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Originality in The Creation of Mozart Chamber: Trio op. 14 no. 2 for
Piano, Clarinet (or Violin) and Viola in Mi Bemol Major KV 498 (1786)
by Wolfgang Amadeus
FELIX C-TIN GOLDBACH
Department of Arts
Valahia University of Targoviste
18 - 22 Unirii Bd., 130082, Targoviste, Romania
ROMANIA
[email protected]
Abstract: - Part I contains all the inner sections characteristic for the classical sonata, namely the triad
[Exposition – Development – Resuming]. In this formal scheme, Mozart’s innovation consists in the lack of the
double bars indicating repetition, which used to divide it into two ample segments; the configuration appears
modified, yet it acquires a real symmetry.
Key-Words: - music, classicism, chamber music, clarinet.
this idea because we have noticed that the motive is
repeated in 59 out of the 130 measures forming the
first part, and Mozart’s great art consists in the fact
that its large usage does not lead to saturation.
The rhythmic motive TIm1, crusis, generating
the melody (in theme I), impresses a vigorously
manly character to this design from the very
beginning; it is made up of a long sound followed
by a very rapid gruppetto and ends up with a series
of eighths in the descending arpeggio. By relating
the durations with the metric unit of the eights
through the expression: A1(TIm1) = {1} = {♪} we
could express these beat values using numerical
values in the following way: A1(TIm1) = {t1,2,3.1
(5:4), t3.2.1.1, t3.2.1.2, t3.2.2.1 , t3.2.2.2 (4:16), t4,
t5, t6, t7 (4:1)}.
The maximal metric value rests on time 1; it
coincides to the dynamic maximum chosen by the
composer and expressedly marked as intensity level
(forte), yet it also results from the rich counterpoint
texture made up of five voices in unison, the sounds
being spread on three octaves (for piano in the
middle and grave registers, and for viola in the
middle register).
1 Introduction
The formal pattern chosen by the composer
corresponds to the classical tendency concerning the
sonata form usually picked up for the first
movement of the cycle but the novelty consists in
the development of this structure following a
meditative rhythm, a quasi-philosophical one, given
by the agogical indication Andante, which at the
same time seems to be a reminiscence of the
preclassical sonata da chiesa, whose debut usually
occurred through a calm, majestic movement but
which, in this case, is combined with tense
moments. We can also support a parallel to the
heroic significance also conferred by Ludwig van
Beethoven to the Mi bemol major tonality both in
the Third Symphony, the “heroic”, and in the
Concert for piano and orchestra No. 5 built in this
tonal ambiance.
2 Discussions
The initial musical idea of the first theme starts
with the first motive, which we will indicate by
TIm1 (bar 1 – 2/1), a signal-theme initiated by the
viola and doubled by the piano voices in unison (the
piano’s solemn voice does not contain the
gruppetto), in a complex, rich and significant timbre
transmitting a strongly meditative sense. Crusis in
all its appearances, TIm1 has an intensely
dynamizing role, so that it becomes - throughout the
first part - a veritable leit motif, an innovation that
the composer uses in a cunning way. We support
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Fig. 1: theme I, motive l, measures 1 – 2/1
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The long sound produces the specific acustic
signal and tension characteristic for the expectation
of the deployment of the events, to which a
substantial contribution comes from the strong
dynamic level of the five voices, even from the start.
The embroidery is a characteristic of Mozard’s
galant style. It creates the motive’s moment of
voluble virtuosity, providing a subtle elegance to the
extremely rapid movement, undertaken with the
ease of a ballerina doing a pirouette. Unusual is,
however, the author’s demand for the creation of a
neighboring sonorous minimum, an acute dynamic
contrast, almost a hiatus between the long, strong
sound in forte and the embroidery marked with
piano, the indications being expressedly noted
through nuancing signals from the musical text. The
latent harmony developed in a descending way and
concluded by a long general caesura (the
expectation lasts for a period of four eighths)
realizes an effect similar to the suspense moments
obtained by the cinema, especially as here the
composer does not clearly request any
differentiation concerning the dynamic level.
Numerically1, TIm1 can be presented as follows:
{1,3↑1↓–12↓-1↑-5↑-1↓–8↓–5↓}.
From the inner musical design comes forth the
depressive, grave, meditative tension. Interesting is
the fact that during part I the last descending
arpeggio acquires extremely varied configurations,
new typologies obtained by means of processing
methods that concern especially the melody and the
rhythm. Nevertheless, rarely have we met so much
development through the variation of a motive in
Mozart’s compositions.
If the first arpeggio, presented by the timbers of
the viola and the piano on three octaves, creates a
latent tone harmoy in the upturn 1, Mi bemol major,
with doubled third, the structure of the generating
core presenting the model: {1,-5↓,-10↓,-13↓}, the
sequential repetition of the motive proposes the
harmony of a dominant seventh, with the structure
{1,-4↓-7↓-11↓} (measure 5/4), and the resuming of
the motive by the clarinet, beside giving a new
timber apparel, is made up of sounds disposed as
follows: {1,-5↓-10↓-8↑}, on the step I6/4 from Mi
bemol major (measure 9/4), then: {1,-4↓-8↓-9↓} on
the step II7 (measure 10/4), followed by the
shortened figure: {1,-3↓-6↓} on the step V3/4
(measure 11/4); in the resuming by the piano, the
composer modulates the sound through the
harmonies: III5+/3 from do harmonic minor, while
the arpeggio structure changes: {1,-5↓-9↓-8↑}
(measure 13/4), then in: {1,-4↓-10↓-9↑} towards si
bemol minor, VII1/2 (measure 14/4) and back in Mi
bemol major V7 in the intervallic formula: {1,-3↓6↓-8↓} (measure 15/4); we would also like to signal
here a very daring case of superposition of the
harmonies of the two voices (clarinet and piano) and
at the same time the new timber of the moment so as
to create a classical cadence, I6/4 - V7 - I, which
concludes the second musical phrase; in codetta, the
composer repeats on three occasions the same
interrupted cadence, a harmonic structure situated in
the moment of the modulating inflexion towards do
minor, starting from a strong and dynamic level
(forte) and moving down to piano by the time the
VIth step is attained. The repetition of this
procedure, having the structure: {1,-5↓-9↓-8↑},
sharpens the conflict through accumulation and at
the same time amplifies the sensation of
powerlessness exhaled by the interrupted cadence,
dramatizing the bridge (measures 16/4, 18/4, 20/4).
In exchange, in the following sentence, through the
enlargement of the leap from fifth to sixth and then
to eighth, a new type of accumulation towards semicadence (in-between the steps II3/4 - V7) and the
modulating inflexion towards si bemol minor
(measures 21/4, 22/4, 23/4) are realized, while the
model acquires new configurations: {1,-6↓-6,-6},
{1,-4↓-9↓-9} and: {1,-5↓-8↓-10↓} in do minor. In
the conclusion of the Exposition, which also plays
the role of a bridge towards the Development, m1
contains the structure of the final latent harmony:
{1,-4↓-9↓-9↓} repeated in fa minor on step IV6/4
(measures 51/4, 52/4) and: {1,-4↓-10↓-11↓} on step
II6/5 (measure 53/4). In the Development, beside
the timber changes due to the resuming of the viola
notes by the piano in different registers, modulating
inflexions towards do minor and sol minor are
added, so that the theme always preserves its
novelty (measures 64-68/1), and the structures
become:
{1,-4↓-8↓-9↓-11↓-15↓-18↓}
through
segmentation and sequencing, then change into: {1,4↓-10↓-9↑}, and in the brigde are added: {1,-4↓-8↓10↓} towards do minor, followed by Mi bemol
major {1,-4↓-7↓-11↓} and {1,-4↓-8↓+13↑}. While,
in the Resuming, theme I repeats some of the
structures, in exchange, its polyphonic and timberrelated treatment (in point of the instruments and the
registers in which the theme is situated) represent
novelties. The bridge brings the tonal area of the
lower dominant (subdominant) with different
1
We have used the ascending numbering of the sounds in a
modulo 12 system, from semitone to semitone, starting from Mi
bemol = 1, Mi = 2, Fa = 3 etc.; we noted with minus the sound
that descends under the level of the tonic sound, while the arrow
indicates the ascending or descending direction of the musical
interval.
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interrupted cadence; in the second, the melody
unfolds in the area of the piano discant (measures 13
– 16/1); in this new thematic elaboration the author
gives up on motive 2 and on the initial temporal
distance between the motives in favor of a thematic
continuity assured by descending sequences and by
the shortening of the arpeggio by one eighth; at the
same time, after the sounorous expression of the
model, he gives up on the repetition of the dynamic
contrast, so that the clarinet’s emission can enjoy
the beauty of the melodic expression in piano.
Along with the descending direction of the
sequences, these procedures induce in the listener
the impression of musical relaxation of the thematic
phrase.
As far as the counterpoint is concerned, the first
two sentences use especially the unison, oscilating
between four and two voices for motive 1, and in
the case of motive 2 the melody is accompanied by
the accords of three piano voices. In sentence 3, the
clarinet is accompanied by the latent harmony
created by the piano’s arpeggios, with a large
ascending development (especially on an octave), in
piano, generating a rarefied delicate texture, with a
counterpoint on three voices. In sentence 4, the
texture is much denser, the accompanying pattern is
taken over by the viola, while the harmonic pillars
are doubled by octaves played by the piano, and the
clarinet supports the harmony, after which, towards
the end, it doubles the melodical voice of the piano
(measure 15), so that the number of the voices
becomes five permanently, and the discourse grows
stronger and stronger and increasingly insistent.
In the second stage of the Development, which is
very short, theme I appears processed from the
viewpoint of its timber, through the dialogue
between the viola (repeated melody, measures 6468/1) and the piano’s acute register (measures 65,
67), with a new counterpoint, given by the clarinet’s
countermelody, which is also repeated. This
moment also constitutes a dynamic maximum; the
four evolving voices support the strong dynamic
level (forte), tensed by the tonal instability (repeated
inflexions towards do minor and sol minor).
In the Resuming, theme I continues to be
transformed using new procedures; it is treated
polyphonically, because the five thematic voices
come in one after the other, then being partially
overlapped, from grave to acute in a veritable stretto
(measures 74 – 76/3); the series of imitations is
obtained by displacing the motive to the right by
three beats; the motives appear first on the tonic
harmony: measure 74 – in the grave piano register,
74/4 – viola in the middle register, 75/1 – clarinet, in
the acute register, then on the dominant harmony
structures: {1,-5↓-9↓-7↑}, {1,-4↓-10↓-11↓}, {1,-3↓6↓-7↓} in the measures 86/4, 87/4, 88/4. In the
conclusion, they appear in Mi bemol major, so in a
different tonal ambiance, in the grave piano
registers. The coda proposes a dialogue of the 3
participants.
To these motive processing procedures we should
add the timber processing, as the circulation of
motive 1 is assured by the so different timbers of the
three instruments (clarinet, viola and piano) and it
touches all the registers of the three instruments
(acute, middle and grave), the profile being
supported on different dynamic levels. In fact, one
of the main ways of processing theme I consists in
the timber dialogue of the registers and of the
instruments, a procedure very often used in the
Development.
The thematic motive 2 of theme I, which we noted
as TIm2, anacrusis in all its occurrences, is
presented for the first time by the piano. It contains
simple and double appoggiaturas, and the modality
of expressive connection of the accentuated beat
suggests the existence of two cells of different
natures: the first one being anacrusis and the second
one crusis, made up of 4 eights each, but the
rhythmic formulas represent the model structure and
its recurrence as number of beats but not as
accentuation type. The melodic pattern can be
numerically expressed as follows: {8,8↓1,1↑,-3↓-1↓12↑1↓-12↑+1↑3}. Motive 2 ends up by a
semicadence (step V6/5) and is followed by a longer
general caesura (a break of five eights). Just as in
the case of the first motive, the second one also uses
embroideries, alternatively; the melodic pattern
contains repeated sounds, a gradual progress and
leaps, being supported by accords tackled by the
Fig. 2: theme I, motive 2, measures 2/6 – 4/1
The ambitus of the two musical drawings covers
an interval respectively of octave (motive 1) and
sixth (motive 2). They are repeated through
ascending sequencing, so that the phrase is
concluded by an authentic cadence (steps V – I); the
ascending direction, the caesures, the repetition of
the dynamic and phrasing details intensifies the
tension of the primordial thematic sequence.
The resuming of the melody proposes twice a
timber modification through the choice of the
clarinet’s velvety sonority in the first version
(measures 9 – 12/1) concluded through an
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75/4 – the piano in the supraacute register; the last
appearance of the motive 1 is continued by motive
2, from which only the closure cell is used, played
only by the piano (measures 76/4 – 77/1).
Also in the case of theme II, we notice a
tendency of variation unusual in Mozart’s style. The
composer presents six hypostases containing notable
differences in point of melody, timber,
accompaniment, texture, due to the particular
counterpoint treatment. They are grouped into two
phrases made up in a ternary way: B (a: 25-27, av1:
28-30, av2: 31-35/2), B1 (av3: 35-37, av4: 38-40,
av5: 41-47/2), a novelty compared to the binarity of
theme I.
Fig. 3: theme I, measures 74 – 77/1
On the other hand, the composer indicates a
strong dynamic level, in forte for motive 1, which
allows, in the case of the thematic stretto, a
modification of the maximum within the meterrythmic evolution, so that the structure highlights
sometimes the accent on the melodic incipit of the
motive 1 (beat 1 piano, grave register, clarinet), and
it sometimes places the accent on the melodic
maximum (the beginning of the arpeggio, for viola
and piano in dominant harmony). Motive 2 ends up
in a contrasting piano manner; after the ascending
effort of the polyphonic stretto, the effect seems
almost comical, commented in staccato both by the
viola and by the piano itself. The entire scaffold is
resumed by ascending sequencing.
The Coda is also built using polyphonic means,
from series of imitations. The main theme passes on
from one voice to the next, in a timber dialogue to
which all the formation members take part.
Supported by the pedal on Mi bemol from the
piano’s bass (measures 117 – 122), the melody in
tonic harmony played by the viola (118) is taken
over in dominant harmony by the clarinet (119),
then on other steps by the piano (step VI), and the
clarinet (step II). Part I ends up by an ample stretto
organized through the diminution of the distance
between thematic entries: viola (124), clarinet (125),
piano (125/4), clarinet (126), piano (126/4) and a
marked decrease of the sound intensity level to a
minimum in measures 129/4-130/2 (pianissimo).
Fig. 5: theme II, measures 25 – 27/4
The sound model of the secondary theme appears
with the clarinet timber in a calm, more serene
ambiance, in piano, accompanied only by the piano.
The melody, which is crusis on each occasion,
contains two motives, in Si bemol major.
The motive 1 of the secondary theme, which we
shall note by TIIm1, reminds one of the initial
design of theme I (TIm1) from which the long
sound is kept, starting from the median and the
descending arpeggio on step V7 (measure 25),
giving up the embroidery. Taking for a model the
structure: A2 (TIIm1) = {1} = {♪}, the meterrhythmic model will appear as follows: A2 (TIIm1)
= t1+t2+t3 (3:1), t4, t5, t6. As far as the melodic
pattern is concerned, it could be represented
numerically by A2 (TIIm1) = {5↑-8↓-6↓-3↓1},
relation in which the sound of the tonic harmony, Si
bemol (1) appears in the end. The depressive
tendency is obvious.
After the exposition of the first cell of TIIm2
(measure 26/1-26/3), made up of three sounds
repeated in tonic harmony, we deduce the similarity
to the cell from TIm2 (measure 3). The author
already starts processing it by means of a written
appoggiatura and two sequencing instances
(measures 26/4, 27/1), while the third (measure
27/4) presents a segmentation and reversal of the
previous ones in horizontal mirror. Starting from Si
bemol = 1, the cells of the motive, with their
processing instances, can be numerically expressed
as: {1,1,1} {2↑,3↑,3,3} {4↑,5↑,5,5} {8↑,6↓}. The
meter-rhythmic structure results from the following
formula: {t1,t2,t3}, turned into: {t4.1,t4.2,t5,t6},
then sequenced as: {t1.1,t1.2,t2,t3}, while reduced it
appears as: {t4.1, t4.2}.
Fig. 4: theme I, measures 124 – 130
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melodic interval from the first variation and the
reversal in the direction of the thematic cell interval.
The composer proposes the permutation of the
position of the accompaniment by the viola and of
the pedal sound on the dominant by the clarinet
through the procedure of the reversible
counterpoint. In order to notice the differences, we
can compare the measures 28 and 38.
Remarkable is the mainly ascending chromatic
displacement of TIIm2, compared to the ascending
descending wave pattern from the first motive. The
surprising similarity between TIm1 and TIIm1 does
not become apparent from the beginning for the
listener due to the lively harmonic accompaniment
supported by the piano and to the plain dynamic
unfolding of the musical sentence, in piano.
Its first processing (theme II, variated, measures
28-30) also appears for the clarinet in the second
musical sentence, with the rhythmic diminution of
the thematic end, and the melodic deployment starts
here from the area of the dominant harmony. In
counterpoint, the author now uses four voices, the
viola supporting a pedal on the dominant harmony.
Fig .8: theme 2
The cadential complement and the classical
cadence conclude the secondary thematic area and
the fifth processing, which is more largely and more
intensely varied. After the presentation of the
thematic motive 1 on the piano, the author segments
it, keeping only two elements: the long sound and
the grupetto, with which he forms a series of
sequences (measures 43-44) concluded with a
double trill (viola and piano, in acute register,
measure 46); their ascension correlated to the
increase of the voice number used (six, measures
43-44) leads to the accumulation of energy, tending
towards the realization of a maximum in point of
sound, built using all the instruments (five voices in
forte in unison, measure 47/1-2).
The reappearance of theme II (measures 55-60/4)
during the first phase of the Development is due to
the clarinet; the melody appears in La bemol major
and repeats the first two sentences of the Exposition
without any other difference from the perspective of
the counterpoint treatment. The peace of its
deployment calms the agitation that had been
created by the Exposition bridge. It seems that the
author tends to give it a more withheld and graver
philosophical profile.
In exchange, in the Resuming, the secondary
theme is shortened through the disappearance of the
last two of the six sentences present in the
Exposition. However, theme II acquires a stronger
final dynamization and a codetta (measures 113117/1). The timber of the theme changes, as it is
situated in the middle register, in the sound of the
viola during the first three sentences in Mi bemol
major
(measures
98-107).
By
reversible
counterpoint, the viola takes the role held by the
clarinet in the Exposition. Except for the change of
tonal ambiance, the construction is preserved. The
last thematic entrance goes to the piano. After
becoming more restrained, it continues by the ample
Fig. 6: theme II, motive 1, measures 28 – 30
The second processing (measures 31-35/2)
demonstrates the filiation of theme II to theme I
through the appearance of the grupetto and of the
primordial rhythm; we can notice the enlargement
of the motive through segmentation and the adding
of a sequence from the final cell (measure 32/132/6), another procedure for processing the main
motive; at the same time, the dynamic level is
gradually but temporarily amplified, as the viola
develops a countermelody, and the cadence on the
tonic harmony is strengthened by the final dynamic
growth (forte) of all the participants to the discourse
and through the insistence on the arpeggio on step I.
Fig. 7: theme II, motive 1, measures 31-35/2
The third processing (measures 35-37) is made
both in point of timber, as the melody appears
played by the piano, and in point of variation, so
that theme II draws increasingly closer to the initial
model of TIm1, through the use of the grupetto
inscribed in its pattern; and motive 2 of theme II
brings the embroidery from the very first exposition
of the characteristic cell (measure 36/1). The
accompaniment of the viola creates latent
harmonies, while the generally low dynamic level
(piano) is permanently preserved.
The fourth transformation (measures 38-40)
concerns the enlargement of the ambitus of the
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final dynamization, realized with the contribution of
all the formation’s instruments. The trills in the final
cadence are played by the clarinet and the viola to
support the piano’s chromatic array. The approach
of this sentence in counterpoint highlights its rich
texture, oscilating between six and four voices,
situated in an ample dynamization, expressedly
indicated by the composer (crescendo, forte,
measures 110-113/2) concomitantly to the
ascending movement of the melodic lines.
The bridges in the first part usually make use of
the main thematic material, processed in minor
tonalities for the sake of contrast, in most of the
cases. Via the insistence used in creating the
cadence on step VI (series of cadences interruptes in
measures: 16/6-17/1, 18/6-19/1, 20/6-21/1) the do
minor tonality (measures 21-23) sets in. The
procedure is repeated in the transition towards the
Development, also via interrupted cadences
(measures 47/6-48/1, 49/6-50/1). Interesting is the
fact that actually neither of the two bridges prepares
the new tonality, through a relation between the
dominant and the tonic harmonies specific to
classicism. Mozart wishes to surpise his listeners
every time.
The bridge between the two phases of the
Development is made up of an extension of TIIm2,
processed using very interesting means: the clarinet
proposes a series of ascending sequences in the
conclusion of motive 2, in which the author first
processes the leap interval enlarging it (measure 61),
after which he sequences the new pattern (measure
62); the viola takes over the same motive, yet
without the appoggiatura; in exchange, it is deviated
towards the step containing three eighths (60/4). The
fact that the figure cambiata from the closure of the
clarinet’s motive represets a delay from a harmonic
viewpoint triggers a strongly dissonant clash to the
viola’s motive, with modulating attributes (60/4,
61/4, 62/4). The chromatic organization of this
harmonic march represents another novelty, the
density of the modulating inflection being
significant: fa minor (60/4), sol minor (61/4), do
minor (62/4), fa minor (63/3), Fa major (63/4), do
minor (through the Neapolitan sixth, 63/6-64/1).
The bridge towards the Resuming is the only one
that prepares the new tonal ambiance through a
longer insistence on the dominant of the new
tonality: Mi bemol major (measures 71-73). Here,
Mozart largely makes use of the cell in the closure
of TIm1 (piano, measures 67/6-68/1), whose intense
repetition, interrupted by ceasures, is oppsed to the
thematic motive 1. This creates a tension which
builds up a dynamic maximum right during the
beginning of the Resuming (measure 74). In the
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Resuming, the bridge is more colorful (measures 8597/4); it processes the elements of theme I for the
piano in different registers, in various tonal
ambiances: La bemol major (measure 85/4), fa
minor (measures 93/6-96), ending in mi bemol
minor (measure 97), the homonym of the future
thematic zone, which represents an unusual
procedure. The fact that Mozart often makes use of
strong dynamic contrasts creates tension, which
builds up towards a maximum just before the
appearance of the secondary theme.
3 Conclusion
The Exposition (measures 1 – 54/4) presents a
bithematic structure, namely theme I in Mi bemol
major (measures 1 – 16/2) and theme II in Si bemol
major (measures 25 – 47/2); they are separated by a
short bridge which brings color richness, due to the
inflexions’ journey towards contrasting tonalities,
do minor and si bemol minor (measures 16 – 24/4);
the section ends with a conclusion of the Exposition
without any bridge or bridge role towards the
Development, which contains elements from theme
I (measures 47 – 51/2) and a surprising tonal plan,
which includes, along with Si bemol major, the zone
of the homonym, si bemol minor and fa minor, the
relative of the tonality that opens the Development
(measures 51 – 54/4).
The Development (measure 55 to 73) processes
the themes in reverse order. The first stage of the
Development proposes theme II in La bemol major
(measures 55 – 61/1). As in a completion using
cadence complements, the bridge continues to
transform elements of theme II, in fa minor, sol
minor and do minor; they receive dramatic
connotations (measures 61/1 – 64/1). During the
second stage of the Development, theme I
experiences the unrest of the harmonic oscillation
between the areas do minor and sol minor, a tragical
semantic evolution (measures 64 – 68). The
composer then uses his thematic motive to build the
bridge towards the Resuming, at which moment he
brings back the initial tonal area, Mi bemol major
(measures 69 – 73).
The Resuming (measures 74 to 117/2) ending in
a Coda (measures 117 to 130/2) reunites both of the
themes from a semantic perspective in Mi bemol
major: theme I (measures 74 – 85/1) and theme II
(measures 98 – 113/2). Here, we can notice a
Mozartian innovation present in the thematic
continuity introduced between theme II and theme I
(113 – 117/2) even though the latter has the role of a
codetta. The coda uses elements taken also from
theme I, obsessively repeated (measures 117 –
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130/2). The bridge present here is organized in a
more complex manner from a tonal viewpoint, much
more colorfully, reaching tragical, dark areas, a fact
encountered rather rarely in his music (measures 85
– 97/4); it processes the elements of theme I in La
bemol major, fa minor, stopping in mi bemol minor,
the homonym of the future thematic area, which
represents an unusual procedure.
As a general feature of part I, belonging to the
style imposed by the Viennese classicism, we can
notice the fact that most phrases are closed on the
tonic harmony, through an authentic cadence (in
between step V, aften with a dominant seventh and
step I), as in measures 19/4-20/2, 48/4-49/2, 88/189/2, 90/4-91/2, 111-113/2, or a classical cadence in
measures 114/4-115/2 (in between the steps I 6/4 –
V 7 - I). In phrase two there appears the interrupted
cadence (step V - VI, in measure 12/1). The
ornamented cadence is also used, realized using
chromatic embroideries, a procedure used much
more rarely at that moment of musical classicism,
which will nevertheless become characteristic for
musical romanticism (measures 23/4-24/4, 63/464/1, 96/4-97/4). The delay appears very rarely in
the ornamented cadences, only in measures 24, 97.
Another rather unusual feature of the formal
scheme is the fact that Mozart does not use too
much space for the bridges, they are rarer, of small
dimensions and especially they do not bring new
melodic material.
Theme I contains a complex structure, with a
binary construction, made up of two square phrases
ISBN: 978-1-61804-096-1
composed of: [4 + 4] + [4 + 4] measures, ending in a
conclusive phrase. The theme’s phrases can be
delimited as follows:
A (phrase 1):
sentence 1: a, generating cores: motive 1: 1
– 2/1, motive 2: 2/6 – 4/1;
sentence 2: av1: motive 1: 5 – 6/1, motive 2:
6/6 – 8/1;
A1 (phrase 2):
sentence 3: av2: motive 1: 9 – 12/1;
sentence 4: av3: motive 1: 12 – 16/2.
The material is developed based on the principle
of the theme with variations. The composer uses
melodic modifications, combined with the harmonic
changes from the cadences, as well as a new
configuration in the accompaniment, along with
timber- and texture-related elements and modified
counterpoint mechanisms
References:
[1] von Köchel, L. R., Chronologisch-thematisches
Verzeichnis sämtlicher Tonwerke W. A.
Mozart – Breitkopf & Härtel, Leipzig, 1937.
[2] Ciocan, D., O teorie semiotică a interpretării
muzicale (A Semiotic Theory on Musical
Interpretation), Ed. Universităţii Naţionale de
Muzică, Bucureşti, 2005.
[3] Goldbach, F., Incursiuni în creaţia camerală
pentru clarinet în perioada clasică (Classical
Cameral Creations for Clarinet), Ed. Valahia
University
Press,
Târgovişte,
2009.
97