end of the piece. There are repetitive motivic figures in the first violin as well as the second violin and the viola. These figures do not seem like they would lead into the end of the piece, but that they would introduce new or repeated material, which is precisely what they do.
The development begins in the key of Eb major with a large rolled chord in the first violin. There are three motives that are developed throughout the development, beginning with motive "a" at measure 43, motive "b" at measure 50, and motive "c" at measure 59. Motive "a" is passed throughout the parts and is a trilled dotted eighth note-sixteenth pattern followed by two eighth notes and a half note. Motive "b" is played by all parts at the same time (though all parts have different notes) and is a descending type of scale pattern. Motive "c" is a progression of five sixteenth notes followed by an eighth note.
The retransition occurs at measure 53. Here, all parts drop out except for the viola which has a solo line that eventually is built upon by the other instruments. This signals the retransition because it is new thematic material and eventually builds up a lot of tension before releasing it all at the appearance of the recapitulation at measure 70.
The scoring of this section is as follows:
1. one instrument plays a solo while the others accompany: mms.42-45
2. the first violin and cello play a duet while the others accompany: mms.63-65
3. a motive is passed through the quartet with each instrument playing it in turn: mms. 53-62
4. the first and second violins play a duet: mms. 46-49
This piece is wonderfully written and is so much fun to play! Too bad it's not as fun to analyze...:(
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